CHITARRA - GUITAR

INIZIAZIONE ALLA CHITARRA ACUSTICA, Alberto Bichi. In italiano. TAB. DVD

Lo scopo principale di questo DVD è di aiutare i principianti nell’approccio alla chitarra acustica, mostrando loro, con suoni ed immagini, tutti gli elementi necessari all’iniziazione, per poi progredire rapidamente nell’utilizzo di questo strumento. Imparerete quindi le posizioni da adottare (dita, mani, ecc), le diverse tecniche specifiche della mano destra (tecnica a plettro, a pizzico, ecc), ma anche quelle della mano sinistra. Imparerete inoltre tutte le tecniche di accompagnamento ed anche a suonare la chitarra solista Gli esercizi che vi sono proposti hanno una difficoltà progressiva e costituiscono delle frasi che potrete subito integrare nelle vostre esecuzioni. Senza dubbio il miglior modo per iniziarvi alla chitarra. DVD Booklet

TECNICHE AVANZATE DELLA CHITARRA FLAMENCA Fernandez, J. In italiano. TAB. DVD

A partire dall’analisi di due stili essenziali del repertorio flamenco ossia la soleá e la bulería troverete in questo DVD uno studio dettagliato degli elementi seguenti: l’armonia flamenca (il modo flamenco di Mi o «por arriba», gli accordi di base e gli accordi di passaggio), il lavoro della mano destra (rasgueados complessi, arpeggi, tecniche pollice/ indice), il lavoro della mano sinistra (legati, slide, cambi di posizione, estensioni a partire dai barré), il ritmo (fraseggi complessi, sincopi, contrattempi). Una parte importante del DVD è stata ugualmente dedicata all’accompagnamento del «cante» con la partecipazione amichevole della cantante Maguy Naïmi.
DVD + Booklet

ACCOMPAGNAMENTO E RITMICHE ALLA CHITARRA Tortora, Matteo. In italiano. TAB. DVD

Questo DVD si rivolge a tutti coloro che vogliono imparare o perfezionare la chitarra di accompagnamento. Troverete quindi le tecniche della mano sinistra (barrè, slide, hammer) e le diverse posizioni degli accordi in dettaglio, le tecniche della mano destra (nota colpita, nota smorzata, ecc.) con o senza plettro, dei giri e degli esercizi con play-back, delle ritmiche di base "passe-partout" (pop, folk, rock) ed altre più tipiche (reggae, funk, bossa, ispirazione spagnola, ecc.) ed infine degli arpeggi. Potrete quindi, grazie a questo DVD, accompagnare un gran numero di canzoni, e ciò in diversi stili: Dylan, Marley, Hendrix, Police, Beatles, Rolling Stones, Oasis, ecc. DVD + Booklet

Subtitles in italian

VOICING DELLA CHITARRA, Derek. In italiano. CD TAB.

D. Sebastian [Metodi + CD | Chitarra]

Se le conoscenze teoriche permettono di accrescere il potenziale creativo, le informazioni pratiche, immediatamente applicabili, sono certamente le più attraenti. Ecco il motivo per cui, parallelamente ai principi teorici, troverete qui raggruppati i «voicing» più significativi dedicati alle progressioni armoniche del Blues, alle progressioni Tonali ed alle progressioni Modali del Jazz ternario e binario, fermo restando che un ampio spazio è stato lasciato ai diagrammi degli accordi. Questi voicing vi saranno preziosi per accompagnare, certamente, ma anche per elaborare degli assolo ad accordi od ancora per armonizzare una melodia. Vi aiuteranno anche molto ad aguzzare il vostro orecchio musicale relativamente all’improvvisazione melodica pura. Grazie ai numerosi esempi che illustra, il CD renderà questo metodo ancora più piacevole ed efficace. Vi permetterà inoltre, tramite il semplice ascolto, a selezionare le progressioni armoniche che vi piacciono di più. Libro + CD

