Guitar Concerto Guitare

Throughout his career Christopher Parkening America's preeminent classical guitarist has had the opportunity to perform with many of the world's leading artists and orchestras. This folio Duets and Concertos contains many selections from those collaborations and features a wide range of musical pairings which show the guitar at its versatile best: voice and guitar guitar duets chamber music and concertos. All of the pieces included here have been edited and fingered for the guitar by Christopher Parkening and to quote Christopher himself ???No compromise has been made in requirement of technique. All of these pieces are suitable for performance by the virtuosoguitarist.??? This folio contains 35 transcriptions.

E Minor Op. 14 and A Major Op. 8a-Performed by Christian Reichert guitarAccompaniment: Rousse Philharmonic OrchestraConductor: Nayden TodorovFerdinando Carulli born in Naples but largely based in Paris was one of the most influentialfigures in the history of guitar and author of a famous 200-year-old method still in use today. He wrote hundreds of guitar works and these two concerti in E minor and A major rank at the top of his oeuvre! Beautiful melodiesand immense fun for the guitarist. So sit down with the orchestra and play to your heart's content!Contains a newly engraved authoritative printed solo part edited by soloist Christian Reichert; and two compactdiscs containing complete versions of each concerto with soloist; and accompaniments minus you! Also includes a special -20% slow-tempo practice version of the orchestral accompaniments for practice purposes.

/ Ensemble de guitare classique. Du Cordero ' Concierto Festivo 'pour orchestre de guitare et de la chaîne est son plus récent ouvrage, écrit en 2003. Il a été commandé par l'Université de Porto Rico pour célébrer le 100e anniversaire de sa fondation et la réouverture de son théâtre. Le concerto comporte trois mouvements, écrits dans un style modal et neo-romantique dans lequel les éléments contrapuntiques de la Renaissance espagnole combinent avec les harmonies contemporains, lui donnant une saveur distinctive qui est présente dans la plupart des oeuvres de Cordero. Comme dans ses précédents concertos, influences Afro-Antillais apparaissent parfois dans cette composition, avec leurs riches, rythmes somptueuses. Ernesto Cordero explore créative les ressources sonores de la guitare, il offre une fonctionnalité solo virtuose enrichie par les dialogues avec les autres instruments. Dans plusieurs sections lyriques de la pièce, les projets et brille de guitare romantique spirit, par le biais de belles phrases qui reflètent la passion du Cordero pour la vie et pour sa bien-aimée de Porto Rico. / Guitare Classique / 56 pages / niveau : Intermédiaire/Avancé / Partition - Format: 11 X 8,5

Les avantages de la musique de Bach est qu'il est universel et dans une certaine mesure indépendante des instruments pour lesquels il a été composé. Sa musique est structurée de telle manière brillante et claire que ça sonne bien sur n'importe quel instrument. Ces compositions de Johann Sebastian Bach certainement quelques-unes de ses oeuvres les plus connues et très populaire. Par conséquent, outre les guitaristes apprécieront certainement de pouvoir jouer cette musique magnifique sur leur instrument. Toutes les pièces sont faciles à jouer de la guitare et un atout précieux pour le répertoire de l'enseignement et de concert. / Guitare

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.

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.

Ludwig van Beethoven (1770 1827) was a German composer and pianist and arguably the most famous composer of all time. He was the last great figure of the Classical era and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16 String Quartets. Beethoven?s Adagio from his Piano Sonata No. 8 in C minor ?Pathetique? (Op. 13) is one of his most celebrated compositions. It has been arranged for the Guitar by the Spanish guitarist pianist and composer Francisco Tárrega (1852-1909). Tárrega is known for revolutionisingclassical Guitar technique and also for transcribing many keyboard works for Guitar from the great classical composers including Beethoven Mendelssohn and Chopin.

This songbook contains 15 Beethoven masterpieces arranged for solo guitar in standard notation and TAB. The arrangements in this book are carefully written for intermediate-level guitarists. Each solo combines melody and harmony in one superb fingerpicking arrangement. The book also includes an easy introduction to basic fingerstyle guitar. Songs include: Bagatelle Op. 119 No. 1 • Für Elise • Minuet in G Major • Piano Sonata No. 14 in C# Minor (?Moonlight?) Op. 27 No. 2 First Movement Theme • Ode to Joy • Piano Sonata No. 8 Op. 13 (?Pathetique?) 2nd Movement • Symphony No. 6 in F Major (?Pastoral?) First Movement Excerpt • Turkish March • Violin Concerto in D Major • and more!

Guitar Solo-A marvelous collection of music for guitar arranged at the easy to intermediate level of difficulty. All pieces are arranged for flat picked style guitar. Contents: Piano Concerto No. 3 Op. 37 · Leonore Overture No. 3 Op. 72A · Violin Concerto Op. 61 · Symphony No. 3 Op. 55 · Symphony No. 9 Op. 125 · Symphony No. 6 Op. 68 · Coriolan Overture Op. 49 No. 1 · Piano Sonata Op. 49 No. 1 · Piano Sonata No. 14 Op. 27 · Die Ehre Gottes In Der Natur Op. 48 No. 4 · Piano Sonata No. 8 Op. 13 · Piano Concerto No. 1 Op. 15 · Piano Concerto No. 2 Op. 19 · Piano Concerto No. 1 Op.15 · Piano Sonata No. 1 Op. 2 No. 1 · Ich Liebe Dich · An Die Ferne Geliebte Op. 98 No. 3.

Critical Edition by Frederic Zigante-Les Ã?ditions Max Eschig présentent le quatrième volume de lâ??édition critique des oeuvres pour guitare du compositeur brésilien Heitor Villa-Lobos dirigée par Frédéric Zigante. Les oeuvres proposées sont le célèbre Chôros n° 1 pour guitar et engrande première deux oeuvres de jeunesse inédites Simples (1911) et Valsa Concerto n° 2 op. 8 (1904).Cette édition est le fruit dâ??une étude de lâ??ensemble des sources disponibles et est enrichie dâ??une longue préface au caractère historiqueet musicologique (en français en anglais et en italien) accompagnée dâ??un commentaire qui propose toutes les autres versions existantes du Chôros n° 1.