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TCHAIKOVSKY, NUTCRACKER FOR GUITAR: IN TAB. Arr. Ken Hummer. TAB.

About Nutcracker for Guitar: In TAB
Arranged by Ken Hummer. For Guitar. Classical Guitar Folio. Book. 48 pages. Every piece from Tchaikovsky's Nutcracker ballet is expertly arranged for guitar, including the holiday favorites "Waltz of the Flowers" and "Dance of the Sugar Plum Fairy." This collection is a must for guitarists planning a holiday recital and all who enjoy playing for friends and family. Each piece is clearly written in standard music notation and TAB for easy reading.

PACHELBEL JOHANN, CANON IN D GUITAR SOLO. TAB.

Series: Guitar Sheet
Composer: Johann Pachelbel
8 pages

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.

DE LUCIA PACO, FUENTE Y CAUDAL. TAB.

Partitura en nota y cifra transcritas por Juan Manuel Cañizares.
Temas:

Product Description:
Third in a series of OFFICIAL chronological transcriptions of the recordings of renowned flamenco guitarist Paco de Lucia, this book presents eight pieces from his album, Fuente y Caudal de Paco de Lucia. Meticulously transcribed in standard notation and tablature, selections include: Entre dos agues; Aires choqueros; Reflejo de Luna; Solera; Fuente y caudal; Cepa andaluza; Los Pinares and Plaza de San Juan. A foreword, explanation of notation symbols, helpful tips and generous performance notes are provided in English, Spanish and French.

Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías).

Formato A4
220 Páginas

DE LUCIA PACO, ALMORAIMA. TAB.

Transcripción por el maestro Enrique Vargas, director de la colección "Biblioteca Grandes Guitarras Flamencas de Hoy", quien ha afrontado la tremenda dificultad de transcribir de forma fiel y pormenorizada una obra de tamaña complejidad e importancia.

Paco de Lucía, emplea en "Almoraima" varias innovaciones sin precedentes hasta la fecha: Cada uno de los ocho temas del disco tienen más de una, y a veces hasta cinco pistas de guitarra; bajo eléctrico; percusión; una pista de guitarra tapá y, de vez en cuando, laúd y cante. Todos estos elementos han dificultado tremendamente la tarea de la transcripción. A pesar de ello, el maestro Enrique Vargas ofrece en cada tema diferentes soluciones siempre con la máxima fidelidad al original.

Todas las piezas son perfectamente ejecutables tanto para un solo como para un dueto (con excepción de la rumba y sevillanas que sólo son aptas para dueto). Cada tema viene además precedido por anotaciones explicativas bilingües castellano/inglés. Las partituras están presentadas en solfeo y en cifrado. Tanto las digitaciones de ambas manos como los matices dinámicos y técnicos se presentan de la forma más pormenorizada posible.

A continuación, una descripción técnica de cada partitura de esta obra.

Almoraima, (Bulerías)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra y el bajo. Donde la segunda guitarra se limita a tocar acompañamiento genérico se ofrecen símbolos armónicos. La pista de laúd, interpretada por el maestro Paco de Lucía ha sido transcrita íntegramente. Esta pieza es apta para solo y dueto.

Cueva del Gato, (rondeña)
La parte de la guitarra de acompañamiento interpretada por Ramón de Algeciras está transcrita íntegramente lo que hace la pieza ideal tanto para un dueto como para un solo.

Cobre, (sevillanas)
Este tema es un dueto donde la guitarra principal interpreta cada sevillana en una tonalidad y, a veces, afinación distinta. La segunda guitarra mantiene la misma afinación sin cejilla, es decir, al aire. En la tercera copla de cada sevillana el maestro Paco de Lucía grabó la segunda pista del solo haciendo una especie de contrapunto con la guitarra principal. Esta segunda pista también ha sido transcrita íntegramente.

