First Classical Pieces for Guitar

The purpose of Composer's Desk Reference For The Classic Guitar is to provide the non-guitarist composer with the fundamental tools needed to write idiomatically for the Guitar. The first of its kind for theGuitar the reference was written in consultation with dozens of composers and conceived with three types of end users in mind: Experienced composers with a concern for writing idiomatically for the guitar.Guitarists who are commissioning a work from a composer who has never written for the instrument. Libraries that wish to add this essential sourcebook to their music reference section. The very structureof the book reflects the composer's own intuition by addressing such questions as: How is the guitar constructed' What does successful guitar music look like' How is the guitar played' Howdoes the guitarist interpret music and express emotion' Which musical elements and gestures are most effective' How do these elements combine to create an effective pacing of idioms' By examiningthe parameters of successfully written pieces The Composer's Desk Reference For The Classic Guitar provides an expedient resource of ideas and illustrations contributing to the fluency of both first-time andseasoned Guitar composers.

This book contains 32 classical guitar duet arrangements for either recreational or instructional use. The sequence of pieces is based on the difficulty of the first guitar part. In addition the level of difficulty is indicated at the beginning of each piece for both parts. Includes a specially recorded 45-minutes of audio accompaniments which allow players to practice and play each piece as a duet in their own time.

Charles Postlewate: Homage to Villa-Lobos And Other Compositions is the first compilation of Guitar music for a right hand technique that includes the little finger.The 12 complete compositions includeoriginal pieces by Charles Postlewate (Homage to Villa-Lobos Variations on a Theme of Prokofiev and Improvisation on Green Dolphin Street) transcriptions of piano pieces by Claude Debussy (La puerta del vino and Dr. Gradus adParnassum) arrangements of Peruvian popular songs (José Mar a and Virgins of the Sun) and new editions of standard repertoire pieces - two studies by Fernando Sor and the beautiful tremolo study by Agust n Barrios An Alm for theLove of God. Postlewate also includes excerpts of two other standard repertoire pieces by Federico Moreno Torroba (Sonatina) and Heitor Villa-Lobos (Prelude #2) - which are published elsewhere under copyright restrictions -to show the advantage of using the little finger. These pieces demonstrate new right hand techniques for the classical Guitar that use the little finger in the playing of scales chords arpeggios tremolos and harmonics. Theyalso show the advantage of using the little finger for speed accuracy strength and balance.Spanish Description[Esta es la primera recopilación de música para la guitarra usando una técnica de lamano derecha de cinco dedos que incluye el dedo meñique. Las 12 composiciones completas incluyen piezas originales por Charles Postlewate (Homenaje a Villa-Lobos Varicaciones sobre un tema de Prokofiev e Improvisación sobre Lacalle del delf n verde) transcripciones de piezas para piano por Claude Debussy (La puerta del vino y Dr. Gradus ad Parnassum) arreglos de canciones populares peruanas (José Mar a y V rgenes del sol) y nuevas ediciones de piezasdel repertorio tradicional-dos estudios por Fernando Sor y el bello estudio de trémolo por Agust n Barrios Una limosna por el amor de Dios. Además Postlewate incluye extractos de otras dos piezas del repertorio

The pieces compiled in this collection were originally for the harpsichord and lute and have been transcribed here for the first time with guitar tablature in a manner that preserves the poignant beauty of the music of this wonderful era. Includes 18 pieces by Pachelbel Gaultier Gallot Reusner Forberger and Conradi.

for solo guitar-The title of Julian Anderson?s first piece for Guitar refers to a painting by Joan Miró in which the dominant element is a vivid blue. Fragments of objects can be detected: Guitar strings the orange of a Catalan barretina a smoking pipe. It is the elemental quality of the painting that Anderson was drawn to in writing Catalan Peasant With Guitar. This piece is part of a series of three pieces by Anderson relating to the colour blue (though not musically related) beginning with his Violin concerto In lieblicher Bläue and ending with Van Gogh Blue.

