Par VIOLA STEFANO. 101 exercices en 12 chapitres pour résoudre facilement, méthodiquement et sans effort lié au problème de l'instrumental à la guitare. Le sujet est abordé dans une graduelle et progressive- ligature par entre deux sons plus de sons, de la construction et l'ornementation des ligatures de rebond./ Etude / Guitare

New Chamber Music for GuitarThere has recently been an unprecedented demand for difficult works for guitar with various accompanying instruments. To make up for the unfortunately very limited repertoire this arrangement of Mozart's ‚'duo for violin and viola' has been launched which replaces the viola by the guitar. It is striking that the guitar character of the viola part is already evident in the original and thus the latter could almost exclusively be directly transferred into the guitar part. A 'new' repertoire piece for chamber music with guitar which is just as good as the original!

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.

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that man is the son of his environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Suzuki Violin School materials include: Violin Parts (Vol. 1-10) * Piano Accompaniments (Vol. 1-10) * Cassettes (Vol. 1-3 performed by Shinichi Suzuki, Vol. 4-8 performed by Koji Toyoda) * Compact Discs (Vol. 5-8, performed by Koji Toyoda) * David Cerone Performs Suzuki Violin School (Cassettes & Compact Discs, Vol. 1-4) * David Nadien Performs Suzuki Violin School (Cassettes and Compact Discs, Vol. 1-4). Suzuki Method Core Materials available for piano, violin, viola, cello, string bass, flute, harp, guitar, and recorder.

Par RAMOS TONINHO. / Niveau : Intermédiaire / classique / Répertoire / Guitare