Album for Guitar No. 3

16 leichte Vortragsstücke für Gitarre-This volume presents 16 fairly easy and well-known melodies from traditional tunes to classical works. A fantastic addition to any guitarists repertoire.

Plus de 200 morceaux du début de la Renaissance et du Baroque aux périodes classiques et romantiques. Inclues des oeuvres de Carcassi, Bach, Tarrega et Mozart. / Guitare / Partition

Ton Van Bergeyk launched his career as a musician during the late 1960s playing blues Harp and Ukulele in a duo setting, but he then switched to the acoustic Guitar and quickly learned and mastered the instrument using fingerstyle techniques. He started to transcribe and arrange classic ragtime compositions for fingerpicking Guitar and was discovered by Stefan Grossman during a tour in Holland. Stefan produced Ton's first solo album, Famous Ragtime Guitar Solos, in 1973. This contained 14 of Ton's arrangements of classic ragtime pieces and became a best seller. In 1975, Ton's second solo album, Guitar Instrumentals To Tickle Your Fingers, was released containing transcriptions and arrangements of novelty rags, early jazz and popular tunes of the 1930s and 1940s. In 1980, Ton's third solo album was released and continued his exploration of arrangements for solo fingerpicking Guitar, this time with a repertoire covering jazz, blues, contemporary pop and country and even Mexican folklore. This album was titled Lulu's Back In Town, Hot Guitar Solos. Ton also participated in several anthology projects, i.e. Novelty Guitar Instrumentals, I Got Rhythm, Masters of Ragtime Guitar, The Entertainer and How To Play Ragtime Guitar. All of Ton's albums are available as CDs as well as direct downloads from Stefan Grossman's Guitar Workshop, (www.guitarvideos.com) and include tab PDF booklets on the CDs. Ton recorded the audio lesson series Fingerstyle Jazz Guitar to teach phrase by phrase and measure by measure some of his most requested arrangements. This second volume presents Ton Van Bergeyk's renditions of Duke Ellington's Jubilee Stomp and Take It Easy, Thelonious Monk's classic Blue Monk and the George Gershwin standard I Got Rhythm. / Niveau : Facile / Tablatures / Guitare Tablatures

Ton Van Bergeyk launched his career as a musician during the late 1960s playing blues Harp and Ukulele in a duo setting but he then switched to the acoustic Guitar and quickly learned and mastered the instrument using fingerstyle techniques. He started to transcribe and arrange classic ragtime compositions for fingerpicking Guitar and was discovered by Stefan Grossman during a tour in Holland.Stefan produced Ton's first solo album Famous Ragtime Guitar Solos in 1973. This contained 14 of Ton's arrangements of classic ragtime pieces and became a best seller. In 1975 Ton's second solo album Guitar Instrumentals To Tickle Your Fingers was releasedcontaining transcriptions and arrangements of novelty rags early jazz and popular tunes of the 1930s and 1940s.In 1980 Ton's third solo album was released and continued his exploration of arrangements for solo fingerpicking Guitar this time with a repertoire covering jazz blues contemporary pop and country and even Mexican folklore. This album was titled Lulu's Back In Town Hot Guitar Solos. Ton also participated in several anthology projects i.e. Novelty Guitar Instrumentals I Got Rhythm Masters of Ragtime Guitar The Entertainer and How To Play Ragtime Guitar. All of Ton's albums are available as CDs as well as direct downloads from Stefan Grossman's Guitar Workshop (www.guitarvideos.com) and include tab PDF booklets on the CDs. Ton recorded the audio lesson series Fingerstyle Jazz Guitar to teach phrase by phrase and measure by measure some of his most requested arrangements. This second volume presents Ton Van Bergeyk's renditions of Duke Ellington's Jubilee Stomp and Take It Easy Thelonious Monk's classic Blue Monk and the George Gershwin standard I Got Rhythm.

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. Song of the Sea The Music of Gordon Mizzi Volume One is the first of two albums which are available from Mel Bay Publications. The title is taken from the CD Song of the Sea Carlos Bonell Plays Gordon Mizzi recorded by Carlos Bonell one of today's most celebrated guitarists and which is available fromSpearhead Music. This album has been received with critical acclaim and broadcasted by leading radio stations including the Cowan Collection BBC Radio 3. The critic Robert Matthew Walker writing in Musical Opinion Britain'soldest classical music magazine in May -June 2007 said in a review of a concert in London: Gordon Mizzi's music is 'fascinating and inventive.' His music is performed by leading guitarists all over the world. In this music wefind a truly inspired creativity and diversity. This album draws on a wide range of influences from Gordon Mizzi's musical canvas from the Maltese Variations of a Maltese Theme to the Hispanic Tango and Habanera to otherEuropean influences such as the Two Anthem Studies Song of the Sea Madliena Sonata which has four movements Morning Hymn Sun Dance Evening Song and Serenade and the haunting beauty of the Sonata for Six Mute Swans with threemovements Flying South In the Bay and Lament of the Swans.

