CLASSICAL and

HOLST GUSTAV, THE PLANETS. SUITE PER SOLO PIANO. Mars, the Bringer of War - Venus, the Bringer of Peace - Mercury, the Winged Messenger - Jupiter, the Bringer of Jollity - Saturn, the Bringer of Old Age - Uranus, the Magician - Neptune, the Mystic. I Black Sabbath nell'omonima canzone ''rapinano'' le prime note di Marte per il loro famoso riff con la quinta bemolle: Sol-Re-Reb. 

MUSIC BOOK, 

SHEET MUSIC FOR SOLO PIANO. 

The suite has seven movements, each named after a planet and its corresponding astrological character (see Planets in astrology):

Mars, the Bringer of War
Venus, the Bringer of Peace
Mercury, the Winged Messenger
Jupiter, the Bringer of Jollity
Saturn, the Bringer of Old Age
Uranus, the Magician
Neptune, the Mystic

Holst's original title (clearly seen on the handwritten full score) was "Seven Pieces for Large Orchestra". The composer's name was given as 'Gustav von Holst' — by the time he wrote "Mercury" in 1916 he had dropped the 'von', for he signed the score of that movement separately as 'Gustav Holst'. The movements were called only by the second part of each title (I "The Bringer of War", II "The Bringer of Peace" and so on). The present titles were added in time for the first (incomplete) public performance in September 1919, though they were never added to the original score.[19] It is perhaps instructive[original research?] to realise Holst attended an early performance of Schoenberg's Five Pieces for Orchestra in 1914 (the year he wrote "Mars", "Venus" and "Jupiter") and owned a score of it,[19][20] the only Schoenberg score he ever owned.[21]

A typical performance of all seven movements lasts for about fifty minutes though Holst's own electric recording from 1926 lasted just over forty-two and a half minutes. Some commentators have suggested that the ordering is structural, with the anomaly of Mars, Venus, Mercury, instead of the reverse, being a device to make the first four movements match the form of a symphony.[citation needed] An alternative explanation may be the ruling of astrological signs of the zodiac by the planets: if the signs are listed along with their ruling planets in the traditional order starting with Aries, ignoring duplication, Pluto (then undiscovered) and the luminaries (the Sun and Moon), the order of the movements corresponds. Another possibility, this time from an astronomical perspective, is that the first three movements, representing the inner terrestrial planets, are ordered by decreasing distance from the Sun; the remaining movements, representing the gas giants, are ordered by increasing distance from the Sun. Critic David Hurwitz offers an alternative explanation for the piece's structure: that "Jupiter" is the centrepoint of the suite and that the movements on either side are in mirror images. Thus "Mars" involves motion and "Neptune" is static; "Venus" is sublime while "Uranus" is vulgar, and "Mercury" is light and scherzando while "Saturn" is heavy and plodding. This hypothesis is lent credence by the fact that the two outer movements, "Mars" and "Neptune", are both written in rather unusual quintuple meter.

A more prosaic explanation may simply be that Holst wrote the movements in the order they stand, with one exception, and that the only structural change was to place "Mercury" third. "Mars", "Venus" and "Jupiter" were from 1914, "Saturn", "Uranus" and "Neptune" from 1915 and "Mercury" from 1916.

It has been speculated that "Mars" was a response to the outbreak of World War I, but Holst denied this, saying that "Mars" was completed before war was expected, and in August 1914 he was half-way through "Venus". Nevertheless, "Mars" is seen as prescient of mechanical warfare, something that was not a reality until after the entire suite was complete. Contrary to what is also sometimes said, Holst was not a pacifist but wanted to enlist as his friend Vaughan Williams did, but he was rejected as unfit: he suffered neuritis in his right arm—something that caused him to seek help from several amanuenses in scoring The Planets. This is clear from the number of different hands apparent in the full score.[19]

"Neptune" was one of the first pieces of orchestral music to have a fade-out ending, although several composers (including Joseph Haydn in the finale of his Farewell Symphony) had achieved a similar effect by different means. Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance".[22] Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter Imogen (in addition to watching the charwomen dancing in the aisles during "Jupiter") remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter... until the imagination knew no difference between sound and silence".

HOT JAZZ, VIOLIN PLAY-ALONG VOLUME 36. LIBRO E CD.

