Exceptional Classics for Guitar

SKU: DZ.DZ-4244

ISBN 9782898521614.

La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. � ce moment-là, ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.

Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.

Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.

Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.

Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol# â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.

Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ?? Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.

La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.

Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.

Sona ta No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.
Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.
The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.
The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.
The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ? ?B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.
Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.
The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.
I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.

SKU: SP.TS348

ISBN 9781585607327.

Clas sical Masterpieces for Fingerstyle Guitar is a rare compilation of carefully selected masterworks from the Baroque, Classical, and Romantic periods arranged for Classical Guitar. While there are many collections which feature lesser-known works for Classical Guitar, we believe none comes close to our complete collection of these most well-known and beloved works created by the greatest composers that ever lived. These great works of the masters from the 17th, 18th, and 19th centuries have stood the test of time as they continue to be revered to this day. Classical Masterpieces for Fingerstyle Guitar eliminates the need for multiple teaching resources and musical supplements, since many of the greatest pieces ever written are now contained in this one outstanding publication. Each piece has been carefully transcribed and specifically arranged in a classic style perfectly suited for guitar. Extreme care was given in the choice of key signatures and fingering demands of the left-hand, with a careful focus on understanding octave ranges, and placement of page turns in order to make every arrangement extremely playable. The recording that accompanies this book is performed by one of the greatest classical guitarists working in the Miami area today. We are confident that you will be impressed by the performance, but even more so by the exceptional work of the arrangers and editors involved in making this recital collection. It is truly the only curriculum choice for every one of your students today, and for many years to come.

SKU: HL.48184334

UPC: 888680847999. 9x12 inches.

“Born in 1937 in Argentina, Raül Maldonado has led a significant career as an internationally acclaimed lecturer on music. He has also enjoyed success as a guitarist and composer for the instrument. The Dead Tree is no exception to the composer's achievements. With a typical performance lasting about 1 minute and 45 seconds, The Dead Tree provides beginner to intermediate level guitarists with an exciting, alternative piece to learn. Containing use of triplets, scotch snap rhythms, chords, and alternating time signatures, Maldonado work for Guitar addresses variation and technique to a suitable level. The Dead Tree is an exciting addition to the beginner to intermediate classical Guitar repertoire and cannot be missed by aspiring players of the instrument. &rdquo.

SKU: DM.DMP-112035

ISBN 9790365316960.

A set of pieces for classical guitar. 12 different pieces, especially composed for the guitar by a very exceptional guitar player and teacher from The Netherlands. You can't stop playing when you started with this great album.

SKU: AP.1-ADV10306

UPC: 805095103069. English.

This arrangement stays true to the original piece except for a few slight harmonic variations, and the repetitive ending. This is a more contemporary version of the original, while at the same time maintaining its perfection. Includes a set of performance notes which offer conceptual and technical insights.

SKU: UT.CH-269

ISBN 9790215324985. 9 x 12 inches.

Adagio/ Minuetto/ Allegro/ Giga

Mario Gangi lavishes his remarkable versatility on this duo, engaging in a masterly fashion in a Baroque-style composition with repeats, progressions, imitations and embellishments which are managed extremely naturally.
The manuscript is basic, without fingering, indications of expression, agogic or dynamic, with the exception of the Giga in which some accented notes and crescendo and decrescendo signs appear that are faithfully reproduced here.
Since this is a Suite in Baroque style, it was not thought suitable to burden it with dynamic and expressive indications, thus leaving a certain amount of freedom to the performers.
The fingering and the (few) indications concerning tone-colour have been added bearing in mind the instrumental concept of the Maestro.
This Suite barocca, together with the Suite spagnola and the Suite italiana, makes up part of a hypothetical tryptich, certainly varied but with stylistic connotations which refer to the musical conception of Mario Gangi.

SKU: UT.CH-209

ISBN 9790215322837. 9 x 12 inches.

Gian Paolo Luppi: Alcor
Marco Reghezza: Fuga Dodecatonale
Alessand ro Spazzoli: Sarabanda all'alba
Roberto Tagliamacco: Concerto per la notte di Corelli

In 2013, to celebrate the second centenary of the death of Arcangelo Corelli, I played in an official concert held in his memory in Fusignano, his hometown. Corelli did not write for the guitar, but a few of his compositions were transcribed by some contemporary guitarist and certainly his name has always been associated in the history of music with the theme of the very famous <> (although the origins of this theme go back a long way before Corelli). In the guitar repertoire, well-known cycles of variations on this theme exist. My long history of friendship and working together with important Italian composers has made it possible for me to build a concert program with some new guitar compositions dedicated to Corelli, to which others have been added. They are all together in this anthology, with the exceptions of Corelliana by Davide Anzaghi, Per Arcangelo by Gilberto Cappelli and Corelliana Seconda by Paolo Ugoletti, published separately.
The cover picture, specially created by Norma Lutzemberger for this publication, celebrates this meeting between the modern guitar and Arcangelo Corelli.
(Piero Bonaguri)

SKU: UT.CH-111

ISBN 9790215316317. 9 x 12 inches.

The three original pieces for guitar Notturno, Napolitana (popolar songs) and Roma (March for guitar), together with three transcriptions, are included in a manuscript of 36 pages, noting in the frontispiece “Transcriptions and compositions of F. Balilla Pratella sent as a tribute to M.R. Brondi (1920)”.
These compositions follow a traditional language, and, in the tonality and the alternating themes, are an expression of Pratella’s folkloric vein, with cantabile and melancholy melodies, with the exception of the march, that show some echoes of the nineteenth century guitar masters’ way of composing.
There is a characteristic use of the quartine with no alternated thumb forefinger tremolo, that immediately recalls the plectrum orchestra so much used by Pratella in his youth.
The discovery of these pieces – which happened accidentally and saved them from certain destruction – contributes to enhance that period of great guitarist turmoil preceding Segovia,  establishing itself at the beginning of twentieth century in Italy with three compositions from an author that, along with the Bonaccorsi and Colacicchi, anticipated that current – already initiated by the Fara, Gabriel, Caravaglios – which was, in the following decades, to go by the name of ethnomusicology.

SKU: HL.242081

ISBN 9781785588617. UPC: 888680704407. 4.75x7.75x0.956 inches.

A pocket-sized collection of 195 Beatles hits presented in chord songbook format. Includes complete lyrics, chord names & a handy chord box reference sheet. Including classic hits such as: All You Need Is Love • Can't Buy Me Love • Day Tripper • Do You Want to Know a Secret • Eleanor Rigby • From Me to You • Get Back • Help! • Hey Jude • I Want to Hold Your Hand • Let It Be • Magical Mystery Tour • Ob-La-Di Ob-La-Da • Please Please Me • Ticket to Ride • Twist and Shout • and more.

SKU: FG.55011-732-7

ISBN 9790550117327.

Post -Tarrega Stress Funk (2020) is a whirlwind showcase piece for the guitar. Exceptionally demanding technically, it was composed for the guitar virtuoso Otto Tolonen, who premiered the work at the Amsterdam Concertgebouw in February 2020.

SKU: HL.49045125

ISBN 9790001161350. UPC: 841886028371. 9.0x12.0x0.093 inches.

The exceptional guitarist Thomas Fellow (European Guitar Quartet, Friend 'n Fellow, Hands On Strings) has dedicated a musical tribute to the fascinating figure of MEDUSA from Greek mythology.The result is a wild concert piece with folk sounds and surprising changes of time, describing intensively the intricate, literally drop-dead impressive character of Medusa.'Medusa' is the first volume of the new series 'Fellow Guitar Music Collection' in which Thomas Fellow publishes modern guitar music editions.