Composed by Paolo Ugoletti Andrea Vezzoli. Edited by Piero Bonaguri and Raffae...(+)
Composed by Paolo
Ugoletti
Andrea Vezzoli. Edited by
Piero Bonaguri and
Raffaello
Ravasio. Saddle
stitching.
Piero Bonaguri
Collection.
Classical. Ut Orpheus #CH
254.
Published by Ut Orpheus
Guitar SKU: GI.G-018066 Composed by Peter M. Kolar. Sacred. With guitar c...(+)
Guitar
SKU:
GI.G-018066
Composed
by Peter M. Kolar.
Sacred. With guitar chord
names. GIA Publications
#018066. Published by GIA
Publications
(GI.G-018066).
English, Spanish,
Bilingual.
Conforms
to the official English
and Spanish liturgical
texts for the United
States. Inspirada en las
armonÃas y el
contrapunto de la
música clásica
estilo barroco, pero
utilizando un lenguaje
musical moderno apropiado
para una liturgia
multicultural, Misa
Luna está
construida de una forma
imaginative y
versátil. Sus
melodÃas son
fáciles de aprender
para una comunidad
angloparlante,
hispanohablante o
bilingüe, y su
cÃrculo de acordes es
simple para los
guitarristas. Al ser
acompañada por
órgano y trompeta
tanto por guitarra y
percusión esta
música bella
elevará la dignidad de
las celebraciones. Â
Inspired by the harmonies
and counterpoint of
classical Baroque music,
but using modern musical
language appropriate for
a multicultural
liturgy, Misa
Luna is imaginatively
and versatilely built.
Its melodies are easy to
learn for an
English-speaking,
Spanish-speaking or
bilingual community, and
its chord circle is
simple for guitarists.
Whether accompanied by
organ and trumpet or by
guitar and percussion,
this beautiful music will
elevate the dignity of
your celebrations. Â
Coro a dos voces, cantor,
y asamblea | Two-part
choir, Cantor, and
Assembly.
Composed by Andrea Vezzoli. Edited by Piero Bonaguri. Saddle stitching. Pier...(+)
Composed by Andrea
Vezzoli.
Edited by Piero Bonaguri.
Saddle stitching. Piero
Bonaguri Collection.
Classical. Ut Orpheus #CH
279.
Published by Ut Orpheus
Composed by Richard Yates. For guitar (acoustic). Squareback saddle stitch. Inte...(+)
Composed by Richard
Yates. For guitar
(acoustic). Squareback
saddle stitch.
Intermediate. Book and
online audio. Published
by Mel Bay Publications,
Inc
Music transcribed and adapted for modern guitar. By Frank Koonce. By Frank Koonc...(+)
Music transcribed and
adapted for modern
guitar. By Frank Koonce.
By Frank Koonce. For
Guitar (Classical).
Solos. Frank Koonce
Series. Early
Music/Renaissance. Level:
Intermediate. Book. 188
pages. Published by Mel
Bay Publications, Inc.
(For Solo Guitar). By David Leisner (1953-). For guitar. Contemporary. Solo part...(+)
(For Solo Guitar). By
David Leisner (1953-).
For guitar. Contemporary.
Solo part. Standard
notation. 8 pages.
Duration 4 minutes, 30
seconds. Published by
Theodore Presser Company
By Johann Sebastian Bach. Arranged by Richard Sayage. Solo. For Classical Guitar...(+)
By Johann Sebastian Bach.
Arranged by Richard
Sayage. Solo. For
Classical Guitar. Savage
Classical Guitar
Virtuouso Editions. The
master of counterpoint at
his best. Baroque. Level:
Intermediate. Book.
Standard. 48 pages.
Published by Savage
Classical Guitar
Transcriptions.
Leduc.
Classical. Softcover. 35
pages. Alphonse Leduc
#AL29234. Published by
Alphonse Leduc
(HL.48185573).
UPC:
888680854126. 9x12
inches.
