J. S. Bach for Electric Guitar

SKU: BT.MUSAM975447

English.

This complete guide has been specially designed to give you all the tools you need to begin really playing acoustic or electric guitar. Starting out with an easy-to-follow look at the basics, you will get a chance to explore allaspects of guitar playing as talented singer/songwriter/recordi ng artist Alex Bach shows you all the ins and outs of chords, scales, strumming patterns and fingerpicking. Alex shows you how to put it all together to fashion yourown style and even create your own music. Experience the excitement and energy of your own band, by playing entire song rhythms with the full band backing tracks on the DVD, exclusive to the Rock House Method. By the end of thisprogram, you will be playing with ease and having fun.

SKU: HL.49047176

ISBN 9781705197462. UPC: 842819108856. 9.0x12.0x0.067 inches.

The short concert piece is based on a motto by Gaston Bachelard: “obscure vegetation: black flowers bloom in matter's darkness”.

SKU: BT.MUSMS0285

Spanish.

Cual quiera que sea su nivel, Ud encontrará en este libro material para ampliar su cultura musical y para disfrutar tocando las más grandes melodías de la música clásica en su guitarra.

Todos los grandes compositores que han dejado huella en la historia de la música (Mozart, Bach, Beethoven, Tchaïkovski, Verdi, Brahms, Wagner, Vivaldi...) están presentes en nuestro libro a través desus mejores obras. Melodías conocidas de todos, los mayores “éxitos&rdqu o; de la música clásica que uno podrá presumir saber tocar a la guitarra... que ésta sea acústicaoelé ;ctrica.

Transcritas en solfeo y cifra y con las posturas que le vienen mejor al toque a la guitarra, dichas maravillosas melodías están grabadas en el CD adjunto, en unas versiones variadas ymodernas (con uno o más efectos: chorus, distorsión, delay...). Tendrá también a su disposición un playback completo para tocar cada una de ellas “en situación”.. . ¡Unamaravilla!

SKU: CA.1242305

ISBN 9790007242732. Language: German. Text: Timm, Gabriele. Text: Gabriele Timm.

Score available separately - see item CA.1242300.

SKU: CA.1242303

ISBN 9790007088910. Language: German. Text: Timm, Gabriele. Text: Gabriele Timm.

Score available separately - see item CA.1242300.

SKU: PR.144407530

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bach�??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked �??white-hot,�?� and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the �??Preludio�?� movement from Bach�??s E major Partita, and I decided to refer to that music in my own first movement, also titled �??Preludio.�?� The beginning subtly reflects Bach�??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bach�??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bach�??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked �??White-hot.�?� It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the �??fall-offs�?� I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.