Series: Violin Play-Along
Format: Softcover with CD
Composer: Various

The Violin Play-Along series will help you play your favorite songs quickly and easily. Just follow the music, listen to the CD to hear how the violin should sound, and then play along using the separate backing tracks. With the melody and lyrics included in the book, you may also choose to sing along. Chord symbols are provided should you wish to elaborate on the melody. The audio CD is playable on any CD player, and also enhanced so Mac & PC users can adjust the recording to any tempo without changing pitch!

This volume includes: Body and Soul • Dark Eyes • The Hot Canary • How High the Moon • My Blue Heaven • Summertime • Sweet Georgia Brown • This Can't Be Love.

Want to learn more about the tempo adjustment software included on each CD?
View a video demo of the Amazing Slow Downer.

Song List:
Body And Soul
Dark Eyes
The Hot Canary
How High The Moon
My Blue Heaven
Summertime
Sweet Georgia Brown
This Can't Be Love

Inventory #HL 00110373
ISBN: 9781476875439
UPC: 884088862350
Width: 9.0"
Length: 12.0"
24 pages
 

LA CHITARRA CLASSICA, Guida per il principiante con istruzioni progressive e oltre 25 brani da studiare e suonare.
Autore Paul Henry.

LIBRO CON CD

METODO PER CHITARRA HAL LEONARD

Metodo Hal Leonard dedicato a chiunque voglia imparare la chitarra classica, per la prima volta tradotto in italiano. E' una guida per principianti assistiti da insegnante, ma anche per autodidatti, scritta dal famoso chitarrista P. Henry, che usa la musica dei grandi compositori classici per insegnare le basi dello stile e della tecnica classica. Il Cd allegato include tutti i brani del metodo per dimostrazione e play-along.

LA CHITARRA CLASSICA

Guida per il principiante con istruzioni progressive e oltre 25 brani da studiare e suonare.

Autore Paul Henry.

INDICE

Prima di cominciare . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anatomia della chitarra classica . . . . . . . . . . . . . . . . . .

Posizione da seduti. . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Accordatura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Elementi fondamentali di teoria . . . . . . . . . . . . . . . . . . . .

Posizione della mano destra . . . . . . . . . . . . . . . . . . . . . .

Come Suonare le corde . . . . . . . . . . . . . . . . . . . . . . . . .

Posizione della mano sinistra . . . . . . . . . . . . . . . . . . . .

Note sulla 1ª corda. . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 2ª corda. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Suonare la musica a due Voci . . . . . . . . . . . . . . . . . .

Studio n° 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 3ª corda. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio suonato sulle prime tre corde. . . . . . . . .

Studio n° 2 - legature di valore . . . . . . . . . . . . . . .

Studio n° 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 4 - minime puntate e legature di valore. . . .

Gli ottavi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 5 - melodia in ottavi con accompagnamento al basso .

Studio n° 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Altre note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 3. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Articolazione . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 4. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tempo 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 5. . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 6 in Re . . . . . . . . . . . . . . . . . . . . . .

Studio n° 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 4ª corda. . . . . . . . . . . . . . . . . . . . . . .

Tema in Re minore . . . . . . . . . . . . . . . . . . . . . . .

Variazione sul tema in Re minore . . . . . . . . . . .

Studio n° 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 5ª corda. . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 6ª corda. . . . . . . . . . . . . . . . . . . . .

Fantasia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Le scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Gli accordi . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 13 . . . . . . . . . . . . . . . . . . . . . . . . . . .

Romance . . . . . . . . . . . . . . . . . . . . . .

Studio n° 14 . . . . . . . . . . . . . . . . . . . . . . . . .

Corale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Brani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Allegro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Valzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andantino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andante. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Aria ungherese. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Altri accordi . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Shenandoah . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I sedicesimi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Allegro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Le terzine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andantino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Il Tocco Appoggiato. . . . . . . . . . . . . . . . . . . .

Estudio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Moderato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Esercizi 1-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Cancion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Serenata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tocco Appoggiato con il Pollice. . . . . . . . . . . . . .

Moorish Caravan . . . . . . . . . . . . . . . . . . . . . . . .

Passacaglia . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Le Legature di Espressione . . . . . . . . . . . . . .

Preludio n° 7. . . . . . . . . . . . . . . . . . . . . . . . . .

Legature discendenti . . . . . . . . . . . . . . . . . . . .

Gavotte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Esercizio sulle legature di Espressione. . . . . . .

Altri brani. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio in La minore . . . . . . . . . . . . . . . . . . . .

Chanson. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Malagueña. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Minuetto . . . . . . . . . . . . . . . . . . . . . . . . . . .