Si vous cherchez une collection complète du meilleur répertoire pour guitare classique, c'est ici. Chaque morceau est écrit en notation standard (pas de tabulation) et comprend les doigtés essentiels pour la main droite et la main gauche. Adelita (Mazurka) Allegro Allegro Allegro Allegro Solemne Allemande Andante Religioso Aria Bianco Fiore Bouree Bourree Canarios Cello Suite I El Noi De La Mare (The Son Of Mary) El Testament D'Amelia Fantasie Gagliarda Gavotte Gavotte Guardame Las Vacas Lady Hunsdon's Puffe Lágrima Largo Malagueña Menuett Menuetto Nocturne O Mio Babbino Caro Pavane No. 1 Prelude Prelude, Fugue And Allegro BWV 998 Preludio Recuerdos de la Alhambra Romance Rondo, Op. 22 Sarabande Sonata In A Major, K. 208 Sonata, K. 31 Study In E Minor Study In E Minor Study In G Major Study, Op. 60, No. 7 Study Op. 6, No. 6 Study, Op. 60, No. 3 Study Op. 35, No. 13 Study Op. 35, No. 22 Study Op. 31, No. 20 Suite In E Minor, BWV 996 Vivace Volte / Guitare / Hal Leonard

For the first time ever the beautiful music of Ludovico Einaudi is available for Classical Guitar. Carefully arranged in standard notation and tablature this official songbook includes a selection of thecomposer's most successful and best loved pieces including I Giorni Le Onde and Reverie.Although written for Classical Guitar fingerpicking Acoustic Guitarists will equally enjoy playingthese pieces.Also included is an exclusive CD with recordings of all 15 pieces.

Media Type : Book Level : Beginning-Intermediate Musical Genre : Classic Number of pages : 76 Traditionally the classic guitar has been either excluded or inadequately represented in orchestration textbooks, resulting in much misinformation about its technique, its practicality in various performance contexts, and its character. The guitar's unique tuning, broad timbral variety and intimate nature pose a formidable challenge to non-guitarist composers, for whom an extensive amount of time would be required to gain even a minimal hands-on acquaintance. For most composers this is an unrealistic expectation, leading to time-consuming consultations and extensive drafting or rewriting. The purpose of this book is to provide the non-guitarist composer with the fundamental tools needed to write idiomatically for the guitar. The first of its kind for the guitar, the reference was written in consultation with dozens of composers and conceived with three types of end users in mind: - Experienced composers with a concern for writing idiomatically for the guitar. - Guitarists who are commissioning a work from a composer who has never written for the instrument. - Libraries that wish to add this essential sourcebook to their music reference section. The very structure of the book reflects the composer's own intuition by addressing such questions as: - How is the guitar constructed? - What does successful guitar music look like? - How is the guitar played? - How does the guitarist interpret music and express emotion? - Which musical elements and gestures are most effective? - How do these elements combine to create an effective pacing of idioms? By examining the parameters of successfully written pieces, The Composer's Desk Reference for the Classic Guitar provides an expedient resource of ideas and illustrations contributing to the fluency of both first-time and seasoned guitar composers.

First Pieces For Classical Guitar features 45 easy solo pieces in standard notation by Carcassi Giuliani Sor and 12 other great Classical Guitar composers.This collection is ideal for improving sight-reading and building finger dexterity.This songbook includes Allegretto in C (Sor) Andante Grazio in C (Carcassi) Andantino in A Minor (Mertz) Austrian Waltz in C (Ernst) Eccosaise in A Minor (Giuliani) Study in A Minor (Aguado) Waltz in E (Pelzer) and many more.

Playing classical guitar duets has never been so convenient. Two copies of the music are included - one in the book and another in an easily removable insert. The accompanying CD is mixed with the first guitar panned right and the other panned left enabling you to play along with either part. Includes beautiful transcriptions and arrangements of Renaissance pieces originally composed for two lutes. The music begins at an easy level and gradually becomes more challenging as you progress through the book. Grade level: easy to early intermediate.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

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.