Come, Holy Spirit / Ven,
Espíritu Santo /
Halina,
Espiritu. Composed by
Peter M.
Kolar. Sacred. Full score
and
parts. With guitar chord
names. GIA Publications
#10745INST. Published by
GIA
Publications
7
Little Pieces.
Composed by Eduard Puetz.
This edition: Saddle
stitching. Sheet music.
Performance score.
Composed 1969. 16 pages.
Duration 11'. Schott
Music #ED21120. Published
by Schott Music
(HL.49018836).
ISBN
9790001177245. UPC:
884088793982.
9.0x12.0x0.077
inches.
By P.F. Sloan and Steve Barri. Edited by Aaron Stang. Arranged by Bob Morris. Fo...(+)
By P.F. Sloan and Steve
Barri. Edited by Aaron
Stang. Arranged by Bob
Morris. For Guitar.
Guitar Method or
Supplement. Warner Bros.
Publications 21st Century
Guitar Course. Level:
Level 1. Full Score,
Parts and CD. 28 pages.
Published by Alfred
Publishing.
Guitar SKU: HL.14018143 Composed by Anders Koppel. Music Sales America. S...(+)
Guitar
SKU:
HL.14018143
Composed
by Anders Koppel. Music
Sales America. Score
Only. Edition Wilhelm
Hansen #KP01419.
Published by Edition
Wilhelm Hansen
(HL.14018143).
English.
Concert
ino For 2 Guitars And
Chamber Ensemble was
composed by Anders Koppel
in 2003.
Concertino For 2
Guitars And Chamber
Ensemble was
composed by Anders
Koppel in
2003.
Guitar SKU: FZ.5878 Serie I - France 1600-1800. Edited by Caroline...(+)
Guitar
SKU:
FZ.5878
Serie I -
France 1600-1800.
Edited by Caroline
Delume. This edition:
Facsimile. Methodes &
Traites. Score. Published
by Anne Fuzeau
Productions - France
(FZ.5878).
ISBN
9790230658782. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in two books.
Francesco ALBERTI -
Anonyme - Encyclopedie
methodique -
Guillaume-Pierre-Antoine
GATAYES - L. GUICHARD -
Jean-Benjamin de LABORDE
- Antoine Marcel LEMOINE
- Philippe MACQUER -
Joseph-Bernard MERCHI (2)
-
Charles-Francois-Alexandr
e POLLET. Table of
contents: Macquer
Philippe: Dictionnaire
raisonne - 1773. Pollet
Charles-Francois-Alexandr
e: Methode pour apprendre
- 1775. Merchi
Joseph-Bernard: Traite
des agrements de la
guitare - 1777. Laborde
Jean-Benjamin de: Essai
sur la musique - 1780.
Alberti Francesco:
Nouvelle methode - 1786.
Encyclopedie:
Encyclopedie methodique -
1788. Guichard L. : La
guitare rendue facile -
c. 1795. Lemoine
Antoine-Marcel: Nouvelle
methode de guitare - c.
1800. Gatayes
Guillaume-Pierre-Antoine:
Methode pour la guitare -
1800. Anonyme: Methode
pour jouer de la guitare
- s. d. n. l. Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - Municipal
Library of Grenoble
(France). - Nederlands
Muziek Instituut of The
Hague (Netherlands). Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the guitar.
Guitar - intermediate to advanced SKU: M7.GHE-801 Advanced Studies...(+)
Guitar - intermediate to
advanced
SKU:
M7.GHE-801
Advanced Studies.
Composed by Fernando Sor.
Edited by Erik
Stenstadvold. This
edition: Saddle-wire
stitching. Sheet music.
New Critical Edition. 68
pages. MDS (Music
Distribution Services)
#GHE 801. Published by
MDS (Music Distribution
Services) (M7.GHE-801).
Guitar SKU: FZ.5877 Serie I - France 1600-1800. Edited by Caroline...(+)
Guitar
SKU:
FZ.5877
Serie I -
France 1600-1800.
Edited by Caroline
Delume. This edition:
Facsimile. Methodes &
Traites. Score. Published
by Anne Fuzeau
Productions - France
(FZ.5877).
ISBN
9790230658775. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in two books.
ANCELET - Abbe Joseph
CARPENTIER (1-2) -
Francisque CORBETTA -
Michel CORRETTE - Robert
DE VISEE - Nicolas
DEROSIERS - DON*** -
Encyclopedie -
Francois-Alexandre-Pierre
de GARSAULT - Francois
LECOCQ - Joseph-Bernard
MERCHI (1) - Marin
MERSENNE - Pierre
TRICHET. Table of
contents: Mersenne Marin:
Harmonie Universelle -
1636. Trichet Pierre:
Traite des instruments -
c. 1640. Corbetta
Francisque: La guitarre
royale - 1671. De Visee
Robert: Livre de guitarre
- 1682. Derosiers
Nicolas: Les principes de
guitarre - c. 1690. Le
Cocq Francois: Recueil
des pieces de guitare -
1729. Encyclopedie:
Encyclopedie ou
Dictionnaire raisonne des
sciences - 1751/1772.
