LIBRO CON CD

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)

BACH, FOR ACOUSTIC GUITAR. Ben Bolt. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA CLASSICA CON CD,

SPARTITI PER CHITARRA :

PENTAGRAMMA E TABLATURE .

Product Description:
J. S. Bach is the most sought after composers of all time. He is everybody's favorite! Best selling author Ben Bolt has inked 12 solos for guitar in this book. Included are moderate to advanced solos in notation and tablature. All 12 solos are recorded in order like the book. The recording can easily stand on it's own for your listening pleasure, or can be used as an instructional tool. Professor Bolt also includes a copy of Bach's original manuscript of Partita No. 1 for cross-reference purposes. Includes the following pieces: Sleepers Awake! (from Cantata No. 140), Gavotte, Prelude (from 3rd Cello Suite), Courante (from 3rd Cello Suite), Corrente (from 1st Violin Partita), Bourrée (from 1st Violin Parita), Prelude in D (from 1st Cello Suite), Gigue (from 1st Cello Suite), Sarabande (from 2nd Lute Suite), Gigue (from 2nd Lute Suite), Courante (from 1st Lute Suite) and Fugue.

J. S. Bach was born in Germany in 1685 and died in 1750. His ancestors for over 100 years had been musicians. He was orphaned before he reached the age often and his brother, Johann Christoph Bach, raised him. Johann Christoph had been a pupil of Johann Pachelbel. When Bach was fifteen, he studied under two of the most important organists of that time, J. J. Lowe and Georg Bohm. Bohm has been considered a great influence on Bach's compositions for organ. While still a teenager, Bach began his professional career as a church organist in Amstacht. During that time he made a longjourney to Lubeck on foot to hear the great organist Dietrich Buxtehude. It is speculated that Bach considered applying for the succession to Buxtehude's post. The post, however, carried with it an obligatory marriage to Buxtehude's thirty year old daughter. Many scholars think that this deterred Bach from making the application. In 1708 Bach did accept a position as court composer to the Duke of Saxe-Weimer. While this post began a happy phase of his life, he seems to have been unable to avoid controversy regarding court politics. By 1717 he was again seeking a new appointment as the director of music at the court of Anhalt-Cothen. His release from Weimer was obtained only after persistent demands and a period of imprisonment for insubordination. It was in Cothen that Bach turned from religious music to secular music. This was because religious music did not have a place at the Calvinist Court of Cothen. It was during this period he produced the six Brandenburg Concertos, the six suites for unaccompanied cello, and the three sonatas and three partitas for unaccompanied violin. The complete autographed facsimile ofthe violin partitas have been included in this book. Bach made use of the material of Vivaldi, Corelli, and Frescobaldi in his own compositions. The borrowing of ideas was a common practice at the time. But he was not a mindless mimicker, he took their ideas to new heights, using his own genius. Bach's imagination continues to impress the greatest living composers centuries after his death. In spite of the large number of Bach compositions that exist, scholars believe they represent only about half of what he actually composed. Of the five Passions he wrote, only two are now known. In addition to the 200 cantatas, it is speculated that 100 have been lost. Bach is quoted as saying that anyone who had worked as hard as he had done, could have achieved as much. As we stand in awe of Bach's body of work and realize that he mastered both the intellectual and emotional sides of music, one wonders where his inspiration originated.

Ben Bolt is credited with being the first classical guitarist to introduce thousands of new people to the classical style of guitar through his videos and books, which use a revolutionary fonnat of learning. In the past, guitar students needed to learn to read music at the same time they were learning to play the guitar, which was complicated. Since the publication of Bolt's book/tape packages, beginners are able to play immediately. The tablature, using lines and numbers to show where the notes are, and the recording, which is rhythmically self-explanatory, empowers all students to play. Bolt's work has been mimicked throughout the publishing world. Because of his vision of making classical guitar accessible to all kinds of musicians, the classic guitar is being experienced by the masses. Andres Segovia, the father of classical guitar, said, "Ben Bolt is an excellent guitarist with fine tone." Segovia personally paid for a scholarship so that Bolt could continue his studies at the Musica en Compostela (circa 1987) summer masterclass and music festival, which Segovia had founded. In his zeal to pursue the Segovia technique and interpretive style, Bolt also studied with one of Segovia's most gifted students, Abel Carlevaro, who awarded him the coveted "Premio de Merito". While studying with Carlevaro in Montevideo, Uruguay, he was also the First Place winner of "Concurso International Aemus." His music studies were completed under the direction of Maestro Guido Santorsola, who bestowed him with an original composition for guitar entitled "Seis Bagatelas" as a graduation gift. After returning to the U.S., he became the first guitarist inducted as a National Patron of Delta Omnicron International Music Fraternity. Several Ben Bolt books have consistently appeared on Mel Bay's best seller list. His video Anyone Can Play the Classic Guitar has become a reference for college students as the authority on the fundamentals of classical technique. He also appears on Mel Bay's videos of the complete volumes of Modern Guitar Method, a huge commercial success, selling in the millions of copies. He is endorsed by Takamine Guitars and D' Addario Strings. Bolt divides his time among publishing, performing, and teaching at the college level. He believes anyone can play the guitar well, provided they have these three ingredients: a good instrument, a knowledgeable teacher, and music that holds the student's interest. Bolt's work is distributed internationally and has been featured at the annual NAMM show (National Association of Music Merchants) in California, as well as the International NAMM show in Germany.

