Il s'agit de la troisième livre dans les Airs pour la série de paires et la première à se concentrer sur la musique d'un pays. Tirées de siècles de musique écossaise, la sélection inclut des airs connus aux côtés de quelques perles rares, ainsi que deux belles compositions modernes : mes remerciements à Brian McNeill et Martin Marroni pour obtenir la permission d'inclure ces. Le livre comprend également un arrangement chaque par Nathaniel Gow et William C Honeyman comme des exemples intéressants de duos publiées antérieurement. Airs plus âgés s'est fréquemment existent en plusieurs versions, donc tandis que les harmonies travaillent avec les versions ici ils pas nécessairement ira avec différentes versions qui vous le savez peut-être déjà. Flexions ont été incluses comme un guide pour les moins expérimentés, mais les joueurs les plus expérimentés seront sentira donc libres d'utiliser leur propre. L'ar harmonies il afin d'améliorer les mélodies, donc il est souvent efficace jouer le solo de tune ou à l'unisson tout d'abord avant d'ajouter l'harmonie, qui ne devrait jamais se noyer la mélodie. L'ornementation est partie intégrante de cette mus... / Instruments En C
SKU: AU.9781506456874
ISBN 9781506456874. 7x10.25 inches.
Hopson pairs a wonderful poem by Robert Southwell with a scottish folk tune in this anthem, perfect for the Sundays after Christmas. The text explores the implications of Christ's birth, and the addition of flute adds to the gentle lilt of the tune. Tune: Scottish Folk Tune.
SKU: IS.G6764EM
ISBN 9790365067640.
This sonata (WeissSW No. 23, London) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XVII comes from Weissâ??s middle â??productiveâ?? period, thought to have taken place between 1719 and 1725. The original tablature manuscript is in the British Library (London Ms. Add. 30387). It is the only London Sonata with a title: Divertimento à solo. The Sonata has ten separate movements: Prelude (PrÇ£lude), Entrée, Bourée I and II, Gavotte I and II, Sarabande, Menuet I and II, and Saltarella. The Entrée is nothing more than an Allemande. The Saltarella resembles the Scottish Gigue. The pairs of the middle â??dancesâ?? are intended to be played side by side, as one coherent movement in which the second part complements the musical notion of the first part. There are concordant copies of the first parts of the Bourée, Gavotte and Menuet in the Sächsisches Landesbibliothek in Dresden (Suite XXVI). Bourée I can also be found in the Bayerische Staatsbibliothek in München, although it is quite different from the London version. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
