Guitar SKU: UT.CH-395 Composed by Giorgio Signorile. Classical. Score. Ut...(+)
Guitar
SKU:
UT.CH-395
Composed by
Giorgio Signorile.
Classical. Score. Ut
Orpheus #CH 395.
Published by Ut Orpheus
(UT.CH-395).
ISBN
9790215328587. 9 x 12
inches.
Il
grande larice rosso;
Piccole vite; Requiem per
un bosco
Never
before have I felt the
urgency within myself to
communicate with my
instrument something
which goes beyond just
the notes, a desire to
embrace with music parts
of the world which I see
as being so neglected and
abandoned, as if man were
no longer able to see
beyond the narrow
confines of his home and
work spaces. The
environment which
surrounds us, free and
pure, seems to bow more
and more to the base
instincts of abuse which
man brings into play...
the destruction of
centuries-old forests and
glaciers, the
construction of harmful
and disturbing, useless
and polluting elements...
and I wonder what we can
do, what I, as a
musician, can do, at
least to show my
disapproval of these
situations. I have no
straight answer but I
know that writing the
music I love to play,
often born in natural and
wild environments can
help to dream of, or
imagine a present time
which is more on a human
scale, thanks to the
strong evocative power
which music possesses and
emanates. This is the
meaning of these
compositions, dedicated
to a tree, a 700-year-old
specimen of the Stura
Valley, Lu Merze Gros
(The Big Larch), to the
small beings which
inhabit it, in the bark,
among its foliage, in the
surrounding soil and to
my sense of frustration
at seeing a forest of fir
trees razed to the ground
to allow the construction
of a bobsleigh
run. This action of
mine has been useless and
nostalgic perhaps, but it
has given me intense
moments of emotion in the
writing and moves me
enormously during its
performance.
Guitar Solo SKU: IS.G6764EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6764EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6764EM.
Published by Metropolis
Music Publishers
(IS.G6764EM).
Performed by Pat Metheny. For guitar (no tablature). Format: fake book. With lea...(+)
Performed by Pat Metheny.
For guitar (no
tablature). Format: fake
book. With leadsheet
notation and chord names.
Jazz and jazz fusion. 448
pages. 9x12 inches.
Published by Hal Leonard.
Guitar Solo SKU: IS.G6760EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6760EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6760EM.
Published by Metropolis
Music Publishers
(IS.G6760EM).
Guitar Solo SKU: IS.G6765EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6765EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6765EM.
Published by Metropolis
Music Publishers
(IS.G6765EM).
Guitar Solo SKU: IS.G6767EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6767EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6767EM.
Published by Metropolis
Music Publishers
(IS.G6767EM).
ISBN
9790365067671.
This
sonata (WeissSW No. 15,
London) is one of a new
series of eight sonatas
by Silvius Leopold Weiss
arranged for the first
time for guitar and
published by Metropolis
Music. Sonata X comes
from Weissâ??s middle
â??productiveâ??
period, thought to have
taken place between 1719
and 1725. The original
tablature manuscript is
in the British Library
(London Ms. Add. 30387).
The Sonata has six
movements: Allemande,
Courante, Paisane,
Sarabande, Menuet, and it
ends with a Gigue. There
is a another copy of this
Sonata in the Warszawa
Biblioteka Uniwersytecka
Poland (in its entirety),
and a copy in the
Sächsisches
Landesbibliothek in
Dresden (Suite XXVI),
which contains three
concordant movements:
Allemande, Courante, and
the Gigue. The Dresden
manuscript displays some
differences from the
London manuscript. This
Edition has taken those
differences into account
in certain details.
Originally, the Sonata is
written in B flat major,
a key often used by Weiss
as it is appropriate for
playing the lute, but
rather awkward with the
guitar. For ease and
effectiveness of playing,
I have transposed the
Sonata a minor third
lower to G major. To
create more concordance
with the baroque tuning
of the lute, the G string
is lowered by a semitone
to F sharp. I suggest
using a capodastro to
achieve the original
pitch. Based on the
present standard of A at
440 Hertz, the capo
should be placed at the
3rd fret. However, during
Weissâ??s lifetime, it
was more common in many
parts of Germany to use a
standard of A at 415
Hertz -â? a semitone
lower. So, to hear the
pitch heard by Weiss and
his contemporaries, the
capo should then be
positioned at the 2nd
fret.