“Clas
sical guitarists of the
early 1800s, Mauro
Giuliani, Frenando Sor
and Matteo Carcassi
compiled a substantial
study book for aspiring
guitarists, filling a
large gap. Daniel
Lavialle's revisions in
15 Studies for Guitar
include detailed written
instruction and
fingerings. This
compilation addresses
rhyhtm, counterpoint,
intervals, arpeggios,
scales, variations in key
signatures and time
signatures, chords and
performance directions,
amongst other aspects.
For all aspiring
guitarists, 15 Studies
for Guitar is essential
to improving
technique.&rdquo.
Having
been invited several
times onto the jury of
the prestigious
Certamen Tarrega
in Benicasim, I thought I
would involve a few
composers in a gift to
the father of the modern
guitar. So I asked the
composers to write a
Prelude of the kind that
Tarrega wrote and which
count among his most
significant
compositions. These
Preludes for Tarrega, all
written between August
and November 2015, are
very different from each
other. The common
feature, however, between
these and the Preludes by
Tarrega is their brevity,
an average level of
performance difficulty
and guaranteed easy
listening, even when
written in a non-tonal
language (like the
meditative and melancholy
piece by Emilio Calandin
and the one by Marco
Smaili, with its
Impressionistic feel
reminding one of
Tarrega's most famous
pupil, Miguel
Llobet). In some
Preludes (the ones by
Paolo Ugoletti, Roberto
Tagliamacco, Claudia
Montero) the reference to
Lagrima, one of
Tarrega's most famous
Preludes, is evident in
form, title and some
citations. Ugoletti and
Tagliamacco work well and
expressively on harmony
and counterpoint, while
the Argentinian Claudia
Montero links Tarrega to
a heartbreaking Buenos
Aires... In Alessandro
Spazzoli there is rather
more a connection with
Tarrega's sense of melody
and deep simplicity,
while Marco Reghezza
remembers ironically what
was brewing in European
music when Tarrega was
alive: in fact, his
Como Preludio goes
across the 24 keys - and
even a reference to
Wagner's Tristan
raises its head... I
am delighted for this
volume to come out at the
time of the fiftieth
edition of the Certamen
Tarrega. (Piero
Bonaguri).
Guitar - Beginning SKU: MB.21382M Composed by Steve Adelson. Saddle-stitc...(+)
Guitar - Beginning
SKU: MB.21382M
Composed by Steve
Adelson. Saddle-stitched,
Style, Chapman Stick,
Contemporary, Other
String Acoustic, Method.
Rock & Blues. Book and
online video. 72 pages.
Mel Bay Publications, Inc
#21382M. Published by Mel
Bay Publications, Inc
(MB.21382M).
ISBN
9780786691883. 8.75 x
11.75 inches.
A
comprehensive exploration
of revolutionary Chapman
Stick and its
accompanying tap
techniques. A primer on
theory will explain all
the musical logistics
enabling the student to
fully gasp the concepts
in this book. Mr.
Chapmans unique approach
to his 12 string
invention will be
explained by Steve
Adelson in respect to
chords, melody,
improvisations, rhythmic
capabilities,
counterpoint and bass
lines. Novel and standard
techniques enabling the
player maximum creativity
will be outlined in
detail with many examples
in the text. All levels
of playing will be
considered and will be
helpful for beginner,
intermediate as well as
advanced playing. This
book will bring all these
elements together,
presenting a thorough
study of this very new
and exciting instrument.
Includes access to online
video.
Guitar SKU: UT.CH-321 Composed by Chiara Benati. Edited by Piero Bonaguri...(+)
Guitar
SKU:
UT.CH-321
Composed by
Chiara Benati. Edited by
Piero Bonaguri. Saddle
stitching. Piero Bonaguri
Collection. Classical. Ut
Orpheus #CH 321.
Published by Ut Orpheus
(UT.CH-321).
ISBN
9790215326293. 9 x 12
inches.