Vals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andante. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Inno alla gioia . . . . . . . . . . . . . . . . . . . .

Aria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Greensleeves . . . . . . . . . . . . . . . . . . . . . .

Minuetto . . . . . . . . . . . . . . . . . . . .

Tema in La. . . . . . . . . . . . . . . . . .

Pagina di consultazione. . . . . . . . .

Utilizzo delle unghie . . . . . . . . . . . . .

Prendersi cura della propria chitarra . . . .

Cambiare le corde della chitarra classica.

Guida alle corde e alle note . . .

Ringraziamenti . . . . . . . . . .

A proposito dell’autore . . . .

Pagina Traccia Pagina Traccia

PRIMA DI COMINCIARE

A PROPOSITO DI QUESTO METODO

Benvenuti al metodo Hal Leonard per chitarra classica. Il libro fornisce una guida didattica progressiva nell’approccio pratico allo studio dei fondamenti della chitarra classica, come la lettura della musica, l’armonia, concetti basilari che ogni principiante dovrebbe conoscere. Gli stadi iniziali nell’apprendimento dello strumento sono i più importanti, perché gettano le fondamenta del futuro successo musicale. È vivamente consigliato esercitarsi su ciascuna sezione del metodo in modo progressivo, poiché ad ogni nuovo concetto ne segue un altro. L’ascolto del CD allegato fornisce una chiara idea di come gli esercizi e i brani andrebbero eseguiti, oltre a insegnare all’orecchio come guidare le dita. Il metodo illustra i concetti fondamentali per un chitarrista principiante.

COSA È LA CHITARRA CLASSICA?

Imparare a suonare la chitarra classica non significa necessariamente dover imparare la musica classica. Significa imparare a suonare la chitarra seguendo la tradizione classica sviluppatasi nei secoli e in continua evoluzione. Lo studente imparerà a suonare da solista suonando contemporaneamente la melodia e l’accompagnamento, proprio come farebbe un pianista. Lo studente imparerà le tecniche di accompagnamento semplici, ma anche parti più complesse, imparando la musica dei grandi compositori, e stili diversi. È l’approccio, non la musica, che crea il musicista classico. La cosa più interessante nell’apprendimento della chitarra classica è che si utilizzano i metodi e le tecniche che sono state affinate nel tempo dai più grandi chitarristi mai vissuti.

C’È BISOGNO DI UNA CHITARRA CLASSICA?

Si può cominciare lo studio con una chitarra acustica, ma la chitarra classica è più semplice da suonare. Le corde di nylon si premono più facilmente con minor sforzo, e lo spazio tra le corde facilita entrambe le mani. Le chitarre classiche sono costruite in modo da poter suonare musica complicata. Esse; hanno un corpo più piccolo e sono più sensibili alle varietà di colore, di dinamica, di tono, tutti elementi molto importanti quando si suona.

FLUTE & GUITAR DUETS FOR ANY OCCASION. Hanson. La File Aux Cheveux De Lin (Girl With The Flaxen Hair) -Mexican Hat Dance -Foggy Dew -Jesu Joy Of Man's Desiring -Quant Je Voy Yver, Recercada Segunda -The Trees They Do Grow High -Golden Valley -Serenade In C -Ryan Time (Again) -Greensleeves 1 -Greensleeves 2.CD TAB.

A unique collection of duets, which will provide a wide ranging selection of high-quality music to flautists and guitarists. Pieces include well-known classics, lesser known yet captivating pieces and some original compositions. The accompanying recording allows the listeners to hear both parts simultaneously, to facilitate learning the pieces. It also allows for either of the instruments to be turned off completely so that an individual instrumentalist can use the recording as their playing partner. The guitar part for each piece is written in several ways to accommodate players of all abilities. Standard notation is provided for classically trained guitarists, tablature is also provided, and each piece includes simplified chord names along with a suggested strum.

Foggy Dew
Golden Valley
Greensleeves
Jesu, Joy Of Man's Desiring (Cantata BWV 147)
La Fille Aux Cheveux De Lin
Mexican Hat Dance
Quant Je Voy Yver
Recercada Segunda
Ryan Time
Serenade In C
The Trees They Do Grow High

CHAMBER MUSIC FOR GUITAR E, FLUTE o VIOLINO. La follia di Corelli, Ave Maria di Schubert, Humoresque di Dvorak, reverie di Chopin, e altri 18 pezzi. CD