PARTITIONS GRATUITES : GUITARE
- Sonata IV

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).

ISBN 9790365067657.

This sonata (WeissSW No. 4, Dresden) 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 XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. 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.

(fur Gitarre). By Mauro G. Giuliani. Edited by Thomas Muller-Pering. For Guitar. New Karl Scheit Guitar Edition. 20 pages. Published by Universal Edition

Guitar

SKU: FG.55011-899-7

Composed by Paavo Korpijaakko. Classical, contemporary. Score. Fennica Gehrman #55011-899-7. Published by Fennica Gehrman (FG.55011-899-7).

ISBN 9790550118997.

Paav o Korpijaakko's (b. 1977) guitar sonata Kimberley was composed in 2006 and dedicated to Petri Kumela. It is Korpijaakko's fist piece for the guitar, and the composers gives credit to the commissioner, who untiringly and long-sufferingly solved the challenges posed by the musical ideas and conjured forth timbral shades. Including a tribute to Debussy, a playful scherzo and some shameless flirting with a flamenco the four movement sonata arrives at a spectacular conclusion.

Durati on: 21'

Korpijaakko studied at the Tampere Conservatory 1997–2007, majoring in composition from 2001 onwards. For most of the time he was a pupil of Jouni Kaipainen, but he was also taught by Juhani Nuorvala and Hannu Pohjannoro. Korpijaakko stresses the importance of harmony, resonant material and harmonic hierarchy, by which he means harmony as a fundamental progressive element of the piece. His aim in handling his motifs is to use his material sparingly. In this respect he specifically wants to be a kindred spirit to Beethoven. Everything that will later appear in the work must be derived from the core thematic and harmonic elements – or whatever one likes to call them. Most important is, however, to create a steady stream of interesting music.

50 Favorites by 26 Composers. Arranged by Joseph Harris. Creative Concepts Publishing. Guitar tablature. 168 pages. Published by Creative Concepts.

Guitar solo - Advanced

SKU: DZ.DZ-4244

Composed by Konstantin Bliokh. Score. Les Productions d'OZ #DZ 4244. Published by Les Productions d'OZ (DZ.DZ-4244).

ISBN 9782898521614.

La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. � ce moment-là, ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.

Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.

Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.

Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.

Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol# â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.

Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ?? Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.

La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.

Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.

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.

Chamber Music 2 Guitars

SKU: PR.UE034492

Fur Zwei Gitarren. Composed by Giovanni Marella. Edited by Olaf van Gonnissen. New Karl Scheit Guitar Edition. Set of performance scores. With Standard notation. Universal Edition #UE034492. Published by Universal Edition (PR.UE034492).

ISBN 9783702471439. UPC: 803452068549.

The editors of the New Karl Scheit Guitar Edition, guitarists all, have unearthed a rare gem in Marella's Sonata. Having made his mark as an accomplished violinist in the 18th century scene of Paris and Dublin, Marella relocated to London to continue his career, becoming also a teacher of guitar and composer of study volumes for that instrument. The Sonata in La Maggiore is taken from a second volume of pieces dating from 1762, and consists of three movements - Andantino, Largo, and Menuetto a theme and five variations). For intermediate to advanced performers.

Guitar - advanced

SKU: HL.49010936

Guitar Solo. Composed by Juan Antonio Vargas y Guzmá and n. Edited by Miguel Alcazar. Arranged by Manuel Alcá and zar. This edition: Paperback/Soft Cover. Sheet music. Gitarren-Archiv (Guitar Archive). Classical. Composed 1776. 43 pages. Schott Music #GA523. Published by Schott Music (HL.49010936).

ISBN 9790001097703. UPC: 842819115168. 9.0x12.0x0.143 inches.

Arranged by Lisle Crowley. For easy guitar. Creative Concepts Publishing. Classical Period, Impressionistic and 20th Century. Difficulty: easy-medium. Easy guitar tablature songbook and examples CD. Guitar tablature and standard notation. 80 pages. Creative Concepts #074080. Published by Creative