Dediche<
/i> is a series of short
miniature pieces for solo
guitar written in 1991 by
Chiara Benati, an
authoritative exponent of
what can be called the
School of Bologna, and
who has devoted many
pages of her catalogue to
the guitar (Chiara won a
first prize in 1986 at
the Competition for
Guitar Composition
organized by the historic
magazine Il
Fronimo). From the
point of view of the
guitar idiom, it is
striking how the
compositional research of
Chiara Benati (who does
not play the guitar) has
penetrated deeply into
the nature of the
instrument. In my job of
adding the fingering to
the pieces, I started
from the precise
indications concerning
the strings already
provided by the Composer,
who meticulously imagined
the instrumental result
created by the play of
resonances and the
consequent precise
distribution of the parts
on different strings (let
us think of the tremolos
superimposed on different
strings in the second
Dedica and the
counterpoint in three
parts each written on its
own musical stave), with
a skilful use of
glissandos and other
instrumental
effects. From the
musical point of view, a
similar meticulousness in
writing is evident,
shown, for example, by
indicating the temporal
separation between the
figures by means of their
spatial distance
indicated in the
score. The result is
an instrumentally and
musically rigorous
writing which also helps
the performer by
appealing to his ability
to empathize, following
the indications written
in the score and in the
key, with the expressive
atmosphere of the work,
and through that specific
aspect of controlled
performance flexibility
and sound sensitivity
necessary to render it
properly. These
delicate miniatures,
suffused with mystery and
melancholy, and so
masterfully written for
the guitar, are in my
opinion an important
addition to the
contemporary repertoire
of the instrument.
(Piero Bonaguri).
Following
the successful
publication of
Homenaje a Rodrigo
(2015), containing four
pieces by Alessandro
Spazzoli – one of
which was performed in
the presence of the
composer’s
daughter, Cecilia
Rodrigo, during her visit
to the International
Convention in Alessandria
–, here is the
second volume. It
contains more tributes to
Rodrigo written on my
input by five well-known
Italian and Spanish
composers, two of whom
are also guitarists and
have therefore written
the fingering for their
own pieces. Giovanni
Podera plunges us into a
typically Rodrigo-like
atmosphere with his
evocative
Fantasia, while
the following three
compositions are full of
direct quotations from
pieces also for guitar by
the great composer from
Valencia. Thus, Marco
Simoni, in his expressive
Junto a Rodrigo
– which also
provides the title to the
volume – plays
with themes taken from
Junto al
Generalife and from
Dos piezas
caballerescas for a
cello ensemble as well as
hinting at reminiscences
of Tiento antiguo.
As for Marco Smaili, in
his impressionistic
Fronda de la
tarde, he evokes
quite evidently
Zarabanda lejana
and Invocación y
Danza, but there are
more hidden references to
Caminos de
Santiago and even to
the very famous
Concierto de
Aranjuez. Marco
Reghezza builds his
heart-breaking Nana
estrellada on a
sequence of chords used
by Rodrigo in the
fantasia ¡Que buen
caminito!. On the
other hand, there are no
direct quotations and
echoes of
Rodrigo’s way of
writing in the Fuga a
quattro voci by Paolo
Ugoletti. However it was
Rodrigo himself who
constructed four-part
imitative passages for
guitar in
Pasacalle and in
the Ricercare of the
Fantasia para un
Gentilhombre. The
close polyphony of the
piece by Ugoletti may be
considered as a tribute
to this kind of craft
shown by Rodrigo who,
like Ugoletti, was able
to write such dense and
idiomatic counterpoint
without being a
guitar-player. I am
pleased that this volume
comes out in the
imminence of the 20th
anniversary of the
disappearance of the
illustrious Spanish
composer who gave so much
to the musicians –
and not only to
them. (Piero
Bonaguri)
An Intermediate-Level Guide with Step-by-Step Instructions. Guitar Method. Cl...(+)
An Intermediate-Level
Guide
with Step-by-Step
Instructions. Guitar
Method.
Classical, Instruction,
Method. Softcover Audio
Online. Published by Hal
Leonard
Guitarra Liturgia Guitare [Conducteur] - Intermédiaire OR-TAV Music Publications
Guitar - Intermediate SKU: OT.26114 Composed by Ariel Lazarus. A short su...(+)
Guitar - Intermediate
SKU: OT.26114
Composed by Ariel
Lazarus. A short suite
for classical guitar
based on themes from the
Spanish and Portuguese
tradition. Classical.
