The Hungarian Dance Csárdás is the best known work by Vittorio Monti (1868-1922) an Ita - lian composer born in Naples, who worked extensively as a conductor and composer in Paris. Originally written for Violin, or Mandolin, with piano or orchestra accompaniment Csárdás was immediately selected by numerous virtuosos who adopted it as a showpiece. Nowadays, it is still widely heard for just about every instrumental combination from various solo instruments, particularly solo violin, to versions for many instrumental combinations from gypsy orchestras through to marching bands. We are proud to publish this fine solo guitar arrangement by the virtuoso Russian guitarist Dimitri Lavrentiev, who resides and teaches in Augsburg, Germany. / Guitare

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles'the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won't kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, 'One man's remorse is another man's reminiscence.' Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bes

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

Par BRAHMS JOHANNES. Alors qu'initialement conçu comme piano duos, danses hongroises de Johannes Brahms (opus 39) ont été transcrits pour divers ensembles instrumentaux, y compris la version orchestrale fournie par le compositeur lui-même. Dans cette édition, exceptionnel guitariste hongrois József Eötvös a transcrit tous les vingt et un des danses pour guitare solo, en notation standard uniquement avec les doigtés suggérées. Alors que beaucoup de ces transcriptions se trouvent bien sur l'idéogramme, ce volume est recommandé pour le guitariste classique avancé. / Niveau : Intermédiaire à Avancé / Classic - Solos / Répertoire / Guitare Classique

Par BAY MEL. Communément appelée la 'bible du guitariste rythmique', cet ouvrage novateur est un système de formation de corde de guitare qui maximise l'accordage de puissance tout en minimisant le mouvement de la gauche ! Initialement écrit par Mel Bay en 1947, cette publication phare a été rééditée dans sa composition originale en 1973 pour devenir le texte définitif sur les accords de jazz dans les studios de l'enseignement privé et départements de guitare jazz universitaires du monde entier. Analytique approche la baie de m. pratique à la touche produit ce système complet pour l'apprentissage des accords de guitare jazz orchestrale de pleine consonance. / Niveau : Intermédiaire à Avancé / Jazz - Chord Book / Etude / Guitare

Par BAY MEL. Cadeaux balances, etudes des accords et arrangements solo et en duo dans les clés de la bémol majeur / G # mineur, D # (mi bémol) mineur, F # (G-plat) majeur. Comprend des notes théoriques approfondies et études incorporant mineures septième, grands septième, dominant septième plat-5 et dominante septième # 5 cordes. Chords sont présentées comme des groupements de quatre-note sur les trois ensembles de chaînes adjacentes ainsi que dans \' formes orchestrales \'intégrant toutes les six chaînes avec certaines chaînes mis en sourdine. Dans l\'ensemble, l\'auteur intègre la théorie avec la technique et de la performance. Grade 6 est un texte avancé destiné à favoriser le musicien/guitaristes bien équilibrées. Ecrit en notation standard uniquement. / Niveau : Avancé / All Styles - Methods / Méthode / Guitare

Par LHOYER ANTOINE DE. La vie d'Antoine de Lhoyer est un véritable roman dont la guitare reste le personnage central. Ce compositeur, guitariste, Chevalier de Saint-Louis et de Saint-Jean de Jérusalem, Garde de la Manche du Roi, nous a légué des chefs-d'?uvre longtemps restés dans l'obscurité des bibliothèques. La présente édition s'attache à vous en livrer les plus belles pages. La première édition connue de ce concerto fut publiée par Böhme, à Hambourg, en 1802. Il peut sembler curieux qu'une ?uvre aussi enthousiasmante soit restée si longtemps ignorée des guitaristes et du public alors que son existence était parfaitement connue. Ce concerto fut recréé en 2001 à Brest avec l'Ensemble Matheus (dirigé par Jean-Christophe Spinosi). Après l'avoir joué de très nombreuses fois en France et en Espagne, puis enregistré, j'invite tous les guitaristes à partager mon enthousiasme, ma joie et ma passion pour cette ?uvre superbe. Voici LE concerto que tout guitariste devrait désormais avoir à son répertoire ! / Date parution : 2003-04-01/ Répertoire / Conducteur Poche

Comping In The Freddie Green Style. Par CHRISTIANSEN COREY. Every jazz guitarist needs to be familiar with the accompaniment style of Freddie Green. Freddie Green was the guitarist for the Count Basie orchestra for decades and his sound and comping technique were defining aspects of this legendary group. Four-to-the-bar strumming, essential chord voicings and voice leading ideas are covered in this informative 58-minute DVD and accompanying chart. A must have for any aspiring rhythm guitarist. / Niveau : Intermédiaire / Jazz - Rhythm/Backup / Accessoire / Guitare

Versione Per Chitarra E Orchestra D'Archi Di C. Boccadoro - Partitura. Par CASTIGLIONI NICCOLO. Langue: English(US)/Deutsch/Français/Nederlands/Nihongo / oeuvre solo et Orchestre / Date parution : 1905-06-29/ Répertoire / Guitare et Orchestre

Par CORDERO ERNESTO. Ce concerto pour guitare et orchestre a été composé par Ernesto Cordero, un des compositeurs contemporains exceptionnelles de Porto Rico. Le premier mouvement de pastorale dépeint le paysage idyllique d'antillais à l'aide d'une combinaison d'influences continentales d'espagnol et antillais espagnol créole, qui sont plus perceptible dans la cadence luxuriante et romantique. Le second mouvement se distingue par l'alternance de deux mélodies : one, une mélodie mélangeant un certain nombre d'influences antiques et le second distinctement cubaine dans la nature. Ce mouvement a été inspiré par le calme de l'été pacifiques de la mer des Antilles. Le troisième mouvement est le seul dans le travail pour dessiner directement sur le folklore portoricain, citant un fragment de la milonga seis, une danse traditionnelle. Cet extrait est Uni dans ce mouvement avec son homologue argentin familier. Le dernier mouvement est le mouvement plus difficile des trois pour le soliste de guitare, exigeant une performance presque virtuose. 16 pages de grand format (13,75 ' x 10,25 '). Vue... / Niveau : Intermédiaire à Avancé / Contemporary - Chamber / Recueil / Guitare Classique et Orchestre

Créée en 1970 par les autres membres de la bande qu'e.l.o ' The Move ' a créé un nouveau son, y compris les instruments d'orchestres sur leurs chansons pour essayer de fusionner la musique de rock avec un son classique plus traditionnel. Cette collection de guitare contient une sélection de leurs plus grands hits transcrit en tablature avec la notation standard, les accords et les paroles. / Guitare Tablatures