24 Studies for Guitar

Leichte bis mittelschwere Etüden-Paul Coles' 26 Melodic Studies are designed to help the student to develop a basic technique based upon the traditional teachings of renowned guitarists Francisco Tárrega Fernando Sor and Mauro Giuliani to name but a few. The studies progress from relatively easy to more demanding pieces so it is an album designed to accompany the student on their journey as they advance from an initial to an intermediate standard. The contemporary style of the music is tuneful and light making the featured pieces both fun and interesting to play and fingerings have been carefully considered for accuracy and ease of facility. 'PaulColes brings to these studies his combined skills as composer guitar player and teacher and sets out a clear technical and musical route map for the student to achieve excellent results.More than plain studies he uses a pleasing and up-to-date musical language. Here are some pieces with catchy melodies jazzy harmonic turns and foot-tapping rhythms.I am sure they will inspire the student to learn and enjoy at the same time an ideal combination.' - Carlos Bonell International guitarist arranger and teacher

A series of 51 Bulerias studies for flamenco guitar suitable for all levels. Measures and falsetas (variations) are gradually studied, reaching the right level to play falsetas of famous flamenco guitarists. Once you dominate all the studies, you will be able to play your own pieces mixing different falsetas studied in this DVD. Spanish and English. / Guitare Classique / niveau : Multiple Levels / Partition/Dvd Set - Format: 7,5 X 5,25

Il s'agit d'une anthologie de belles pièces niveau de facile à modéré par XIXe siècle, les maîtres de la guitare : Dionisio Aguado, Antonio Cano, Federico Cano, Matteo Carcassi, Fernando Sor et Francisco Tárrega, adapté à une technique de droite moderne qui inclut le petit doigt. Professeur d'allemand de guitare Leonhard Beck a compilé cette collection avec l'aide de Charles Postlewate, pionnier de l'utilisation de la main droite petit doigt. Il montre l'avantage d'utiliser le petit doigt à jouer à des échelles, des accords, des arpèges, des tremolos et des harmoniques pour la rapidité, la précision, la force et la balance. Ces études faire des pièces de répertoire bon pour le guitariste de début ou pour le guitariste avancé qui souhaite ajouter le petit doigt à une technique de droite déjà développé. Ils sont classés en trois niveaux de Easy (7 études), Easy-intermédiaire (9 études) et intermédiaire (11 études) pour le développement progressif de la main droite. Un compagnon idéal pour MB98710 - Studie main droite... / Guitare Classique / 56 pages / niveau : Multiple Levels / Partition - Format: 11 X 8,5

Une série d'études de Solea 44 pour guitare flamenco convenant à tous les niveaux. Mesures et falsetas (variations) sont peu à peu étudiés, atteignant le niveau pour jouer falsetas des guitaristes célèbres flamenco. Une fois que vous dominer toutes les études, vous serez capable de jouer vos pièces différentes falsetas étudiés dans ce DVD de mélange. Espagnol et anglais. / Guitare Classique / niveau : Multiple Levels / Partition/Dvd Set - Format: 7,5 X 5,25

Transcribed arranged and edited by concert guitarist David Nadal. This unique anthology samples the vast repertoire available for the beginning and intermediate guitarist. A number of these pieces have never appeared in a modern edition while others have found their place among the world's best-loved compositions. Ranging from the earliest Italian lute tablatures to an arrangement of the American Favourite 'Dixie's Land' this edition will have something for everyone and must be the only one of its type in print.

Required Studies for Classical Guitar. All the essential and required studies for classical guitar are collected here in one handsome volume for classical guitar students and instructors. The studies contained herein appear on nearly every syllabus from any respected university classical guitar program. Newly engraved from early editions, with centuries-old errors now corrected and with minimal editorial annotations, this clear, uncluttered, easy-to-read reference book will be used every day for a lifetime of study. A one-stop shopping repertoire book for every classical guitarist. Includes selected studies by Sor (Opp. 6, 29, 31, 35, 44, 60), Giuliani (Opp. 48, 51, 139), Aguado (from his Nuevo Método para Guitarra) and Carulli (Op. 333), as well as complete editions of Carulli's 24 Preludes, op. 114: Giuliani's 120 Studies for Right-Hand Development, op. 1a: Carcassi's 25 Melodic and Progressive Études, op. 60: and Coste's 25 Études de Genre, op. 38. Of special interest to the student is the inclusion of carefully chosen audition and recital pieces from Bach, Milán, Tárrega, and Albéniz.

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.

Intermediate-level guitarists will enjoy playing through this varied collection of pieces all in one volume. A wide gamut of composers from the Renaissance to the nineteenth century is included along with a few anonymous contributions. Continuing with the techniques and carefully thought-out fingerings and notation employed in Dr. Afshar???s previous publication (Beginning Pieces for Classical Guitar) selections like ???Carcassi Study #3??? and ???Sor Studies Nos. 5 and 6??? require the execution of rest stroke technique on their melodies in order to distinguish them clearly from the concurrent free-stroke accompaniment. In the same spirit ???Study No. 5??? by Fernando Sor has beenwritten out in a way that clearly shows the melody as it appears on beats one and three. The nine-movement suites by Gaspar Sanz and Robert de Vis?e introduce the student guitarist to Baroque dances and ornamentation

Guitar Lore is a compendium of techniques considered essential for the virtuoso guitarist. It first covers left hand position and then right hand pick hold and stroke. Topics covered are the development of a system of jazz chords, chord scales, rhythm studies, sequences both diatonic and chromatic, arpeggios through extensions, scale fingerings in multiple octaves, interval studies, exotic scales, and technical studies of all different types including double stops. Chuck Anderson took dictation from master of modern guitar Dennis Sandole to create this volume.