Format: Book/CD Set
Contents:

Sleepers Awake! from Cantata No. 140 -- J. S. Bach; Arranged by Ben Bolt
Gavotte -- J. S. Bach; Arranged by Ben Bolt
Prelude from 3rd Cello Suite -- J. S. Bach; Arranged by Ben Bolt
Courante from 3rd Cello Suite -- J. S. Bach; Arranged by Ben Bolt
Corrente from Partita No. 1 for Violin -- J. S. Bach; Arranged by Ben Bolt
Bourree from Partita No. 1 for Violin -- J. S. Bach; Arranged by Ben Bolt
Prelude in D from 1st Cello Suite -- J. S. Bach; Arranged by Ben Bolt
Gigue from 1st Cello Suite -- J. S. Bach; Arranged by Ben Bolt
Sarabande from 2nd Lute Suite -- J. S. Bach; Arranged by Ben Bolt
Gigue from 2nd Lute Suite -- J. S. Bach; Arranged by Ben Bolt
Courante from 1st Lute Suite -- J. S. Bach; Arranged by Ben Bolt
Fugue -- J. S. Bach; Arranged by Ben Bolt

39 PROGRESSIVE SOLO FOR CLASSICAL GUITAR 2. Allemande (Bach) -Baxa De Contrapunto (De Narvaez) -Canarios (Sanz G) -Cancion Del Emperador (Narvaez) -Guardame Las Vacas (Narvaez) -Romance -Sarabande -Six Pavans (Milan) -Studio In B Minor (Sor) -Study In C (Sor) -Study In D (Sor) -Tarleton's Riserrectione(Dowland. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA CLASSICA CON CD.

SPARTITI PER CHITARRA:

PENTAGRAMMA E TABLATURE.

39 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR Book 2
Series: Guitar Educational
Publisher: Cherry Lane Music
Softcover with CD - TAB

39 outstanding classical guitar solos arranged with tablature for the first time. Includes, 44 pages

Allemande (Bach)
Baxa De Contrapunto (De Narvaez)
Canarios
Cancion Del Emperador
Guardame Las Vacas (Narvaez)
Romance
Sarabande
Six Pavans (Milan)
Studio In B Minor (Sor)
Study In C (Sor)
Study In D
Tarleton's Riserrectione(Dowland

THE ROOTS OF ACOUSTIC BLUES GUITAR. Fred Sokolow.

LIBRO DI MUSICA CON CD, SPARTITI PER CHITARRA E CANTO. CON ACCORDI, PENTAGRAMMA, TABLATURE.

Canzoni complete con il canto: baby, please don't go, Lightnin' Hopkins -come back baby, Mance Lipscomb -hey hey, Big Bill Broonzy -I'm so glad, Skip James -the prodigal son, Rev. Robert Wilkins -stack o'lee, Mississippi John Hurt. CD TABLATURE

SULTAN KENNY, BLUES GUITAR LEGENDS. SGEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA BLUES, CON CD. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

METODO 

Blues Guitar Legends in the styles of Lightnin' Hopkins, Blind Blake, Mississippi John Hurt, Blind Boy Fuller, and Big Bill Broonzy.

Series: Guitar
Publisher: Centerstream Publications
Format: Softcover with CD
Artist: Kenny Sultan

Inventory #HL 00000181
ISBN: 9781574240153
UPC: 073999011586
Width: 9.0"
Length: 12.0"
48 pages

This book/CD package allows you to explore the styles of Lightnin' Hopkins, Blind Blake, Mississippi John Hurt, Blind Boy Fuller, and Big Bill Broonzy. Through Sultan's arrangements, you will learn how studying the masters can help you develop your own style. 48 pages

Well, here we go again for you. It's time for our third volume in a series of blues books for Centerstream Publications. If you have any of the earlier editions welcome back, if you are new I'm glad you are here. The concept for this book is unique. I'll be attempting to teach you my loose interpretations of five legendary bluesmens music. In the end I hope this enables you to develop an original style of your own. In my many years of teaching I've discovered an abundance of publications that have exact note for note transcriptions of original blues songs. Attempting to play these was a nightmare. I found that in order to do things exactly, there was no feeling or emotion left in the music. Come on, can anyone really play like Lightnin' Hopkins? The best you can do is take the emotion from the original and do your own thing. How many of you have spent hours trying to learn that one mystery note and have never gotten it to sound right? I say relax, get as close as you can, and go from there. I've taken some liberties with the music in this book. These songs are not even close to being note for note renditions of the originals. I know some blues purists are going to freak out but again, this is primarily a book to help you develop your own style. If I haven't bothered to be precise, I don't expect you to either. Feel free to add and subtract licks when you want. This isn't classical music or brain surgery. Live a little! Finally, I must give credit where credit is due, and that's to the original blues artists. I would never think of taking anything away from them. Without seeing, listening, and learning from them, I would probably still be playing "Last Train to Clarksville" by the Monkees. This is why you should listen to as much original music of these artists as possible. It's the only way to see what's really happening. Remember they are the legends!