Partitions Numériques de Be Italian pour 2 Guitares (duo)

Instrumental Duet Guitar,Instrumental Duet - Level 4 - SKU: A0.540177 Composed by Johann Sebastian Bach. Arranged by Pedro Nunes. Baroque. Score and par...(+)

Instrumental Duet Guitar,Instrumental Duet - Level 4 - SKU: A0.540177 Composed by Johann Sebastian Bach. Arranged by Pedro Nunes. Baroque. Score and parts. 7 pages. Pedro Nunes #150317. Published by Pedro Nunes (A0.540177). The earliest known surviving manuscript of Alessandro Marcelloâ€™s Oboe concerto in D minor exists not as a score from the composerâ€™s own hand, but as an arrangement for solo keyboard by contemporary J.S. Bach. This arrangement, dating from 1713-1714, is part of a collection of works entitled 16 Konzerte nach verschiedenen Meistern, BWV 972â€“987 (16 concerts according to different masters). It is Bachâ€™s arrangement on which this duo version for guitar is heavily based. Bach discovered this concerto and other works by Italian masters while under the employment of Duke Wilhelm Ernst in Weimar.. The musical library of the ducal court was rich with orchestral works by Vivaldi, Corelli, Torelli, Frescobaldi and of course Marcello (both Benedetto and Alessandro). Bach saw this as an opportunity to learn about the Italian style, and proceeded to arrange sixteen of these concerti for solo harpsichord. Texturally, Bach would mimic the alternating tutti and solo sections by assigning them to different manuals of the harpsichord. Twenty years later, Bach would compose his own â€œItalian Concertoâ€ BWV 971, for solo keyboard, which remains as one of his most recognizable works. The Marcello concerto is in typical 3 movement form: Andante e spiccato, Adagio, and Presto. For this arrangement, single-string fingerings of melodic passages were favoured for the first movement, for the sake of articulation and uniformity of the line. Also, the melodic material is passed between both guitars to achieve a more concertante setting and to enhance passages with repeated material. The second movement maintains a soloist/accompanist setting throughout. Although it was tempting to use both guitars to fill out the harmony of the opening and closing sections, the performance proved to be more effective with one guitarist able to solely concentrate on the famous melody. The final movement, like the first, divides the melodic material between both guitars in order to give both players interesting material and to give the first guitar a bit of breathing room.

$4.19 ≈ 3.75€

Folies of Spain for Guitar Duo

Folies of Spain for Guitar Duo #2 Guitares (duo) #INTERMÉDIAIRE #Giuseppe Domenico Scarlatti Ed #Keith Terrett #Folies of Spain for Guitar Duo #Keith Terrett #SheetMusicPlus

Acoustic Guitar,Instrumental Duet - Level 3 - SKU: A0.1443536 Composed by Giuseppe Domenico Scarlatti Edited by Keith Terrett. Arranged by Keith Terrett...(+)

Acoustic Guitar,Instrumental Duet - Level 3 - SKU: A0.1443536 Composed by Giuseppe Domenico Scarlatti Edited by Keith Terrett. Arranged by Keith Terrett. Classical,Early Music,Historic,Instructional,Multicultural,World. 5 pages. Keith Terrett #1023472. Published by Keith Terrett (A0.1443536). Giuseppe Domenico Scarlatti, also known as Domingo or Doménico Scarlatti (26 October 1685 – 23 July 1757), was an Italian composer. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style. Like his renowned father Alessandro Scarlatti, he composed in a variety of musical forms, although today he is known mainly for his 555 keyboard sonatas. He spent much of his life in the service of the Portuguese and Spanish royal families.Distinctive attributes of his music are:The influence of Iberian (Portuguese and Spanish) folk music. An example is his use of the Phrygian mode and other tonal inflections more or less alien to European art music. Many of his figurations and dissonances are suggestive of the guitar.The influence of the Spanish guitar can be seen in notes being played repeatedly.A formal device where each half of a sonata leads to a pivotal point, which Kirkpatrick termed the crux, and which is sometimes underlined by a pause or fermata. Before the crux, Scarlatti sonatas often contain their main thematic variety, and after the crux, the music makes more use of repetitive figurations as it modulates away from the home key (in the first half) or back to the home key (in the second half).Its tendency to be in the galant style.

$3.00 ≈ 2.69€

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