Le guitariste classique totale enseigne les rudiments de la guitare classique, du début à la fin des niveaux intermédiaire. Cette méthode caractéristiques intéressantes en profondeur des leçons sur la bonne technique et de gauche, la posture, les ornements et les insultes, l'esthétique de performance, les soins de l'ongle, et bien plus encore. Destiné à ceux qui ont une expérience de jeu de guitare (pas le débutant absolu), ce livre plaira aux guitaristes classiques traditionnels et les enseignants,-- car il dispose d'exemples écrits en notation musicale standard uniquement (pas de TAB). Un CD montrant tous les exemples dans le livre est inclus.Caractéristiques:* Pratique, facile à comprendre les enseignements de la technique et de la posture* Une discussion approfondie des ongles, y compris la forme et la maintenance* Instruction complète sur la réalisation des insultes et des ornements* Des techniques spéciales telles que pizzicato, pizzicato Bartók, les harmoniques, les harmoniques naturelles, artificielles Tamboura, et trémolo* Considérations musicales comme la dynamique, des couleurs, des articulations, rubato, et le vibrato* La pratique de stratégies, y compris les notes pour les joueurs de croisement et tirer le meilleur parti de votre temps de pratiqueÀ propos de l'auteurMartha Masters est une artiste primée, artiste et éducateur. Elle a reçu à la fois son baccalauréat et sa maîtrise en musique de l'Institut Peabody de l'Université Johns Hopkins, où elle a étudié avec Manuel Barrueco, et a complété le diplôme de docteur en arts musicaux à l'Université de Californie du Sud en tant qu'étudiant de Scott Tennant. Masters a remporté le premier prix dans la Guitar Foundation of America (GFA) Solo Competition internationale et le Concours International de Guitare Andrés Segovia à Linares, Espagne. En plus d'être un membre du corps professoral de l'Université Loyola Marymount, Masters est également président de la Guitar Foundation of America et a sorti cinq albums sur l'étiquette Naxos et SGP. / Guitare

Leichte bis mittelschwere Etüden-Paul Coles' 26 Melodic Studies are designed to help the student to develop a basic technique based upon the traditional teachings of renowned guitarists Francisco Tárrega Fernando Sor and Mauro Giuliani to name but a few. The studies progress from relatively easy to more demanding pieces so it is an album designed to accompany the student on their journey as they advance from an initial to an intermediate standard. The contemporary style of the music is tuneful and light making the featured pieces both fun and interesting to play and fingerings have been carefully considered for accuracy and ease of facility. 'PaulColes brings to these studies his combined skills as composer guitar player and teacher and sets out a clear technical and musical route map for the student to achieve excellent results.More than plain studies he uses a pleasing and up-to-date musical language. Here are some pieces with catchy melodies jazzy harmonic turns and foot-tapping rhythms.I am sure they will inspire the student to learn and enjoy at the same time an ideal combination.' - Carlos Bonell International guitarist arranger and teacher

The guitar studies of Fernando Sor (1778-1839) have long been valued highly among the indispensable elements of a guitarist's training. A number of prominent virtuosi attribute a large portion of their development to the diligentstudy of these works. Sor's studies address an impressive array of technical and musical topics including proper left-hand fingering training of the right hand interval and chord formations scales arpeggios repeated notes ligados barring natural harmonics control of note duration balance of melody versus accompaniment and the handling of contrapuntal voices. A careful study of these pieces will lay the groundwork for a solid technique andallow the guitarist to build the control necessary for the expression of his or her musical concepts. In preparing this edition David Grimes worked with Sor's original publications but incorporated some alterations that appear inthose studies that Napoleon Coste chose to include in his Methode complete pour la Guitarre par Ferdinand Sor. Furthermore Mr. Grimes has corrected misprints modernized the notation and rectified some inconsistencies. Finally some developments in technique since Sor's day have been incorporated in this edition.

For more than a century guitarists have been irresistibly drawn to Bach’s remarkable cello suites. Here for the first time are the first four in the easiest and most resonant guitar keys. Suites I–IV must be transposed to work on the guitar whereas Suite V is always played in A minor in Bach’s own lute version and the equally demanding Suite VI can only be played in its original key of D.By adding as little as possible these arrangements preserve the integrity of the originals in which melody bass and harmony are woven effortlessly into a single fabric. They also crucially offer the guitarist Bach at a lower level of difficultythan his music for lute or unaccompanied violin.Another unique feature is the inclusion of optional ‘improvised’ divisions – suggestions for the additional ornamentation of passages to reflect typical 18th-century performance practice.This is an essential addition to any guitarist's library with selected movements featured in the 2009 ABRSM guitar syllabus (Grades 5-8).“This publication beats the others hands down; no contest. I can’t see me needing any other edition of these four suites. They are that good. Buy with confidence.”Classical Guitar

Classical Guitar Arrangements from Bizet's Opera Carmen. One might think that it would be impossible to arrange the music of Georges Bizet?s opera, Carmen, for solo classic guitar, but Néstor Ausqui has done it! While the guitar is an intimate and sweet-sounding instrument, it does not have a broad dynamic range; yet, as Dionisio Aguado proclaimed in his Nuevo Método para Guitarra of 1843, the classic guitar?s expansive palette of tone color gives it the ability to emulate ?a miniature orchestra?. These characteristics make the guitar the ideal instrument to reflect both the character and sensuality of the dances that occur throughout Bizet?s Carmen?Aragonaise, Habanera, Seguidillas, and Danse Bohéme?as well as Carmen?s sober ?Chant de la Mort?. Recommended for the advanced guitarist, Carmen Suite is written in standard notation with extensive digitation and occasional drop-D tuning. In Néstor Ausqui?s Carmen Suite, ??the guitar both sings like a human voice and accompanies itself, giving the work an irrefutable guitar identity. The characteristic feeling manifested in Spanish dance is now expressed through the guitar with a full and defined instrumental singularity.? ? Guillermo Rene? Alvarez Musicologist, Professor at the Instituto Superior de Mu?sica, Universidad Nacional del Litoral-Argentina

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.