Ancelet: Observations sur
la musique - 1757.
Don***: Methode pour
apprendre a jouer - 1760.
Garsault
Francois-Alexandre-Pierre
de: Notionnaire ou
memorial raisonne - 1761.
Merchi Joseph-Bernard: Le
guide des ecoliers - c.
1761. Corrette Michel:
Les dons d'Apollon -
1762. Carpentier Joseph:
Methode pour apprendre,
1e partie - 1771.
Carpentier Joseph:
Methode pour apprendre,
2e partie - 1773.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - Sainte
Genevieve Library of
Paris (France). - British
Library of London
(England). - Nederlands
Muziek Instituut of the
Hague(Netherlands). -
Royal Conservatory
Library of Brussels
(Belgium). - Library of
Congress of Washington
(USA). - Bayerische
Staatsbibliothek of
Munich (Germany). - In
Private collection. Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the guitar.
Advanced Studies, Op.
6 & 29. Composed by
Fernando Sor. Edited by
Erik Stenstadvold.
Collection. Theodore
Presser Company #GHE0801.
Published by Theodore
Presser Company
(PR.GHE0801).
We proudly
present a new critical
edition of the collected
guitar works by Fernando
Sor. Some titles in this
edition may be new to
some readers, eg the
contents of volume 10.
This new edition is the
biggest new publishing
undertaking for the music
of Sor since the
1970s.Our editor Erik
Stenstadvold is a noted
expert on 19th century
guitar music and
publishes regularly in
leading professional
journals such as
‘Soundboard’ and
‘Early Music’. His
life-long preoccupation
with Sor and his music,
both as a performer and
researcher, has resulted
in an unsurpassed edition
in terms of scholarly
accuracy and practical
usefulness.All relevant
early sources have been
consulted, often several
different printed
editions and manuscripts
of a particular work. In
each case the most
dependable source has
been chosen as copy text,
on the basis of
historical evidence and
textual
reliability.Variances and
errors in the original
scores are corrected and
discussed in the
comprehensive critical
commentaries. All volumes
contain detailed
introductory notes that
place the individual
works in their historical
context and discuss
particular notation
problems. Suggestions for
the interpretation of
ornaments are also
provided. In Volume 1 and
2 (Studies), Sor’s
likely purpose of each
individual study is
discussed in relation to
the technique and
fingering principles he
describes in his 1830
Méthode.The music scores
are produced at
‘concert size’ with
clear and accurate music
engraving and
high-quality German
printing. Original
fingering is retained,
but in order to make the
music more accessible to
players in general,
editorial fingering has
been judiciously added in
works with little or no
indications in the
original editions. Added
fingerings are easily
distinguishable from the
original ones by their
different typefaces.
Marsh Lute Book Guitare Guitare classique [Partition] - Facile Mel Bay
By Richard Metzger. For Guitar (Classical). Solos. Bill's Music Shelf. Early Mus...(+)
By Richard Metzger. For
Guitar (Classical).
Solos. Bill's Music
Shelf. Early
Music/Renaissance.
Beginning-Intermediate.
Book. 136 pages.
Published by Mel Bay
Publications, Inc
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522).
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001.
Composed by
Frederic Vitiello.
Classical. Score. 39
pages. Editions Henry
Lemoine #25360. Published
by Editions Henry Lemoine
(LM.25360).
ISBN
9790230953603.
ARRO
S (d') : Le Voilier - Le
Phare - BAUDOUIN :
Divertissement - Compere
qu'as-tu vu (adaptation)
- Valse lente - BAUMANN :
Rouge vif - BERNAUD :
Hexacorda - BILLET
Jean-Pierre : Lima-Hong -
Trois petits lapins dans
la lune - BOISGARD :
L'Ami harmonique - BRUN :
Dans les couleurs de
l'Arc-en-ciel - Dans le
bleu du ciel - Dans la
nuit etoilee - CASTAIN :
Paresse valse - CASTEREDE
: Simple valse - En
ecoutant tomber la pluie
- COUASNON : Chanson
retro - Pour faire sonner
la guitare - COURTIN :
Histoire ancienne -
CROUSIER : Le Pinson et
le loup - La Marche des
pingouins - DAMASE :
Chanson - DEMILLAC Y :
Promenade - Jeux -
DEMILLAC F.P. : La
Plaintive - DUMOND : 13
syllabes, 3 mots, 4
phrases et 1 impro -
FABIANI : Le Cheval de
bois - Histoire a ecouter
- FOURCHOTTE : Cancion
primera para ninos -
FRANCE : Au-dela de l'ile
- Glissades - Dabo-Abac -
FRANCERIES : Tristesse -
GRIVEL : Deux histoires
courtes - HUBERT : Deux
petites pieces pour une
guitare presque neuve -
KLEYNJANS : Le Petit
Soldat de plomb -
LAJARRIGE : Impression -
LANCEN : Aux debutants
(piece n. 1) - Aux
debutants (piece n. 2) -
LARC'HANTEC : La Valse du
kangourou - Barcarolle -
LARGE : Blues mineur -
MALDONADO : Laetitia -
Indiana - MARCHAL :
Ballade d'octobre -
MORANCON : Deux petites
arabesques - NARVAEZ :
Petit poisson - Berceuse
de la mere qui a perdu
son enfant - PIRIS : La
Chanson paresseuse -
RENAULT : M'en allant
promener - Le Vieux
Manoir - Petite valse -
VITIELLO : Danse
primitive.
Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4308
Composed by Giorgio
Mirto. Score. Les
Productions d'OZ #DZ
4308. Published by Les
Productions d'OZ
(DZ.DZ-4308).
ISBN
9782898522253.
Foll
owing a recent experience
on the jury of a guitar
competition, I noted with
great pleasure that
Giorgio Mirto, with whom
I had shared the role of
juror, wanted to
celebrate the experience
of the competition -
during from which we
discovered that we had
had a great affinity of
thought - with something
which could endure over
time and not evaporate as
often happens in short
and occasional meetings
between musicians. He did
it as a true composer,
which he is, and
dedicated to me a very
beautifully crafted Suite
to which I allowed myself
to collaborate at least
formally, by suggesting
titles for the four
movements. This is how
Suite n.1 was born, a
piece that does not
strictly respect the
formal rules of the
Baroque era, but
reinterprets and reuses
them in a new key. The
work's obvious late
Baroque inspiration led
me to find titles that
invited the performer to
delve deeper into the
work's aesthetic
inspiration. So I
suggested to Giorgio that
he title the four
movements with something
that linked their content
to four greats of the
18th century. German
masters. The prelude has
thus become from Eisenach
because of its sometimes
improvised Bach-like
atmosphere, the second
movement, vaguely
toccata, speaks an organ
language in the manner of
Buxtehude (who lived in
Lübeck), the slow
movement has a Handelian
quality - and Handel was
born in Halle - and the
last movement, far from
being a true Chaconne,
undoubtedly has the
latter's taste for
variation and ostinato,
typical traits of
Telemann who lived in
Magdeburg. The cities
that appear in the titles
are therefore indelible
to the authors cited.
Furthermore, one should
not think that the style
of the work is in any way
German, given that
Giorgio Mirto expresses
himself in a very joyful
language that synthesizes
modality with minimalism,
all seasoned with a a nod
to Pink's progressive
rock Floyd. or a Mike
Oldfield... The result of
this mixture of ideas,
inspirations and styles
is a work that personally
I never tire of reading
and rereading, for the
freshness that emanates
from it and for the
climate expressive which
rises, nourishing itself
with full efficiency. We
ultimately cannot ignore
that the note B, the one
which marks in a minor
way some of the most
expressive works of the
guitar repertoire, from
the study of Sor which
made generations of
students fall in love
with the guitar, until to
that of Frank Martin's
Four Pieces via La
Catedral di Barrios, is
the modal fulcrum of the
entire Suite: it is true
that the Prelude begins
with a clear chord in E
minor and lingers on an
open ending in A minor ,
but it almost seems that
the initial E serves as a
launching pad for a
continuation of the work
in which the dominant,
that is to say the B, is
the true musical North,
the pole star which
guides us in the other
three movements until the
end of the Chaconne de
Magdebourg. I wish
Giorgio and our Suite
great longevity and a
favorable destiny in the
complex and complex world
of contemporary guitar
composition. And I thank
him again, flattered by
his very kind
dedication.
Ada Guitare Guitare classique [Conducteur] - Intermédiaire Productions OZ
Guitar solo - Intermediate SKU: DZ.DZ-4316 Composed by Mehmet Refik Kaya....(+)
Guitar solo -
Intermediate
SKU:
DZ.DZ-4316
Composed
by Mehmet Refik Kaya.
Arranged by Celil Refik
Kaya. Score. Les
Productions d'OZ #DZ
4316. Published by Les
Productions d'OZ
(DZ.DZ-4316).
ISBN
9782898522338.
Ada
(Island) is a captivating
composition that was
originally written in
2011 for the Turkish
lute. This piece draws
its inspiration from the
tranquil and picturesque
atmosphere of
Büyükada,
one of the charming
islands in the Sea of
Marmara.
Büyükada,
with its serene
landscapes, historical
architecture, and
tranquil shores, serves
as a perfect muse for the
evocative melodies and
intricate harmonies that
characterize Ada
(Island).
Ada
(Island) was later
arranged for classical
guitar. This adaptation
allows the composition to
reach a broader audience
while retaining its
original charm and depth.
The classical guitar
arrangement highlights
the versatility of the
piece, maintaining its
delicate nuances and
evocative melodies, while
offering a new
perspective through the
guitar's distinctive
tonal
qualities.
Whether
performed on the Turkish
lute or the classical
guitar, Ada (Island)
remains a poignant
tribute to the enchanting
beauty of
Büyükada,
capturing the island's
essence and transporting
listeners to its serene
shores.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style.