SPARTITI PER CHITARRA DI MUSICA CLASSICA

BARRIOS, IN TABLATURE VOLUME 1. LIBRO CON CD E TABLATURE

LIBRO DI MUSICA CLASSICA CON CD.

SPARTITI PER CHITARRA.

PENTAGRAMMA E TABLATURE.

Contiene: el sueno de la munechita -minueto en la -prelude in Em -gavota al estilo antiguo -medallon antiguo -dinora -prelude in Cm -maxixe -las abejas -danza guarani -villancico de navidad -oracion -Julia florida -romanza en imitacion al violoncello -choro de saudade. CD TABLATURE

Product Description:
Augustin Barrios was one of the greatest geniuses who ever played and composed music for the guitar. This book features a variety of his works ranging from the moderately easy to complex. In addition to being excellent technique studies, these compositions are wonderful solo pieces that reflect the impressionistic, Latin, and European influences found in the unique Barrios compositional style.

Format: Book/CD Set
Song Title: Composer/Source:
Choro Da Saudade Agustin Barrios Mangore
Danza Guarani Agustin Barrios Mangore
Dinora Agustin Barrios Mangore
El Sueno De La Munequita Agustin Barrios Mangore
Gavota Al Estilo Antiguo Agustin Barrios Mangore
Julia Florida - Barcarola Agustin Barrios Mangore
Las Abejas Agustin Barrios Mangore
Maxixe Agustin Barrios Mangore
Medallon Antiguo Agustin Barrios Mangore
Minueto En La Agustin Barrios Mangore
Oracion Agustin Barrios Mangore
Preludio In C Minor Agustin Barrios Mangore
Preludio In E Minor Agustin Barrios Mangore
Romanza En Imitacion Al Violoncello Agustin Barrios Mangore
Villancico De Navidad Agustin Barrios Mangore

BOCCHERINI: GUITAR QUINTET IN RE MAGGIORE N.4. Base con preascolto. CD

FANDANGO
Series: Music Minus One
Publisher: Music Minus One
Medium: Softcover with CD
Composer: Luigi Boccherini
Boccherini was one of the great masters of the Italian Baroque guitar and this quintet demonstrates that fact perfectly. As its title implies, it is famous for its dance-like qualities. Great fun and rewarding to any player of the Baroque and Classical guitar repertoire. Includes a high-quality printed solo part and a compact disc containing a complete performance with soloist; then a second version with accompaniment, minus the soloist.
16 pages

BAROQUE GUITAR, by FREDERICK NOAD. SHEET MUSIC BOOK with CD .

LIBRO DI MUSICA PER CHITARRA CON CD.

SPARTITI PER CHITARRA CON : PENTAGRAMMA.

Nella musica barocca sono importanti gli ornamenti musicali come l'appoggiatura, il Trillo, l'acciaccatura. In questo libro è spiegato come eseguirli correttamente. Con illustrazioni facsimile delle originali intavolature. 

The solos, duets and songs in this anthology are taken from the original sources and are graded and carefully fingered for the modern player. It is as faithful as possible to the originals while offering a practical performing score suitable for the concert stage. Includes pieces by de Visee, Sanz and other master composers for the lute, as well as introductory text sections and study notes.

