Margun-Music

In this easy-to-follow book and DVD set Juan Martin and Patrick Campbell provide a thorough introduction to flamenco Guitar.What are the essential elements and techniques of flamenco Guitar playing?How does one capture the real essence of authentic flamenco Guitar? These are questions that Juan Martin celebrated virtuoso flamenco guitarist and teacher addresses in this first book of a projected three-volumeseries.This method is designed for the complete beginner and requires no prior knowledge of the Guitar or flamenco music. It also provides invaluable insights and material for more advanced players who want to capture theessential sounds rhythms and emotional power of true flamenco.The series begins with in-depth demonstrations of how the basic building blocks of flamenco Guitar technique are used in actual flamenco music. The materialthen progresses to a detailed exploration of the individual rhythmic forms - the palos.In this book the fundamental palos of Solea and Alegrias are presented to emphasize the basic rhythms and provide examples of falsetas- the melodic passages. Martin then shows how to apply these when collaborating with a dancer and singer.In Essential Flamenco Guitar: Volume 1 the music is transcribed in standard notation andtablature (cifra). The two DVDs contain over 3.5 combined hours of explanation and demonstrations.The first DVD provides a detailed introduction to basic techniques using examples of authentic flamenco to show thesetechniques in action. The second DVD progresses to demonstrations of the Solea and Alegrias including music for the soloist and the Guitar accompanying the dancing and singing.

It was almost a mission in Alec Wilder's life to assuage the thirst for good music of the so-called underdog instruments and here is yet another example of his brilliance in this field. Suite No.1 is energetic yet gracefulpiece. Perfect for concerts auditions or simply for pleasure.

Violin/Marimba-Marimolin commissioned by and dedicated to Nancy Zeltsman and Sharan Leventhal is a work in three parts in the familiar “fast-slow-fast” format of a classical concerto. In fact it is loosely based on one aspect ofStravinsky's Concerto in Ré (1946) for string orchestra in that the first movement in triple meter and the last movement in duple meter are written at the same metronome marking of = 126. The middle movement slow andmolto cantabile is the centerpiece and focal point of the entire work. The “concerto” character is preserved in Marimolin not only by the timbral contrast between the marimba and the violin but by the soloistic rolesthat each instrument is asked to perform. Consequently the contrapuntal nature of the work is revealed and intensified. –Thomas Oboe Lee