English - German.

The Sonata for guitar solo was conceived in 1981 and premiered in 1984 by the author. It has been revised several times, the final version was finished in 1999 and dedicated to the great guitarist Zoran Dukic. It follows the outline of Classical Sonata Form but is heavily influenced by the rhythmical, melodic and harmonic language of jazz and traditional Balkan music.

ISBN 9781619117501.

Among fretted-instrument players there is an expression that states, The fret hand marks a player, but the pick hand distinguishes an artist. The 23 original compositions in this book offer a fresh basis to explore and develop plectrum or pick-style playing technique to a professional level. These pieces require various playing techniques and include: linear studies, double-stops, counterpoint, and chord playing. By studying and learning these pieces, guitarists can not only refine their technical mastery, but also enhance their skill level and artistry in solo guitar performance. This collection also includes eight duet arrangements to be played by two guitarists. The duets are fun to play as student/teacher sight-reading exercises, and can be used as guitar duo performance repertoire as well. The music is written in standard notation only. Access to online audio is included for all 31 pieces.

ISBN 9781619118409.

When improvising, what your mind hears is more often than not determined by what your body can reproduce on your instrument. Much of your conception as an improviser is determined by your technique. If you can't play certain types of ideas, you are simply not going to conceive of them while you are improvising. Even if you could, it wouldn't matter, since you couldn't play them anyway. This book presents serious chops-building technical studies for single note lines and chords. Plus, the examples feature a lot of harmonic content. The material is written in standard notation.

ISBN 9781609747954. A great supplement to any note-reading guitar method. Helps students methodically learn the fretboard from the second position upward. The book contains fun-to-play studies and songs in upper fretboard positions, as well as giving the student scales, rhythmic studies, and periodic reviews of positions previously studied. In the author's words, "Learning the positions is a must if you are ever to become expert on the guitar." Written in standard notation only.

A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, M�laga, Almer�a) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a comp�s, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the comp�s falling on the third beat of the first 4/4 measure. The first accented beat in the comp�s falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms? Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan Gonz�lez ?Triguito? in Madrid in the late 1960?s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mes�n de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzap�a, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzap�a and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.

An arrangement of the Flamenco style (palo) Tientos for solo acoustic guitar. The piece is based on traditional themes for the Tientos that I have expanded and elaborated on to weave together a self-contained composition that lies somewhere between Brahms? Hungarian Dances and Dvorak?s Slavic Dances. The composition is inspired by my studies with Juan Gonz�lez ?Triguito? in Madrid in the late 1960s. The Tientos belongs to the Tango family of Flamenco styles and is a slow majestic Flamenco rhythm that can reach great emotional depth in the hands of skilled guitarists. The Tientos is notated in standard 4/4 measures that although seemly simple can be deceptively complex because of the nearly inexhaustible possibilities for rhythmic variation. Lots of tapping can be found in the notation together with melody and chords, but also alone at rests which I leave in the notation. The tapping is perhaps a vestige of the African origin attributed to the Tango family of Flamenco palos. The arrangement ends with a finale (macho) that moves from the Tientos through a few bars of Tango to a finish in Rumba Gitana, the fastest and liveliest member of the Tango family.The Tientos is played in a Phrygian modal that moves from D minor through C and B-flat to A or A7. This variant of the so-called Andalusian cadence is typical for gitano Flamenco palos.The piece can be played by students of Flamenco guitar at the intermediate to advanced levels and contains many essential elements of serious (jondo) Flamenco guitar playing.

ISBN 9781619117280.

For most of the recorded history of jazz, the piano has been the main, and usually the only, comping instrument. This text will help guitarists get a handle on the most important job they have when playing in a small group: comping. This book can be used as a progressive study of comping or simply a source of ideas. Although rhythms and voice leading are found throughout the book, they are isolated for study in particular sections. The book and accompanying audio cover voice leading, multi-use voicings, voicing variations, passing chords, harmonized scales, intervallic comping, rhythm and studies (blues, standard, modern and modal). Includes access to online audio.

ISBN 9781610656931. The Guitar Scales Vol. 1 is a complete guide to the scales that beginning and intermediate guitarists need for practicing and soloing. Each chapter covers a specific approach to these basic scales, including examples, exercises and studies. Music scores including fingerings, tablatures and grid diagrams, along with logical, step by step explanations allow the student to build his own understanding as well as the technical and improvising skills. The online audio includes all music material of the book. Each example, exercise and study is recorded. In addition 8 rhythm section tracks provide a set of accompaniments for practical applications of each scale and its appropriate improvisational exercise. Includes access to online audio.

ISBN 9781610652841. Some of the best known Latin American rhythms are included in this collection carefully graded from beginner to intermediate level. For this book Mel Bay asked an expert on Latin American music, world celebrated guitarist-composer Alfonso Montes, to put together all his expertise to come up with real Latin sounding pieces keeping the technical demands within reach of beginner and intermediate players. Latinitas, besides being full of beautiful melodies and captivating rhythms, should act as an introduction for guitarist of all ages to this fascinating music. Standard notation only. New Latin American pieces for pedagogical purposesPicking studies in 7 keysNew solos in diverse Latin styles for concertsBegins study of Latin American folk and popular musical formsCarefully graded to move at a user friendly paceUnmatched in comprehensivenessIncludes access to online audio.

