Collected Guitar Works

For the first time this edition presents work for Guitar solo and for Guitar duet by Graciano Tarragó grouped into different collections. Despite the fact that the composer published the set of works separately (with the exception of the collections of studies and the Catalan Christmas songs) it is not difficult to see that a natural classification surges from its formal structure from its source of inspiration and from its intent upon observing the works as a whole.The main objective of this revision was to update its presentation to meet the demands of the Guitar world today and to offer scores that ease the introduction to the study of this copious collectionof works. The works hold an indisputable musical beauty and demand technical virtuosic knowledge of the highest level.

20 Easy Pieces from 3 Centuries Instrument : 2 guitars Nombre de Pages : 72 The duos compiled in this edition will give guitarists the opportunity to pay attention to the dialogue, i.e. to practice ensemble playing with a keen ear. Duet playing is one of the most valuable and most important parts of the education, training and development of a musician. This collection contains a number of less known classical and Romantic pieces which are worth discovering. On the other hand, it also contains 'evergreens' such as Por una Cabeza by the king of tango, Carlos Gardel - which can be heard in no less than 15 films, including Schindler's List (Itzhak Perlman played the violin) and Scent of a Woman (Al Pacino danced) - as well as one of Scott Joplin's unforgettable ragtimes: The Strenuous Life. The dialogue style of the compositions suggests that parts should be exchanged ad libitum within individual works in the case of repetition. Content : E. Bayer: Ländler, op 37/1 und 2 from Sechs Ländler - F. Brand: Valse, op. No. 2 from XII Valses - F. Carulli: Allegretto, op. 69/3 from Choix de 24 Ariettes connues - Andantino, op. 69/2 from Choix de 24 Ariettes connues - Duo, op. 90/1 from Trois Petits Duos Nocturnes - Duo, op. 128/1 from Trois Petits Duos Nocturnes - Largo, op. 69/1 from Choix de 24 Ariettes connues - Rondo from Trois Petits Duos Nocturnes, op. 90/3 - E. Donato: A Media Luz - Tango Milonga - D. Fortea: Sonata - C. Gardel: Por una Cabeza - Tango Canción - C.W. Glover: The Rose of Tralee - Irish folk song - C. Gomes: Quem Sabe - A. Hume: Flow gently, sweet Afton - Scottish folk song - S. Joplin: The Strenuous Life - A Ragtime two step - E. Nazareth: Atrevedinha - Polka - W. Neuland: Galopade - Divertissement, op. 6/6 from Six Divertissements - P. Pettoletti: Andante from Mes Souvenirs - Divertissements, op. 6 - Pastorale from Mes Souvenirs - Divertissements, op. 6

Agustin Pio Barrios Ferreyra, a Paraguayan composer and guitarist, is nowadays known as the creator of the Mangorean or Indo-American school of the Guitar. ?The name, Mangoré, was adopted in honor of the great chieftain Mangoré, an important personage of the Paraguayan jungles?.Mangoré used for his works popular folkloristic themes of South America as well as sounds of nature (?the still waters of [?] the Amazon?, ?the song of the birds?). But Magnoré also was inspired by European music: He composed gavottes, minuets and waltzes: ?It was in J.S.Bach where Barrios discovered the source of his universality [?]?.Admired by many but despised by more was his way of stringing his guitar: ?[?] the way he attacked the strings with the fingers sideward, with very little use of the fingernails?. He also invented some kind of a muffler: He put ?small balls of rubber on the Pirastro steel string?. Jesus Benites R. who collected Magnoré?s works for this edition says about him: ?Magnore is the genius of South America?. He was a strong influence for many composers and musicians, such as Heitor Villa-Lobos, Manuel Ponce and Andres Segovia. Vol. 1 of this 4 book collection contains 23 pieces, including Chôro da saudade, Danza Paraguaya, La Catedral and Madrigal (Gavota). Contenu - El sueno de la muneca - Estudio No. 2 und 3 - Minueto en La - Arabescos - Medallón antiguo - Vals Estudio No. 1 - Oración - Escala y Preludio - Confesión - London carapé - Tú y yo - Madrigal - Vals No. 3 - Canción de la Hilandera - Choro da saudade - Jha, che valle - Preludio en Do menor - Estudio de Concierto No. 2 - Caazapá - Danza paraguaya No. 1 (1. u. 2. versión) - La Catedral

