Méthode complète pour parvenir à pincer de la guitare
Author: Ferdinando Carulli
Publisher: Editions Minkoff
Published: 1987
Total Pages: 130
ISBN-13:
DOWNLOAD EBOOKRead and Download eBook Full
Author: Ferdinando Carulli
Publisher: Editions Minkoff
Published: 1987
Total Pages: 130
ISBN-13:
DOWNLOAD EBOOKAuthor: Ferdinando Carulli
Publisher:
Published: 1830
Total Pages: 122
ISBN-13:
DOWNLOAD EBOOKAuthor: Ferdinando Carulli
Publisher:
Published: 1825
Total Pages: 104
ISBN-13:
DOWNLOAD EBOOKAuthor: Ferdinando Carulli
Publisher:
Published: 1835
Total Pages: 122
ISBN-13:
DOWNLOAD EBOOKAuthor: Ferdinando Carulli
Publisher:
Published: 190?
Total Pages: 104
ISBN-13:
DOWNLOAD EBOOKAuthor: Ferdinando Carulli
Publisher:
Published: 182?
Total Pages: 92
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DOWNLOAD EBOOKAuthor: A. H. Varlet
Publisher:
Published: 1830
Total Pages: 115
ISBN-13:
DOWNLOAD EBOOKAuthor: James Tyler
Publisher:
Published: 2002
Total Pages: 349
ISBN-13: 019816713X
DOWNLOAD EBOOKMore than twenty years ago James Tyler wrote a modest introduction to the history, repertory, and playing techniques of the four- and five-course guitar. Entitled The Early Guitar: A History and Handbook (OUP 1980), this work proved valuable and enlightening not only to performers and scholarsof Renaissance and Baroque guitar and lute music but also to classical guitarists. This new book, written in collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its musicfrom the Renaissance to the dawn of the Classical era.Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of theperiod. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers andscholars alike.Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history--notably c.1759-c.1800--which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central tomusic-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-stringinstrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.
Author: Glenn Kurtz
Publisher: Vintage
Published: 2008-11-19
Total Pages: 250
ISBN-13: 0307489760
DOWNLOAD EBOOKIn a remarkable memoir written with insight and humor, Glenn Kurtz takes us from his first lessons at the age of eight to his acceptance at the elite New England Conservatory of Music. After graduation, he attempts a solo career in Vienna but soon realizes that he has neither the ego nor the talent required to succeed and gives up the instrument, and his dream, entirely. But not forever: Returning to the guitar, Kurtz weaves into the narrative the rich experience of a single practice session. Practicing takes us on a revelatory, inspiring journey: a love affair with music.
Author: Christopher Page
Publisher: Boydell & Brewer
Published: 2023-02-28
Total Pages: 337
ISBN-13: 1837650330
DOWNLOAD EBOOKThe first book devoted to the composers, instrument makers and amateur players who advanced the great guitar vouge throughout Western Europe during the early decades of the nineteenth century.Contemporary critics viewed the fashion for the guitar with sheer hostility, seeing in it a rejection of true musical value. After all, such trends advanced against the grain of mainstream musical developments of ground-breaking (often Austro-German) repertoire for standard instruments. Yet amateur musicians throughout Europe persisted; many instruments were built to meet the demand, a substantial volume of music was published for amateurs to play, and soloist-composers moved freely between European cities. This book follows these lines of travel venturing as far as Moscow, and visiting all the great musical cities of the period, from London to Vienna, Madrid to Naples. The first section of the book looks at eighteenth-century precedents, the instrument - its makers and owners, amateur and professional musicians, printing and publishing, pedagogy, as well as aspects of repertoire. The second section explores the extensive repertoire for accompanied song and chamber music. A final substantive section assembles chapters on a wide array of the most significant soloist-composers of the time. The chapters evoke the guitar milieu in the various cities where each composer-player worked and offer a discussion of some representative works. This book, bringing together an international tally of contributors and never before examined sources, will be of interest to devotees of the guitar, as well as music historians of the Romantic period.