ISBN 9781610659475. Quiero Tocar La Guitarra, del reconocido autor Victor M. Barba es uno de los mejores libros para aprender a tocar la guitarra. Por fin hay un libro muy facil de entender, porque tiene los nombres de las notas escritas, asi como la musica, la tablatura, las graficas de la guitarra, y escuchando el audio en linea, te sera mas facil de aprender las canciones. Con este libro vas a aprender lo basico de la teoria musical, y a leer musica. Viene con 20 estudios para guitarra, acordes, escalas y ritmos de Cumbia, Norteno, Corrido, Balada, Rancheras, Rock, Pop y muchos mas. Quiero Tocar La Guitarra es el libro perfecto para ti, o para regalar a alguien que quieras. De la serie de libros de Easy Music School, and Mel Bay Publications! El audio en linea viene incluido.Quiero Tocar La Guitarra, (I want to play the guitar) by Victor M. Barba is one of the best books for guitar. Finally there is an "Easy to understand" book to learn how to play the basics on the guitar. The only book that includes music notes, music note names, tablature, guitar graphics and fingering, plus online audio, all in one book. With this book you will learn how to read music and learn music theory; you have 20 progressive guitar studies, many original songs, and Latin and Mexican rhythms such as Ballad, Cumbia, NorteAo, Corrido, Rock and Tex-Mex. If you ever wanted to learn some of these rhythms, "Quiero Tocar La Guitarra" is a must-have from Easy Music School and Mel Bay Publications! Companion online audio of examples included.

ISBN 9781609740443. This collection of classic guitar studies is intended for the intermediate guitarist. As a whole, these etudes emulate the content of Carcassi's famed 25 Etudes, yet in a more contemporary harmonic and rhythmic idiom. These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises- but also as valid, pleasurable concert repertoire. The first ten etudes 11-20 focus on the use of the a finger in combination with i and m. Etudes 4,7,11,13,15, and 17 also concentrate on left-hand slurs. The final five etudes were composed as - and intended to be performed- as a set with each piece dedicated to a particular Latin American composer.

ISBN 9781610651363. This book is a guide to some of the techniques needed for "getting into latin jazz guitar." There are 5 independent sections: References and definition of terms; exercises and/or pieces which demonstrate various guitar techniques; examples of common Rasgueado patterns; the "Riverboat Suite," studies for developing rhythmic ability and appreciation; and pieces in a variety of different Latin styles. The audio, used in conjunction with the written notation, tablature and chord symbols, gives a clear idea of what is required for players and teachers of all levels. It is assumed that the reader is familiar with guitar and music notation, but glossaries of terms are included for reference. There are a variety of patterns which are employed in the different styles of music; the examples show how to "get into" some basic forms. All the techniques described are playable on the fingerstyle guitar, and the pieces themselves are selected and arranged with performance in mind.

ISBN 9781619118515.

Mastering the Classical Guitar, Book 1AA is the first in a progressive series using a wide variety of musical repertoire and educational material to provide a solid technical foundation for classical guitar students, exposing the full range of the instruments potential and repertoire.Book 1A is most appropriate for students with no prior knowledge of the guitar or music theory, or for those who simply want a fresh start with the classic guitar. It is written in three broad sections:A Progressive Studies and Pieces,A Technical ExercisesA andA Rhythmic Reading. Tips on how to integrate the three sections are provided throughout the book. Every chapter begins with exercises written specifically to improve a certain aspect of ones playing, followed by various examples from the classical music repertoire and traditional songs from various cultures.While every aspect of classical guitar technique is clearly described and illustrated, students using this book would still benefit from the advice and constructive feedback of a competent teacher. Consequently, teachers will find opportunities to assert their individual teaching perspectives within this method, making it a perfect road map for the instructor and students musical journey.Written in standard notation only,A Mastering the Classical Guitar, Book 1AA comes with extensive online audio examples. Fingering is kept to a minimum to encourage effective sight reading, allowing teachers and students to annotate their own ideas about digitation and contribute to their own learning process. Includes access to online audio.

ISBN 9781609742560. These melodies are what all sight-reading should be about but usually are not. They use easy notes and rhythms in a most methodical, imaginative and pleasurable way, concentrating on single-line melodies in first position only. This book has one hundred melodies which could be introduced to the student from almost the very first lesson, and as the melodies get progressively more complex, the book will be useful for higher-grade students. Although the book is aimed at the grade 1-2 player, more experienced students may also find it useful to try playing the studies in higher positions.

ISBN 9781619113725. Velocity Etudes is a collection of 43 original compositions designed to enhance important elements of classic guitar technique. I have always felt that as important as scale and technique drills are, they can by themselves be very tedious to practice. In addition, technique has relevance only in the context of the entire musical composition it is intended to enhance. So I like to present technique as part of a musical composition. These etudes were composed with this thought in mind. The compositions can be used merely as technical studies but they also may be used as short concert or recital pieces. Several of them may be grouped to present a kind of suite. I hope you enjoy playing these etudes. The guitar has so many moods and colors. Good technique enables the guitarist to bring out the breadth and subtlety of expression possible with this instrument. I have tried to present a variety of moods, rhythms and textures in these compositions and have presented a workable assortment of keys, both major and minor.