The tenth concerto in B minor in L'Estro Armonico (best translated as The Harmonious Inspiration) which is edited here in A minor - for four solo guitars - is one of the most famous in the entire collection -- indeed inVivaldi's entire output. Scored for four solo violins two solo violas solo violoncello and an strings orchestra. Johann Sebastian Bach not only admired Vivaldi's Opus 3; he copied it openly. In a general sense the Vivaldipieces gave impetus to much that is in the German master's Brandenburg Concertos. More particulary six concertos of Vivaldi's Opus 3 were copied by Bach as the basis for six of his concertos: two for 0rgan (BWV 593 and 596 basedon Opus 3 nos. 8 and 11 respectively) three for solo harpsichord ) BWV 978 972 and 976 based on Opus 3 nos. 3 9 and 12 respectively) and one for four harpsichords and orchestra in A minor (BWV 1065 based on Opus 3 no. 10).Bach frequently rewrote concertos scored for one kind of instrument substituting another. It is evident that Bach thought not so much in terms of the violinistic nature of the originals but in their harmonic and rhythmicpotential which could be realized on any instrument. Since Bach has already justified an arrangement of Opus 3 number 10 by the great aesthetic success of his four-harpsichord version it serves to reason that an arrangementfor four guitars is equally valid. Just as Bach preserved everything of the original Vivaldi and added only a few doubling to accomodate the left hands of the harpsichordists so in this version the substitution of guitars is donewith little or no change of original-notes. The arpeggios especially prominent in the second movement lend themselves ideally to guitar playing and the ability of the guitar to play both lyrical lines as well as passage worksuits the violinistic lines and passages of the original.

This collection of the work of the Maltese composer Gordon Mizzi for solo guitar is being made available to the public for the first time. Saints and Fireworks The Music of Gordon Mizzi Volume Two is the second of two albumsof Gordon Mizzi's music which are available from Mel Bay Publications. This album takes its title from the newly released CD Gordon Mizzi Saints and Fireworks that has been recorded by Carlos Bonell one of today's mostcelebrated guitarists and which is available from Spearhead Music. This album contains a diverse collection of original works as well as transcriptions of Renaissance and Maltese folk music by Gordon Mizzi. The Branles de Malte byJean d'Estrée were originally composed by the French Knights of St. John in Malta in 1551 for the Dauphin of France. Gordon Mizzi has made guitar transcriptions of these five dances and this is the first time that they arebeing published. The Branles de Malte by Adrian Le Roy are also included. There are a number of original compositions. Saints and Fireworks a piece in two movements vividly represents Malta's village festas. Island Scenes aresix musical portraits of towns and villages dotting the landscape of Malta. They include Valletta- Barrakka Gardens San Giljan-After the Feast Mdina- Città Notabile the dreamy Comino-The Blue Lagoon Sliema- The Tower and the pulsatingly brash Paceville -Sin City. Three Love Poems : Hula Lahaina and Hana are influences from Hawaii. There are also two cradle songs Child Don't Cry and Ninna Nanna as well as folk inspired melodies such as NightCrossing and il- Maltija. The guitarist will find a veritable pot pourri of scents and sounds in this album.

of Guitar Solos-Laurindo Almeida (1917-1995) belongs to an elite group of Brazilian/American guitarists who by composing important works for the guitar reinstated the instrument in his native country as worthy of serious musical study.Stylistically his compositions synthesize his classical background Afro-Brazilian rhythms traditional Brazilian music and American jazz. This collection presents Almeida's solos preserving the original left and right handfingerings. The fingering is unique and tells us something about his skills as a professional guitarist. It also reflects the Brazilian school of guitar technique in the 1930's. Written in standard notation only.