(Guitar Solo). Bring the world of classical music to guitarists of all levels! This collection features classical guitar technical studies from Sor, Tarrega, Guiliani, Carcassi, and Aguado, as well as presenting fresh guitar arrangements of well-known classical masterpieces. Repertoire compositions are included from the likes of Bach, Beethoven, Brahms, Chopin, Debussy, Faure, Massenet, Mozart, Pachelbel, Ravel, Schumann, Tchaikovsky, Wagner and more. Many audio examples are also included with guitar solo performances by the author.
" ... A treasure trove of repertoire, containing 48 classical guitar solos from classical greats such as Mozart, Grieg, Purcell and J.S. Bach alongside all-time guitar favourites such as Asturias and Spanish Romance."--Publisher's description.
(Guitar Solo). Featuring some of the world's most beautiful classical pieces by Bach, Beethoven, Bizet, Dvorak, Greig, Mozart, Puccini, Strauss, Tchaikovsky, Vivaldi, and more, this 34-piece collection also includes traditional guitar repertoire by Albeniz and Tarrega. Like the highly acclaimed Classical Guitar Compendium , it was compiled, arranged and recorded by renowned English classical guitarist Bridget Mermikides. Presented in both standard notation and tablature, with online audio included, these masterful arrangements are accessible for guitarists of all levels.
(Guitar Solo). 35 beautiful pieces superbly recorded and arranged for solo classical guitar in standard notation and tablature by Bridget Mermikides. Recordings of Bridget playing each piece are accessed online for download or streaming. Works include: Andante Largo op. 5 no. 5 (Sor) * Andante - Violin Sonata no. 2 (Bach) * Coppelia Waltz (Delibes) * The Entertainer (Joplin) * How Can I Keep from Singing (Lowry) * Humoresque (Dvorak) * Sicilienne (Paradis) * Tristesse op. 10 no. 3 * Waltz no. 15 op. 39 (Brahms) * and more.
Like Volume 1 of The Classical Guitarist’s Gig Book, this second volume contains 63 intermediate to advanced solo arrangements of pieces in various styles. From “The Water Is Wide” and Christmas and patriotic favorites to opera arias, “Julia Florida” by Agustín Barrios and Cello Suite No. 1 by J. S. Bach, all the music in this book is written in standard notation only. The author, award-winning composer, university professor, 2013 Winfield Fingerstyle Champion and 2022 Indiana State Fingerstyle Guitar Competition winner, Mark Cruz, has added a few of his own engaging compositions to this exceptional collection—tailor made for the performing classic guitarist.
“The aim of this book is to gather in one place a compendium of techniques specific to the classical guitar. Each technique has a written explanation, preliminary exercises and two original compositions, providing the opportunity to use the techniques in a musical context.” Steve Marsh Mel Bay Publications was founded on Mel’s simple pretext of “finding a need, and filling it.” Mel Bay author, Steve Marsh, continues in that tradition with the publication of The Anthology of Classical Guitar Techniques, a highly original concept that fills a distinct need in the guitar study repertoire. Graded from lower intermediate to higher intermediate in difficulty, this anthology avoids fundamental skills known to most beginners and goes straight to intermediate-level techniques such as: arpeggio, barré, campanella, glissando, harmonics, pizzicato, rapid scales, rasgueado, tambour, tremolo, vibrato, and more. Each of the 32 techniques is illuminated with preliminary studies and two original compositions, all written in standard notation only. If you’re ready to take the next step with the classical guitar, this book will improve your technique and musicianship in general, increase your ability to listen to yourself critically, and so lead to more productive practice sessions.
Spectrum: Ambient/ Industrial/ Experimental Music Culture Magazine was one of the most well respected underground zines dealing with post-industrial music in the late 1990s to early 2000s, with a particular focus on the dark ambient, death industrial, heavy electronics, power electronics, neo-classical, martial industrial and neo-folk genres. This book reproduces all five issues of the rare, out of print Spectrum magazine, plus the unpublished issue No 6. It also includes much new material that puts the music scene and its culture into perspective. Featured interviews: Bad Sector / Black Lung / Brighter Death Now / Caul / Cold Spring / Crowd Control Activities / C17H19No3 / Death In June / Der Blutharsch / Desiderii Marginis / Deutsch Nepal / Dream Into Dust / Endvra / Folkstorm / Genocide Organ / Gruntsplatter / Hazard / House Of Low Culture / I-Burn / Ildfrost / Imminent Starvation / Inade / IRM / Iron Halo Device / Isomer / John Murphy / Kerovnian / Knifeladder / LAW / Malignant Records / Megaptera / Middle Pillar / Militia / MZ.412 / Navicon Torture Technologies / Nový Sv?t / Ordo Equilibrio / The Protagonist / Raison D’être / Sanctum / Schloss Tegal / Shining Vril / Shinjuku Thief / Skincage / Slaughter Productions / Spectre / StateArt / Stone Glass Steel / Stratvm Terror / Terra Sancta / Tertium Non Data / Toroidh / Tribe Of Circle / Warren Mead / Vox Barbara / Yen Pox.
The book is a treatise that explains the methodological, technical, mechanical, and stylistic foundations for achieving a high-flying, competent performance on the classical guitar. Among the many aspects that are addressed, 12 philosophical foundations are developed from which the entire treatise flows like a cascade, then 22 principles of performance are explained that are applicable to both hands. There are 69 that are specific to the right hand and another 69 to the left. There are various chapters in which important aspects are discussed, such as nail filing, the philosophy that should prevail in the search for the most finished sound, and all the parameters that must be taken into account to achieve a perfect filing are analyzed, such as: type of nail, birth of this, shape of the tip, resistance, coefficient of friction, average growth, hardness, etc. I wrote another section to give the best suggestions on how to study, and how to distribute a work day by properly distributing the volume and the pieces with static training, to avoid injuries, and to achieve a greater benefit, in the same way I explain all the errors that we must avoid. I developed another chapter where I explain overtraining, something that has been well studied and diagnosed in sports, but that in instrumental exercise nothing had been written about. In this section I explain what it consists of, the physical and psychological consequences that it brings to the instrumentalist, how to detect this harmful process of degradation of the faculties of the instrumentalist musician, and how to get out of this anomaly. I teach fingering and explain the basic principles of how to carry out this process that is generally not taught in academies or conservatories. I develop a chapter in which I analyze how the Renaissance is played, from its articulation, phrasing, type of touch, and ornamentation, then I do the same with the Baroque period, the Classical, the Romantic, Impressionism, the first half of the 20th century, and the second half. And there is still much more, which leads me to express that this work marks a milestone in the instrumental literature written to date, not only about the guitar, but because of everything it deals with and covers, it will be a reference and consultation work not only for guitarists, but for anyone who intends to effectively master the art of playing their instrumental discipline.
Dr. Jovan Jovicic is one of the greatest twentieth-century Yugoslav guitar pioneers. It is by no means an exaggeration to say that, thanks to him, today a large part of the creative and interpretive work being done in all six republics of the former Yugoslavian federation is focused on the expressive possibilities of the classic guitar. This collection of selected concert guitar works by Jovan Jovicic includes most of the pieces which the artist himself performed and recorded during more than 50 years of his successful career. This is the first integral publication ever printed outside of Jovicic' s native country in which the music is adapted, revised and arranged exactly according to the composer's interpretation. Notation only.