A la Perla de Cádiz, (cantiñas)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra. Donde el acompañamiento es genérico se suministran símbolos armónicos. En la parte final el maestro Paco de Lucía desarrolla una brillante improvisación sobra la salida del cante por cantiñas . La melodía de esta salida ha sido transcrita para que sirva de referencia y también por si se desea interpretarla utilizando voces u otros instrumentos musicales. Apto tanto para solo como para dueto.

Olé, (jaleos)
A pesar de ser un dueto con las dos guitarras transcritas íntegramente, esta pieza es perfectamente ejecutable como un solo de guitarra.

Plaza Alta, (soleá)
Al final de este tema entra la segunda guitarra cuyas partes más importantes han sido transcritas íntegramente y en las partes genéricas se ofrecen símbolos armónicos. Puede ser interpretada como solo y como dueto.

Rio Ancho, (rumba)
Esta conocidísima rumba se presenta en el siguiente formato: la guitarra principal; las partes más importantes de la segunda guitarra y los símbolos armónicos.

Llanos del Real, (minera)
En la parte final de esta pieza entran la segunda y tercera guitarra que han sido transcritas íntegramente.

Formato A4
307 Páginas

At last, a long-awaited transcription book of the emblematic CD Almoraima by Paco de Lucía published by Gestión de Lucía (the artist management company) has arrived. This time the author of these charts has been no other than maestro Enrique Vargas, also the director of the collection The Great Flamenco Guitars of Today Library, who had to face the tremendous difficulty of transcribing accurately every little detail of this historic work of art.

In the process of an intense search for a new expressive melodic, structural and harmonic forms in flamenco, the genius guitarist from Algeciras implements in Almoraima various innovations unprecedented for the times: every one of the eight cuts of the CD has more than one - and some times up to five - guitar tracks; electric bass; percussion; a muted guitar track, and, sometimes, oud and singing. All of these elements made the task of transcribing this work tremendously difficult. In spite of this, maestro Enrique Vargas offers in every piece the solutions based on maximum fidelity to the original.

All of these pieces are perfectly playable by solo guitar and a duo (with the exception of the rumba and sevillanas than are only suitable for a duo). Every piece is preceded by annotations in Spanish and English. The charts are presented in notation and tab. The fingerings for both hands and dynamic and technical characteristics are explained in the smallest detail.

Contents:

"Almoraima" (bulerias)
In this piece the most important parts of the second guitar and the bass have been transcribed entirely. Where the second guitar plays generic accompaniment the chord symbols are provided. The oud track recorded by maestro Paco de Lucía has been transcribed entirely. This piece is playable as a solo as well as a duo.

"Cueva del Gato" (rondeña)
The guitar accompaniment played by Ramón de Algeciras has been transcribed entirely, which makes this piece ideal for a duo as well as a solo.

"Cobre" (sevillanas)
This piece is a duo where the main guitar interprets each sevillana in a different key and, sometimes, different tuning. The second guitar maintains the same tuning without a capo. In the third copla of each sevillana maestro Paco de Lucia recorded a second solo guitar track which does a sort of counterpoint with the main guitar. This track is also been transcribed.

"A la Perla de Cadiz" (cantiñas)
In this piece the most important parts of the second guitar have been transcribed. Where the accompaniment is generic chord symbols are supplied. In the final part of this piece maestro Paco de Lucía plays a brilliant improvisation over a sang melody that has been transcribed to be used as a reference or played by some other musical instrument if so desired. Can be played as a solo as well as a duo.

"Ole" (jaleos)
Despite this piece being a duo with both guitars completely transcribed, is perfectly playable as a solo, too.

"Plaza Alta" (soleá)
In the final part of this piece enters the second guitar whose more important parts have been transcribed entirely. In the generic parts chord symbols are supplied. Can be played as a solo as well as a duo.

"Rio Ancho" (rumba)
This famous rumba is presented as a guitar duo with the accompaniment explained and transcribed in its most important parts. Chords symbols are supplied throughout the whole piece.

"Llanos del Real" (minera)
In the final part of this piece enter the second and third guitars that also have been transcribed.