Matériel : Partition + CD
Peter Penhallow présente quinze chansons folk américains, disposés de façon à être accessible pour le guitariste de débutant, complet avec un glossaire de termes, un guide de notation musicale et un CD d'exemples. Commencez en jouant de la musique que vous aimez. Chacune de ces merveilleux folk et les favoris traditionnels comprend des notes de rendement utiles pour vous aider à développer les techniques et styles correctes. Chaque chanson abrite également une variété de pistes sur le CD, des patrons d'accompagnement mettant en vedette, des représentations complets et des exemples de rythmique/plomb split. Avant que vous le connaissez vous jouer et chanter des chansons intemporelles comme vers le bas par le Riverside, Will The Circle être Unbroken et This Little Light de Mine. / Guitare / 40 pages / Partition + Cd
SKU: MB.20881BCD
ISBN 9780786607464. UPC: 796279036368. 8.75 x 11.75 inches.
Top traditional praise songs scored in notation and tab for easy to play flatpicking guitar. Songs include Sanctuary, As the Deer, Give Thanks, Lord, Reign in Me, Draw Me Close and many more. A companion CD is included. On the CD each piece is played twice, once as a guitar solo with accompaniment and again as a back-up track so the guitarist may practice the piece and use in a worship setting; ideal for small group or church performance.
SKU: UT.CH-111
ISBN 9790215316317. 9 x 12 inches.
The three original pieces for guitar Notturno, Napolitana (popolar songs) and Roma (March for guitar), together with three transcriptions, are included in a manuscript of 36 pages, noting in the frontispiece “Transcriptions and compositions of F. Balilla Pratella sent as a tribute to M.R. Brondi (1920)”. These compositions follow a traditional language, and, in the tonality and the alternating themes, are an expression of Pratella’s folkloric vein, with cantabile and melancholy melodies, with the exception of the march, that show some echoes of the nineteenth century guitar masters’ way of composing.There is a characteristic use of the quartine with no alternated thumb forefinger tremolo, that immediately recalls the plectrum orchestra so much used by Pratella in his youth.The discovery of these pieces – which happened accidentally and saved them from certain destruction – contributes to enhance that period of great guitarist turmoil preceding Segovia, establishing itself at the beginning of twentieth century in Italy with three compositions from an author that, along with the Bonaccorsi and Colacicchi, anticipated that current – already initiated by the Fara, Gabriel, Caravaglios – which was, in the following decades, to go by the name of ethnomusicology.