Guitar Festival

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles?the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won?t kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, ?One man?s remorse is another man?s reminiscence.? Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. 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 Bes

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.

Recorded before a Nashville studio audience Alex De Grassi In Concert captures the solo artistry of one of the world’s finest steel-string fingerstyle players.Known for his flawless technique inspiredcompositions and melodically inventive style de Grassi demonstrates his richly orchestrated sound on a dozen standards and originals.'Alex de Grassi is a treasure. I’ve admired his recordings for more than 20years but it’s his live performances that really shine. This DVD gives an intimate feel for his technical wizardry as well as his vibrant and poetic music-making which make him one of the most distinctive steel-string guitaristsperforming today.' - David Spelman Founder & Director The New York Guitar Festival®

Mark Dziuba helps you become a great blues guitarist by expanding your groove palette. You'll learn about shuffle and straight rhythms, the 12/8 feel, triplets, blues forms, the minor blues, and various blues rhythm tricks, including chord fills, using accents and mutes, sliding into chords, and open-string drones. Additionally, Dziuba explores harmonic concepts, like chord extensions and advanced voicings, plus rhythms from music beyond the blues---the Charleston and Latin montuno. The included DVD is hosted by Dziuba and features live demonstrations of the examples in the book. About the Author A performer and teacher for over 30 years, Mark Dziuba directs the Jazz Studies Program at the State University of New York at New Paltz, where he serves as a tenured professor. His workshops on guitar styles and improvisation have been featured at the International Guitar Festival (Bath, England), the National Guitar Workshop (various U.S. and European locations), and the Crown of the Continent Guitar Festival (Montana). He has taught and performed with many legendary guitarists, including John Scofield, John Abercrombie, John Jorgenson, Tal Farlow, Larry Carlton, Trey Anastasio, Julian Lage, and Reeves Gabrels. / Guitare

'The strangest most complex and bizarre of all blues artists.' ? John Fahey Skip James is perhaps the most stylistically original of the blues performers from the Mississippi River Delta region with his unusual Dm (Crossnote) tuning haunting falsetto vocals and an intense variable marriage of music and text. James made a number of recordings for Paramount before the Depression carried him into obscurity but those recordings would form the basis of his reputation and secure him as one of the legends of that classic era of blues. In this 2 DVD set Tom Feldmann brings you through Skip's classic 1931 bluesrecordings as well as a few fan favorites from his rediscovery years Crow Jane Worried Blues Look Down the Road and All Night Long. Nearly all of the 1931 guitar recordings were played using Crossnote tuning and DVD One is dedicated to those songs with Feldmann teaching you every aspect of Skip's playing in this tuning. DVD Two continues with two more classics in Crossnote tuning and then turns to Standard tuning for songs in D and E positions and ends with Skip's lone Spanish tuning (Open G) recording Special Rider Blues. Tablature is included as a PDF file on each DVD. In addition the original 1931 recordings of the songs covered are included as well as live footage of Skip James from the 1966 Newport Folk Festival.

Transcribed for Classical Guitar. Par MASCOTT PAUL. This book of 53 intermediate-level guitar pieces is derived from Le Secret des Muses, a two-volume collection of lute tablature by Nicolas Vallet (c. 1583 ? c. 1642). Born in France, by 1614 Vallet had relocated to Amsterdam where he established a dance school and was active as a composer, lute teacher and leader of a consort that played at weddings and festivals.Le Secret des Muses is among the last published collections of French lute tablature intended for the 10-course Renaissance lute, which was ultimately supplanted by the larger 13-course Baroque model. Most of these pieces consist of traditional European dance forms, but also contains a few settings of popular lute themes and longer works suitable for concert performance are included. Written in standard notation only with occasional drop-D tuning, these pieces make excellent sight-reading and warmup material as well as historically significant concert selections. / Date parution : 2021-11-03/ Recueil / Guitare

