SKU: BT.REG9781898466598
ISBN 9781905908196. English.
Primarily intended for candidates considering taking the London College of Music examinations in Classical Guitar playing, this handbook covers all the material needed for the Step 1 examination including performance pieces, as well as examples of the Fingerboard Knowledge and Musical Knowledge sections.
SKU: BT.LCM9790570123650
English.
SKU: BT.LCM9790570123643
SKU: BT.LCM9790570123605
SKU: BT.LCM9790570123629
SKU: BT.RGT128299B
SKU: BT.LCM9790570123667
SKU: BT.LCM9790570123698
SKU: BT.LCM9790570123636
SKU: BT.LCM9790570123674
SKU: BT.LCM9790570123612
SKU: BT.LCM9790570123681
SKU: HL.48182557
UPC: 888680841997. 9x12 inches.
John Dowland: My Lady Hunsdon's-My Lord Willobe's (coll. Guitare No.66) (Guitar solo).
SKU: IS.G6764EM
ISBN 9790365067640.
This sonata (WeissSW No. 23, 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 XVII 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). It is the only London Sonata with a title: Divertimento à solo. The Sonata has ten separate movements: Prelude (PrÇ£lude), Entrée, Bourée I and II, Gavotte I and II, Sarabande, Menuet I and II, and Saltarella. The Entrée is nothing more than an Allemande. The Saltarella resembles the Scottish Gigue. The pairs of the middle â??dancesâ?? are intended to be played side by side, as one coherent movement in which the second part complements the musical notion of the first part. There are concordant copies of the first parts of the Bourée, Gavotte and Menuet in the Sächsisches Landesbibliothek in Dresden (Suite XXVI). Bourée I can also be found in the Bayerische Staatsbibliothek in München, although it is quite different from the London version. 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.