Classic Guitar Dvd Anthology

Il s'agit d'une anthologie de belles pièces niveau de facile à modéré par XIXe siècle, les maîtres de la guitare : Dionisio Aguado, Antonio Cano, Federico Cano, Matteo Carcassi, Fernando Sor et Francisco Tárrega, adapté à une technique de droite moderne qui inclut le petit doigt. Professeur d'allemand de guitare Leonhard Beck a compilé cette collection avec l'aide de Charles Postlewate, pionnier de l'utilisation de la main droite petit doigt. Il montre l'avantage d'utiliser le petit doigt à jouer à des échelles, des accords, des arpèges, des tremolos et des harmoniques pour la rapidité, la précision, la force et la balance. Ces études faire des pièces de répertoire bon pour le guitariste de début ou pour le guitariste avancé qui souhaite ajouter le petit doigt à une technique de droite déjà développé. Ils sont classés en trois niveaux de Easy (7 études), Easy-intermédiaire (9 études) et intermédiaire (11 études) pour le développement progressif de la main droite. Un compagnon idéal pour MB98710 - Studie main droite... / Guitare Classique / 56 pages / niveau : Multiple Levels / Partition - Format: 11 X 8,5

Arranged For Classical Guitar-This anthology contains nineteen of the most popular Gilbert and Sullivan classics arranged in easily sight-readable versions for beginning to intermediate classical guitarists. All the favorites are here ranging fromsentimental ballads such as Little Buttercup Willow Tit-Willow and There Grew a Little Flower to more up-tempo 'patter' type pieces such as Oh! A Private Buffoon Kind Sir You Cannot Have theHeart and A Policeman's Lot. The aim has been to provide both a useful teaching resource and a light-hearted alternative to the more 'serious' music of the Classical Guitar repertoire. All the pieces lendthemselves extremely well to the common idiomatic textures of the Classical Guitar. A variety of melody and accompaniment styles are employed including block chords arpeggio patterns and passages of double-stopped thirdsand sixths. A number of the pieces are in easy first position format while others explore the common higher positions. The standard Guitar keys are utilized (C G D A E) but there are occasional more challengingtemporary modulations to 'difficult' keys such as E flat major. There are also instances of drop-D tuning which is often required in Classical Guitar playing.

Frank Koonce: Baroque Guitar In Spain And The New World is an anthology containing representative selections from the publications and manuscripts of four important Spanish Baroque guitarists namely GasparSanz Antonio de Santa Cruz Francisco Guerau and Santiago de Murcia.In addition to being fun and entertaining music for all to enjoy this collection is intended to help bridge the gap betweenscholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance on the modern Guitar.

This anthology compiled by Frederic Zigante presents original Guitar music written in the first 70 years of the 20th century by famous non-guitar-playing Italian composers. The works by Ottorino Respighi Mario Castelnuovo-Tedesco Giorgio Federico Ghedini Gian Francesco Malipiero Franco Margola Bruno Bettinelli and Gofreddo Petrassi are definitely representative of Italy's excellence in music during this period also in their different styles. We start with Ottorino Respighi's unfinished Variazioni (1909) - the first attempt by a twentieth-century Italian composer to write for the Guitar - followed by Mario Castelnuovo-Tedesco's highlypopular Taranetella and Capriccio diabolica - now classics in the Guitar repertoire - and Goffredo Petrassi's masterpiece Suoni notturni. This anthology also includes other less well-known but still brilliant pieces that rightly deserve the attention of skilled performers.

A collection of 28 Ernesto Nazareth compositions expertly transcribed for classic guitar solo. One of the major difficulties in trying to arrange Ernesto Nazareth?s themes for any instrument but the piano is to separatethe melodic line from its accompaniment: both are so closely together (that is one of the strongest characteristics of his pianistic style of composition) that it becomes almost impossible to treat one of the features disregardingthe other. If one did that the result would be only a pale and incomplete portrait of what was intended by the composer. That thought has guided us in the making of this book. In spite of the huge obstacles that resulted from thetransposition of a piece originally written for the piano a very rich instrument regarding the expressive recourses to the more 'modest' guitar we always kept in mind our principal intention: to preserve at the most all themelodic dialogues of the scores in special the ones between the melody and the bass line both the elements that form the soul of Nazareth?s compositions. We obviously had to do some changes. Thus for instance in somearrangements it was necessary to transpose the original key to a more appropriate one (at the guitar view-point of course). Some phrases or fragments had also to be written an octave higher or lower (that can be perfectlyunderstandable if we consider the very wide melodic range of the piano and the extensive way with which Nazareth uses it). Needless to say that all those recourses were used only when it has been strictly necessary. Despite thefact that those 28 pieces are only a little portion of Nazareth?s work this group of arrangements represents a good and representative panel. Among them there are some of Nazareth?s greatest hits ('Apanhei-te Cavaquinho' 'Odeon' 'Brejeiro' 'Ameno Resedá' etc.) as well as other not so known compositions but no less beautiful and important. Listening to those pieces one can observe the compositional talent of Nazareth and his incredible

Express yourself through the beautiful voice of the solo Guitar.Solo Guitar Playing can teach even the person with no previous musical training how to progress from simple single-line melodies to mastery of the guitar asa solo instrument. Fully illustrated with diagrams photographs and over 200 musical exercises and repertoire selections this book offers thorough instruction in every phase of classical guitar playing.Completecoverage of individual skills includes:Basic techniqueReading music memorizing and ear-trainingMastering the fingerboardBuilding dexterity and speedDeveloping tone color andmusical phrasingPosition playingInterpretationSince its first printing in 1968 Frederick Noad's Solo Guitar Playing has been used by countless students and teachers of classical Guitar. Thefourth edition features revised and updated exercises and an expanded selection of solo Guitar repertoire gleaned from the best-selling Frederick Noad Guitar Anthology.

Le troisième volume de la série Guitar Anthology baroque contient 16 oeuvres originales de compositeurs des 17ème et 18ème siècles, transcrites pour guitare par le co-auteur Stuart Willis. Y compris les pièces de Weiss, de Visée, Hagen et Daube, entre autres, il présente une sélection soignée de travail, et, comme dans les autres volumes de la série, est idéal pour tous les joueurs intéressés à acquérir un aperçu de la richesse et de la variété des la guitare baroque et le répertoire de luth.Le livre contient des biographies de compositeurs et des notes pédagogiques sur l'ensemble des oeuvres, et est accompagnée d'enregistrement d'un CD de toutes les pièces jouées par Jens Franke. Convient aux étudiants de ca. 6-7 ans d'expérience de jeu, ou ceux de niveau Grades 5-6. / Guitare