Over 50 Favorite Repertoire Pieces Written in Standard Notation and Tablature. Over 50 favorite repertoire pieces culled and arranged as an aid to the working professional and semi-professional guitarist who finds him- or herself in a variety of playing situations, such as weddings, restaurants, and other social gatherings that present live music. Amateurs and students will also find a wealth of non-traditional recital and audition pieces to impress their colleagues! Each piece is written in standard notation and tablature. Selections include: Air on the G String (J.S. Bach) ? Bianco Fiore (Cesar Negri) ? Bridal Chorus (Richard Wagner) ? Come Away (John Dowland) ? Gymnopédie No. 1 (Erik Satie) ? In Dulci Jubilo ? Jesu, Joy of Man's Desiring (J.S. Bach) ? Ode to Joy (Ludwig van Beethoven) ? Plaisir d'amour (Jean Paul Martini) ? Pomp and Circumstance (Sir Edward Elgar) ? Recuerdos de Alhambra (Francisco Tarrega) ? Rondeau (Jean-Joseph Mouret) ? Wedding March (Felix Mendelssohn-Bartholdy) ? and more

Easy Classical Guitar-This album includes 16 Bach works selected from the Lute Violin and Cello Suites arranged for the beginning classical guitarist.

Par BACH JOHANN SEBASTIAN. Originally written in the key of G major, Michael Lorimer has transcribed Bach's Cello Suite 1 (BWV1007) for guitar in D major, with the sixth string dropped to D. In his preface, Lorimer notes that the guitar lends itself well to transcriptions of cello music because the two instruments occupy a similar range and 'the lute-like style-brisé (broken chord) textures of this music invite performance on our modern instrument. ”Guitar transcriptions from cello literature are not new to the guitar repertoire. Although the guitar per se did not exist during Bach's time, Bach himself is known to have transcribed his own cello music for the Baroque lute. What sets Lorimer'sarrangement of Suite 1 apart and facilitates performance of this challenging but worthwhile piece, is the fact that he has provided adequate right-hand fingering and an extraordinary amount of left-hand digitation- all contributing to the musical rendition of an outstanding transcription. Bach's masterpieces transcribed for classical guitar. / Niveau : Avancé / Classic - Solos / Répertoire / Guitare Classique

Arranged For Guitar-Although Johann Sebastian Bach did not write any music for the guitar transcriptions of his unaccompanied string music and music for lute have long been a part of the guitar repertoire. Despite the respect that this musiccommands among musicians and audiences debate still exists as to what constitutes an appropriate means of transcribing interpreting and performing this music on the guitar. It is this debate that prompted this long-awaitededition of Bach's unaccompanied cello suites by scholar and concert guitarist Stanley Yates. This definitive work includes performance scores comparison scores and an invaluable 40-page guide entitled Arranging Interpreting and Performing the Music of J.S. Bach. Furthermore the author offers comments on his arranging process and suggestions on using this edition including: ornamentation slurs fingerings notation and implementation of thecomparison scores. Written in standard notation in guitar-friendly keys.

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

Frank Koonce. Par BACH JOHANN SEBASTIAN. / Niveau : Avancé / Répertoire / Guitare Seule

Par BELLAFRONTE RAFFAELE. / Niveau : Avancé / Répertoire / Guitare et Violoncelle

Cette anthologie offre une riche sélection de titres appartenant au répertoire incontournable pour la formation du guitariste. Le choix des pièces couvre cinq siècles d?histoire de l?instrument (de la Renaissance au XXe siècle), offrant de multiples parcours d?étude. Les pièces, qui ont été choisies également pour leur attrait et sont très captivantes, ne présentent pas de difficulté particulière, se situant à un niveau facile-moyen. La présence de la tablature favorise l?étude des guitaristes autodidactes.
1. Balletto [anonimo XVI sec.]
2. Gagliarda [anonimo XVI sec.]
3. Italiana [anonimo XVI sec.]
4. Se io m?accorgo ben mio d?un altro amante [anonimo XVI sec.]
5. The Parlement [anonimo XVI sec.]
6. Vaghe bellezze et bionde treccie d?oro (...) [anonimo XVI sec.]
7. Volt [anonimo XVI sec.]
8. Wilson?s Wilde [anonimo XVI sec.]
9. Fantasia Prima [Melchiorre De Barberis]
10. Pavana n. 1 (da El maestro) [Luis Milán]
11. Pavana n. 6 (da El maestro) [Luis Milán]
12. Troisième Branle de Bourgogne [Adrian le Roy]
13. Greensleeves [Francis Cutting]
14. Españoleta [Gaspar Sanz]
15. Pavana [Gaspar Sanz]
16. Preludio dalla Suite per violoncello BWV 1007 [Johann Sebastian Bach]
17. Sarabande [François Campion]
18. Gigue [François Campion]
19. Studio n. 13 dai 20 studi, op. 35 (Studio II di Segovia) [Fernando Sor]
20. Studio n. 2 dai 20 studi, op. 6 (Studio III di Segovia) [Fernando Sor]
21. Studio n. 1 dai 20 studi, op. 6 (Studio IV di Segovia) [Fernando Sor]
22. Studio n. 22 dai 20 studi, op. 35 (Studio V di Segovia) [Fernando Sor]
23. Studio n. 17 dai 20 studi, op. 35 (Studio VI di Segovia) [Fernando Sor]
24. Ghiribizzo n. 17 dai Ghiribizzi M.S. 43 (Le streghe) [Niccolò Paganini]
25. Ghiribizzo n. 20 dai Ghiribizzi M.S. 43 (Là ci darem la mano) [Niccolò Paganini]
26. Lezione n. 10 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
27. Lezione n. 11 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
28. Lezione n. 12 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
29. Lezione n. 13 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
30. Lezione n. 14 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
31. Lezione n. 15 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
32. Lezione n. 17 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
33. Lezione n. 22 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
34. Lezione n. 23 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
35. Lezione n. 24 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
36. Lezione n. 25 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
37. Lezione n. 26 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
38. Lezione n. 28 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
39. Lezione n. 29 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
40. Lezione n. 30 dal Nuevo método para guitarra (II parte) [Dionisio Aguado]
41. Studio n. 3 dai 25 studi melodici e progressivi, op. 60 [Matteo Carcassi]
42. Studio n. 7 dai 25 studi melodici e progressivi, op. 60 [Matteo Carcassi]
43. Adelita [Francisco Tárrega]
44. Malagueña ? Fácil [Francisco Tárrega]
45. El noi de la mare [Miguel Llobet]
46. Preludio n. 1 dai 24 preludios para guitarra, op. 20 [Manuel María Ponce]
47. Preludio n. 2 dai 24 preludios para guitarra, op. 20 [Manuel María Ponce]
48. Prélude n. 3 (dai Cinq préludes) [Heitor Villa-Lobos]
50. Estudio sencillo n. 6 [Leo Brouwer]
51. Estudio sencillo n. 11 [Leo Brouwer]
/ Méthodes et pédagogie / Guitare / Guitare acoustique / CARISCH

Les avantages de la musique de Bach est qu'il est universel et dans une certaine mesure indépendante des instruments pour lesquels il a été composé. Sa musique est structurée de telle manière brillante et claire que ça sonne bien sur n'importe quel instrument. Ces compositions de Johann Sebastian Bach certainement quelques-unes de ses oeuvres les plus connues et très populaire. Par conséquent, outre les guitaristes apprécieront certainement de pouvoir jouer cette musique magnifique sur leur instrument. Toutes les pièces sont faciles à jouer de la guitare et un atout précieux pour le répertoire de l'enseignement et de concert. / Guitare