Library Of Guitar Classics

The Julian Bream Guitar Library Volume 1: The Baroque Era includes works by Bach, Purcell and Froberger scored for classical guitar together with a reference guide to the symbols used. / Instrumental Music / Recueil / Guitare

Un résumé des plus grands classiques de la guitare au monde - une histoire de la musique pour guitare classique avec des oeuvres allant du XIVème siècle à aujourd'hui. / Guitare / Partition

Effortless Guitar Series-Learn classical guitar techniques with Danny Gill. This excellent tutorial will guide you through basic classical ideas to more challenging pieces! Suitable for beginner to intermediate players. Danny Gill is a former pupil of Joe Satriani and co-author of the Musicians Institute Rock Guitar series. His songs have appeared on TV shows including 'The Osbournes' and film sound tracks such as 'Insomnia' and 'Under Siege.'

Library of Easy Classical Guitar Solos. A superb collection of easy and rewarding classical guitar solos, each one carefully selected and arranged in modern notation and tablature for the beginning guitarist. Turn these pages to enjoy the greatest guitar music of the Renaissance, Baroque, classical, and Romantic periods. Excerpts from essential guitar methods by Aguado, Carcassi (Op. 60), Carulli, Giuliani (Opp. 50, 51) and Sor (Opp. 60, 48): traditional settings of timeless classics by Bach, Pachelbel, Beethoven, Paganini, Wagner and Mendelssohn: and recital and audition favorites by Galilei, Tárrega and Satie are all contained within these pages. Early masterpieces by Milan, Dowland, Sanz and de Visée are represented here, as well as rarer but equally delightful works by Bosch and Coste.

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

Here?s yet another book that should be in every serious classical and flamenco guitarist?s library; this time Ioannis Anastassakis (The Art of Rasguedo) eliminates the guesswork on how to practice and perform the tremolotechnique. The book addresses over 70 different approaches and methods to practice the tremolo with unprecedented advice from some of the greatest classical and flamenco guitarists including: Andrés Segovia John Williams SharonIsbin Christopher Parkening Pepe Romero Scott Tennant David Russell Narciso Yepes Stanley Yates Stepan Rak Juan Serrano Manolo Sanlucar Manolo Franco José Antonio Rodriguez Paco Serrano and many more. Characteristically Anastassakis presents an exhaustive analysis of the different tremolo patterns: 4-note 5-note 5-note extended melody tremolo 6-note tremolo 8-note tremolo and continuous extended tremolo. A comprehensivebibliography of classical and flamenco guitar pieces that utilize traditional and/or extended tremolo techniques is also included. Written in standard notation and tablature.

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.

2-DVD Set-Learn five country guitar tracks note-for-note with Lee Hodgson! This superb DVD will teach you five classic tracks from two country guitar legends ? Johnny Cash and Gram Parsons. Songs include: Folsom Prison Blues ? IGot Stripes ? I Walk the Line ? Luxury Liner ? Tennessee Flat Top Box. Lee Hodgson is a versatile studio musician and vastly experienced stage performer. He is also a regularly featured columnist and transcriber forboth Guitarist and Guitar Techniques magazine.