Score. OR-TAV Music
Publications #26114.
Published by OR-TAV Music
Publications (OT.26114).
ISBN 9789655051049.
8.27 x 11.69
inches.
Ariel
Lazarus Guitarra
Liturgia Two pieces
based on music from the
Spanish and Portuguese
tradition.
Contents: Jerusalem
de Sefarad - Suite for
Guitar Contrapunto
Sefardi The composer
writes: For many
years I wanted to compose
a piece for guitar which
would inspire interested
students to expand their
repertoire in the
direction of Jewish
music. The most natural
thing for me was to write
a suite based on themes
from the synagogue in
which I grew up –
the Spanish and
Portuguese synagogue of
Gibraltar. My beloved
grandfather served all
his life as hazzan
(cantor) of this
synagogue, and I always
felt as a composer and
educator that I had a
special obligation to
continue his tradition
and pass it on to a new
generation. In this
composition, I let the
guitar echo the piyyutim
(semi-liturgical poems)
that were part of my
childhood: Adon Olam,
Sh'charchoret, Achot
K'tana, Yigdal, Borei ad
Ana, all of which are
sung in the Spanish and
Portuguese tradition from
Gibraltar to London, and
from New York to
Jerusalem. I let myself
dream the piyyutim, take
them apart and
reconstruct them as a
short suite for guitar,
the results of which you
are invited to hear here.
As a conceptual idea for
the suite, I choose to
suggest about the
cultural continuation
between the Diaspora and
the land of Israel by way
of referencing the
well-known melody of
Naomi Shemer, which is
also popular among the
hazzanim. Dr. Ariel
Lazarus is a unique voice
among Israeli
composer-performers
today. Brought up in a
family with Jewish
musical roots both in
Gibraltar and Westphalia,
he began composing and
playing the guitar in his
teens, and has been
committed to developing
his own compositional
language ever since,
always maintaining an
open dialogue with his
traditions. Lazarus
received his BMus and
MMus degrees from
Oklahoma City University
in classical guitar
performance and
composition where he
studied with American
composer Dr. Edward
Knight. He earned his PhD
from Bar Ilan University,
studying composition with
Prof. Betty Olivero and
Prof. Gideon Lewensohn
and conducting research
under the supervision of
Prof. Edwin Seroussi from
the Hebrew University.
His symphonic works have
been premiered by the
Raanana Symphonette
Orchestra, and his
chamber works have been
performed by various
ensembles in the United
States, Central Europe,
Portugal, Gibraltar,
Scandinavia and Israel.
Lazarus performs
regularly as Art
Ambassador on behalf of
the Israeli Ministry of
Diaspora affairs Amiel
BaKehila program. His
solo album A Hebrew
Capriccio was released by
the German boutique label
SmoothFactor and was
awarded critical acclaim,
among others, in Haaretz,
and Neue Westfalishe.
Dr. Lazarus is the
musical director and
co-founder of the Israeli
Ladino Orchestra. His
work with the orchestra
has been recognized by
the official Carta de
España. He teaches at
the Academic College for
Education Givat
Washington, and the Rimon
School of Music.
Lazarus’s work has
been awarded by the
Israeli Pais Art council
and ACUM.
Composed by Jared Walker. This edition: Paperback. Instructional. Method. Book. ...(+)
Composed by Jared Walker.
This edition: Paperback.
Instructional. Method.
Book. With Text Language:
Spanish. 96 pages.
Published by Santorella
Publications (SP.69491).
Guitar SKU: HL.14022610 For Guitar. Composed by Luys de Narvaez. M...(+)
Guitar
SKU:
HL.14022610
For
Guitar. Composed by
Luys de Narvaez. Music
Sales America. Classical.
Book [Softcover]. 112
pages. Music Sales
#UMG21613. Published by
Music Sales
(HL.14022610).