The music selected for this collection was composed during the years from 1650 to 1750, representing the middle and late part of the period known as the Baroque. The term, derived probably from the Portugese barroco, an irregularly shaped pearl, was originally used in a depreciatory sense to imply an excess of ornament and elaboration in both music and architecture. This is in fact a heritage from the nineteenth century, whose critics and musical audiences had little appreciation for the Baroque style, and whose performers, when they did play the music, often altered the ornaments to avoid the dissonance that is so characteristic of it, and even changed chords and cadences to suit what was then considered good taste. While Dr. Bowdler was carefully eliminating from Shakespeare's works any words considered unsuitable for the young or the fair sex, so music editors were removing the essential spice and jangle from Baroque music. The result of this Victorian misinformation is that the present compiler must ignore the editorial work of the past century and much of the early part of this one, concentrating on the original manuscripts and publications, attempting to discover from the writings of the composers of the period their real spirit and intention. In the case of this book the search has involved a very extensive survey of the surviving literature for the guitar and lute, with particular attention to such comments as the composers of the period have made on how their music should be played. There is in fact an enormous resource of music surviving from the period, although inevitably much of it is trivial and pedestrian. In addition the composers, who waxed eloquent and expressive to a degree in their dedications to a noble patron, were surprisingly economic of words in their instructions to the player. 1650 found the guitar in a state of increasing popularity following the addition of a fifth pair of strings which considerably increased its range over the four-course Renaissance instrument. It was much easier to play than the lute, to which also at this time extra courses were added to increase the bass range and for which a new tuning became popular under the influence of the French lutenists. The new tuning favored the use of the lute for song accompaniment and the realization of figured basses, but appeared to make it overcomplex as an instrument for multi-part counterpoint. The essentially vocally conceived solo lute music of the late Renaissance gave place to simple stylized dances restricted mainly to a treble and bass line with the irregular addition of fuller chords. In Spain the six-course vihuela had now declined completely, its role in serious music having been superceded by the keyboard instruments. In both Italy and Spain the five-course guitar was popular as a folk instrument, and was employed in two distinctive styles-Rasgueado (strummed) for dance accompaniment, and Punteado (fingered) for the performance of simply conceived solos based mainly on the dance forms. Although both the guitar and lute were assigned roles of secondary importance in the Baroque period, it is during this same period that the first example of the phenomenon of "guitar mania" occurred, at the court of Charles II. The scene is graphically described in the Memoirs of the Count of Grammont, edited by Sir Walter Scott, from which the following is an extract. "There was a certain foreigner at court, famous for the guitar, he had a genius for music, and he was the only man who could make anything of the guitar; his style of playing was so full of grace and tenderness that he could have given harmony to the most discordant instruments. The truth is, nothing was too difficult for this foreigner. The King's relish for his compositions had brought the instrument so much into vogue that every person played upon it, well or ill; and you were as like to see a guitar on a lady's dressing table as rouge or patches. The Duke of York played upon it tolerably well, and the Earl of Arran like Francisco* himself. The Francisco had composed a Sarabande which either charmed or infatuated every person; for the whole guitarery at court were trying at it, and God knows what a universal strumming there was." A similar situation seems to have prevailed in the French court of Louis XIV, the king himself being a player of the instrument. Even Lully, the leading court composer and violinist, was more easily persuaded to perform on the guitar than the violin, a fact that the 18th Century historian Sir John Hawkins regarded with great scorn. "Francisco Corbena

Allegro (Domenico Scarlatti)

Allegro (Wolff Jacob Lauffensteiner)
Allemande
Andante (Wolff Jacob Lauffensteiner)
Aria (Johann Adolf Hasse)
Art Thou Troubled? (Dove Sei) (George Friedrich Handel)
Bourree
Bourree [Bach, Johann Sebastian]
Canarios [Sanz, Gaspar]
Cancion O Tocata (Santiago De Murcia)
Canon (Wenzel Von Redolt)
Courante
Delicate Beauty (Henry Lawes)
Double (Johan Sebastien Bach)
Fair Celia (Dr John Blow)
Gavotte [Turk, Daniel Gottlob]
Gigue
Gigue (Lodovico Roncalli)
Grave (Wolff Jacob Lauffensteiner)
I Attempt From Love's Sickness To Fly [Purcell, Henry]
I Prithee Send Me Back In My Heart (Henry Lawes)
Minuet I
Minuet II
Minuet In A Minor (Henry Purcell)
Minuet In Canon (Wenzel Von Redolt)
Minuet In E (Adam Falckenhagen)
Minuet In E (Anonymous)
Minuet In E Minor (Robert De Visee)
Minuet In G (Anonymous)
Old French Gavotte
Passacaglia (Lodovico Roncalli)
Passacaille [Visee, Robert De]
Passacaille [Weiss, Sylvius Leopold]
Prelude
Prelude (Johan Sebastien Bach)
Prelude Allemande
Sarabande
Sarabande [Bach, Johann Sebastian]
Sarabande And Variations (George Friedrich Handel)
Sarabande for a sandwich
Sarabande In E Minor (Lodovico Roncalli)
Sarabande In G (Lodovico Roncalli)
Sonata (Sylvius Leopold Weiss)
Tombeau Sur La Mort De M. Comte De Logy (Sylvius Leopold Weiss)
Trio (Anonymous)
Vivace (Adam Falckenhagen)

BAROQUE MUSIC COLLECTION FOR GUITAR. 45 Pezzi di musica barocca di J.S. Bach, G. Sanz, G.F. Handel, A. Vivaldi, J.P. Rameau, C.W. Gluck, J Dowland, anonimi, ecc. Inclusa: sarabanda, Handel -6 pavane, L. Milan-adagio, Albinoni -saltarello -guardame las vacas, L.de Narvaez -lachrimae pavana, John Dowland. TAB.

BAROQUE SUITES FOR GUITAR. Raccolta per chitarra di musica barocca. Contiene: suite spagnola, Sanz -suite in sol maggiore, Roncalli -sonata in re maggiore, Handel -partita XI, V, XVI, Brescianello -irish suite, Carolan -violoncello suite 1, Bach -lute concerto, Vivaldi -passacaglia, Roncalli -la folia, Corelli. CD.