Par GROSSMAN STEFAN. A collection of 16 hot, intermediate-level flatpicking guitar solos from five of the leading exponents of this technique. David Bromberg is known as the leader of one of the most successful acoustic bands of the 1970\'s and 1980\'s. The Kitchen Girl, a fine Kentucky tune, is an example of Bromberg\'s good taste in choosing material. Dick Fegy is a master picker of fiddle tunes and is the most heavily-featured player in the collection. San Francisco Bay area favorite Eric Thompson crosses old-time with traditional Irish playing. Michael Aumen contributes three tunes associated with Clarence White and a very interesting version of Soldier\'s Joy, with a flair that pushes the limits ofthe hot country style. Richard Lieberson is a fine bluegrass picker who has developed a convincing swing jazz style with exciting results, and a touch of humor. Written in notation and tablature. Includes access to online audio featuring performances of all the tunes in the book. / Niveau : 3 / Tablatures / Guitare Fingerpicking

A collection of 16 hot intermediate-level flatpicking guitar solos from five of the leading exponents of this technique. David Bromberg is known as the leader of one of the most successful acoustic bands of the 1970's and1980's. The Kitchen Girl a fine Kentucky tune is an example of Bromberg's good taste in choosing material. Dick Fegy is a master picker of fiddle tunes and is the most heavily-featured player in the collection. San Francisco Bayarea favorite Eric Thompson crosses old-time with traditional Irish playing. Michael Aumen contributes three tunes associated with Clarence White and a very interesting version of Soldier's Joy with a flair that pushes the limitsof the hot country style. Richard Lieberson is a fine bluegrass picker who has developed a convincing swing jazz style with exciting results and a touch of humor. Written in notation and tablature. Includes access to online audiofeaturing performances of all the tunes in the book.

This book co-written by guitarist Seth F. Josel and composer Ming Tsao provides a comprehensive survey of contemporary performance techniques on the classical Guitar. It was inspired by a new generation of solo guitarists whose extraordinary technical and virtuosic skills have paved the way for a new understanding of instrumental performance practice. Detailed explanations are given for the instrument???s technical potential within the historical context of traditional Guitar technique. Composers will be interested in the in-depth analyses of contemporary Guitar literature featuring many examples of chamber and ensemble music.Four main chaptersdescribe:Techniques of the right and left hands.Special harmonies and percussive techniques.The main instruments of the Guitar family and their potential.Possible ways of notating contemporary Guitar literature.The examples discussed in the book are complemented by an enclosed CD and detailed charts on multiphonics bitones and percussion techniques.Seth F. Josel is among the leading figures of his generation in modern Guitar performance and has taken part in the premieres of more than 100 works as a soloist and ensemble member. A regular guest at Europe???s major contemporary music festivals he has worked with composers of the stature of Mauricio Kagel Helmut Lachenmann Tristan Murail and James Tenney and has played with such leading orchestras and ensembles as the New York Philharmonic the BBC Symphony Orchestra and the Berlin Staatskapelle. From 1991 to 2000 he was a permanent member of the Ensemble musikFabrik. Today he lives in Berlin.Ming Tsao (b. Berkeley CA 1966) is professor of composition at Gothenburg University. His compositions have been performed amongst others by the Arditti Quartet ensemble recherche and the Stuttgart Opera (premiere of ???Die Geisterinsel??? in 2011). He is regularly involved in the Donaueschingen Festival the Witten Days of New Chamber Music the Darmstadt Contemporary Music Holiday Courses and Wien Modern. His works are published by C.F. Peters (Frankfurt am Main and Leipzig). He too lives in Berlin.

This collection presents 51 carefully selected examples of Renaissance and Baroque music ranging from lute and 5-course Baroque guitar works to solo and ensemble vocal pieces and fiddle tunes. Much of this music lies outside of the standard guitar repertoire yet is frequently played by ensembles at Renaissance and Early Music festivals. For this book, guitarist/musicologist Keith Calmes has tastefully arranged this splendid music for solo classic guitar, including an outstanding downloadable companion audio recording. Aficionados of Early Music will recognize many of the themes herein, including the hit tunes of the day by Praetorius, Sanz, Cutting, Narvaez, and the anonymous composer of ?Greensleeves?. Have you ever wondered which Early Music composers inspired Joaquin Rodrigo?s concertos? Those works are in here! By contrast, many of these pieces will sound completely new, even to lifelong guitarists. Written in standard notation only with ample fingering, guitarists and audiences alike will appreciate the music in this book. Includes access to online audio.