Since the end of the last century, the art of the guitar has experienced two decisive turning points. The first was the setting up of the Tarrega School, important from the musical point of view, but with the technical consequences . resulting from abandoning the system of positions similar to those of the violin, made necessary by the need for a more precise configuration of the parts, in the spirit of romantic music; the second, which began some time ago and is still going on, is the enrichment of guitar music with an abundant production of contemporary music inspired by the art of Andres Segovia and his most gifted disciples. These two phenomena, whose enormous importance has been the mainspring of the current revival of the guitar, are accompanied by a paradoxical standstill in guitar teaching methods which today are still based almost entirely on the works of the great guitarists of the nineteenth century. Far from wishing in any way to belittle the historical-artistic value of the methods of Carulli, Carcassi, Giuliani, Aguado and Sor, it is undeniable that, when examined in the light of the present-day technical-musical situation, they contain serious shortcomings. Conceived within the very precise limits,pf the classical style, they have gradually lost all relevance to music today, answering less and less the needs that arose in subsequent phases of musical evolution, while little or nothing emerged later that could be added to this fundamental group of works. Tarrega's great contribution to the guitar school only rarely expressed itself in a clear, scholastic form as, with his lofty artist's nature, he preferred to give form to his intuitions, translating them into studies and preludes in the manner of his contemporaries. It is regrettably sad to note that where artistic genius is greatest, didactic sensitivity is all too often lacking: too intent on living his art, the great artist cannot find the time to pause and carry out an analysis. What is one to make today of Carcassi or Carulli who base their method on the sequence of keys, passing blithely from a very brief melodic exercise to a multi-voice study, almost completely ignoring the right hand? What is one to make of Giuliani's method which, published under the mystifying number of Op. I, reveals very scant didactic sensitivity, because if the beginner manages to survive the boredom of its 120 arpeggios, he will almost certainly succumb when faced with the difficulty of the following pages! And lastly, what is one to make of Aguado and Sor who, skipping the entire preparatory phase, offer the student, right from the first pages, those delightful but not easy pieces worthy of a better fate than being maltreated by inexperienced hands? Today, the guitar student still searches in vain for a "helping hand" to guide him unfailingly "from the first faltering steps to the peaks of perfection". The two weak points of the discontinuous teaching method that most teachers and students use nowadays are the introduction to the study of the guitar and the transition from the classical to the contemporary technique. The need for a new and more rational method for beginners is felt even more today as the average age of students has dropped noticeably. Up to a few years ago it was believed that the guitar could not be studied gainfully before the age of lIn, but, in reality, it was the lack of suitable texts and instrumentJ' that were almost always the cause of failure when the guitar was taken up, at an earlier age. As to the transition from the classical to the modern and contemporary school, which usually takes place around the 4th to 5th year, this can be the source of considerable difficulty and, at times, bitter disappointment, especially for those students who, having been more diligent, have better assimilated technical formulas and approaches that are both insufficient and outdated. With regard to this, it should be remembered that most classical studies, above all those of the Italian school, as also arpeggios and scales in the first position, lend themselves to easy execution (perhaps easier execution!) by using an incorrect approach with the left hand. The use of the thumb on the sixth string, which Carulli did, was both the cause and consequence of the inclined position of the left hand. On the wide necks of modern guitars, this position, which hinders the important, wide-ranging action of the little finger, turns out to be a serious impediment, capable of calling into question all the work done in years of study. The right hand, for its part, made stiff by having been used almost exclusively for arpeggios, lacks lightness, mobility, agility, entry precision, and softness in the crosswise and lengthwise strokes. The only way to get round these serious obstacles is to back up traditional studies, which, if intelligently chosen and revised, still possess an irreplaceable formative function, with suitable technical exercises aimed at preventing incorrect use of the hands and at familiarizing the student, right from the first year, with the formulas and methods used in modern guitar playing. Modern guitar music, written mostly by composers who are not themselves guitarists and thus not conditioned by the instrument, calls for total mastery of the guitar by the player which, in my opinion, can only be achieved beyond the t(mal system because, being a system, it rules out an infinite number of musical, and thus technical-instrumental, possibilities. Only practice of atonal exercises makes thorough knowledge of certain new aspects of technique possible which, seemingly of minor importance, later prove to be fundamental for high-level guitar playing. The lessons I present in this book are based on these ideas and aim at developing, in a harmonic and interdependent way, both physical faculties (elasticity, speed, strength equally distributed among the different fingers, bold attacks and changes of position) and mental ones (exact perception of distances, prompt memory of the fingerboard, sensitivity to the relationships between fingerboard space and musical space, memory and power of concentration). Only by assimilating these elements can the miracle of transforming an inert object like a musical instrument into a Jiving part of the performer be achieved.