(You Can Play the Guitar Now! Electric Guitar Vol. 1). By Rogelio Maya. For Guit...(+)
(You Can Play the Guitar
Now! Electric Guitar Vol.
1). By Rogelio Maya. For
Guitar (All). method. All
Styles. Level: Beginning.
DVD. Size 5.38x7.50. 60
pages. Published by Mayas
Music.
Guitar Solo SKU: IS.G6766EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo
SKU:
IS.G6766EM
Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6766EM.
Published by Metropolis
Music Publishers
(IS.G6766EM).
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.
A Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ...(+)
A Classical Guitarist's
Technique Handbook.
Composed
by Scott Tennant. This
edition: 2nd. Book;
Classical Guitar Method
or
Supplement; DVD; Digital
Download;
Method/Instruction;
Software. Pumping Nylon
Series. 144 pages.
Published
by Alfred Music
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).
Pumping Nylon Guitare Guitare classique Alfred Publishing
(A Classical Guitarist's Technique Handbook). Composed by Scott Tennant. For Gui...(+)
(A Classical Guitarist's
Technique Handbook).
Composed by Scott
Tennant. For Guitar. This
edition: 2nd. Book;
Classical Guitar Method
or Supplement;
Method/Instruction;
Other. Pumping Nylon
Series. 144 pages.
Published by Alfred Music
Pulso de la vida Guitare Guitare classique [Conducteur] Doberman
Guitar - Advanced SKU: DY.DO-1551 Composed by Yorgos Nousis. Score. Les E...(+)
Guitar - Advanced
SKU:
DY.DO-1551
Composed
by Yorgos Nousis. Score.
Les Editions
Doberman-Yppan #DO 1551.
Published by Les Editions
Doberman-Yppan
(DY.DO-1551).
ISBN
9782897963316.
PULS
O DE LA VIDA was composed
as part of my dear friend
Kostas Tosidis' doctoral
thesis with the title
Bowing technique on the
guitar. The character
of the piece changes from
simple and meditative to
rhythmic and
tension-filled,
reflecting different
stages of our
lives. Using a C, G, D
tuning for the bass
strings, the guitar
utilizes resonance to
create sustained,
cello-sounding melodies
on the fourth string,
complemented by harmonies
on the fifth and sixth
strings. The bowing
technique is introduced
with a continuous tremolo
accompanied by an
extended form of the
first theme. The more
dancelike and rhythmical
part of the piece uses a
19/16 measure that allows
us to experience a sense
of disparity.
Finally, the
simplicity combined with
a sense of completeness,
but also of abandonment
of the beautiful gift of
life, leaves us in a
state of stillness for
any kind of
introspection.
Music Sales America. Select the chord shape you want, see exactly how to play it...(+)
Music Sales America.
Select the chord shape
you want, see exactly how
to play it and display
any sequence of chords
without page flipping.
Teaching Aid. Guitar
chord deck. 45 pages.
Amsco Publications
#AM949872. Published by
Amsco Publications
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.
Guitar/Vocal Guitar SKU: HL.211634 By Various. Strum & Sing Guitar. Count...(+)
Guitar/Vocal Guitar
SKU: HL.211634
By
Various. Strum & Sing
Guitar. Country, Folk,
Pop, Rock, Traditional.
Softcover. 96 pages.
Published by Hal Leonard
(HL.211634).
ISBN
9781495085673. UPC:
888680661762.
9.0x12.0x0.289 inches.
Strum & Sing
Series.
The Strum
& Sing series
provides an unplugged and
pared-down approach to
your favorite songs
– just the chords
and the lyrics, with
nothing fancy. These
easy-to-play arrangements
are designed for both
aspiring and professional
musicians. This fantastic
collection lets you play
over 40 songs in lots of
styles, knowing just 3
chords on the guitar!
Includes: Already Gone
• Barbara Ann
• Big Yellow Taxi
• Cold, Cold Heart
• Daughter •
Free Fallin' •
Hound Dog • I Still
Haven't Found What I'm
Looking For • La
Bamba • Lay down
Sally • Route 66
• Sweet Caroline
• Werewolves of
London • You Are My
Sunshine • and
more.
About Strum &
Sing
The
Strum & Sing series
provides an unplugged and
pared-down approach to
your favorite songs- just
the chords and the
lyrics, with nothing
fancy. These easy-to-play
arrangements are designed
for both aspiring and
professional
musicians.