from Jazz Classics for Classical Guitar
Series: Schott
Medium: BOOK

Composer: Keith Jarrett
Editor or Arranger: Manuel Barrueco

The celebrated guitarist Manuel Barrueco here presents an arrangement authorised by Keith Jarrett of the legendary "Concert in Cologne" Part IIc, an arrangement recorded by Barrueco on CD for EMI. A treat for jazz lovers and a valuable addition to the classical guitar concert repertoire. 8 pages

With my CD "Sometime Ago" Iventured for the first time outside the strictly classical repertoire. What I could not have predicted then, is that it would also become one of my most favorite guitar albums ever. I meant "Sometime Ago" as a tribute to my adoptive country of America, and included in it were compositions by Paul Simon, Chick Corea, Lou Harrison and included also was my transcription of Koln Concert Part lIc by Keith Jarrett. Ever since its release, I have received innumerable requests for the score of the KOln Concert from other guitarists wishing to play it. The question of "why" play someone else's improvisation, even if it is the composer's own, has also been brought up from time to time. The way that I see it, I don't know how else to interpret the composer's publication of the score but as an open invitation for other musicians to play his music. Besides, if it is music as beautiful as this is, perhaps a better question is "why not?".
THE KOLN CONCERT was first performanced and recorded by Keith Jarrett in the opera house of Koln (Cologne), Germany, 24 January 1975. The original piano version was published by Schott in 1991 (Schott ED 7700), the metronom marking is = 74. This is a bit fast for the guitar, but I think it is a good idea to have it as a reference.
Manuel Barrueco 

Price: €18,99



Now guitarists can benefit from these essential exercises that have helped pianists for centuries. This book will aid in the development of finger strength and playing speed. Players at all levels will benefit from this collection.

Price: €13,99



Guitar Solo
Composer: Anonymous
Editor or Arranger: Narcisio Yepes

Sono giorni che il cielo sta piangendo; è mattino presto e l'anziano impiegato della biblioteca sta spolverando distrattamente tra gli scaffali, abbassando il piumone fa cadere un tomo miniato, che aprendosi lascia sul pavimento un'ingiallito manoscritto di musica oramai dimenticato. Appoggiato sul tavolo della sala di lettura, è fortunosamente notato da un piccolo uomo in impermeabile che seduto, alza lo sguardo pensando che gli abbiano portato un documento che aveva richiesto, e che invece non sarà trovato. L'uomo iberico che si trova in quell'archivio irlandese per consultare alcune Tablature originali per liuto, si alza dalla sedia e va a prendere quel foglio quasi illeggibile, e si accorge che è un'altra pagina di musica, si gira di qua e di là seccato, cercando l'addetto per restituirglielo, ma non ode fiatare nessuno, allora riprende ad osservare più attentamente quel foglio che è tra le sue 10 dita, e canticchiandolo si accorge con stupore di una melodia bellissima, lontana, mai ascoltata. Quell'uomo in impermeabile era Narciso Yepes, e a lui si deve la scoperta di questo pezzo medievale e la sua suggestiva interpretazione. Yepes nato a Lorca in Spagna nel 1927, scomparso nel 1997, con la sua chitarra a 10 corde ha registrato numerosissimi e importanti dischi, facendoci innamorare alla chitarra classica.

Price: €13,99

MUSSORGSKY PICTURES AT AN EXHIBITION GUITAR Kazuhito Yamashita-Promenade-Gnomes-Vecchio Castello-Tuileries-Bydlo-Gate of Kiev

MUSSORGSKY, PICTURES AT AN EXHIBITION FOR GUITAR. Kazuhito Yamashita. Magistrale trascrizione per chitarra di una delle composizioni più note della musica classica. Come registrato nel disco dal fenomeno della chitarra, Kazuhito Yamashita. Grandioso! Promenade -gnomus -promenade -Il vecchio castello -the tuileries -bydlo -promenade -ballet of the little chickens -Samuel Goldenberg und Schmuyle -a market place in Limonges -catacombae -the hut of baba-yaga -the bohatyr gate of Kiev.

guitar MUSSORGSKY / PICTURES AT AN EXHIBITION (Transcribed for classical guitar by Yamashita)




1961 Born in Nagasaki. Has been studying the guitar under his father(Toru Yamashita).

1972 Won first prize at the 18th Kyushu Guitar Music Concours.

1976 Won first prize at the 19th Guitar Concours organized by the Federation of Japan Guitar Association.

1977 Visited Europe. Participated in the Guitar Course of Segovia in the 20th "Musica en Compostela".

Won first prize at the Ramirez Guitar Competition in Spain: at the 10th Alessandria International Guitar Competitionin Italy: and at the 19th International Guitar Coneours in Paris.

1978 The first of yearly recitals throughout Japan from Hokkaido to Okinawa

1979 10.Recitals in Paris and Amsterdam.

1980 l1.Concert tour in Holland.

1981 Arranged "Pictures at an Exhibition", and recorded it.His arrangement caused a sensation.

1982 l1.Concert tour in Holland. "Modern Collection"(disk) won a prize at the Record Academy.

1983 "Pictures at an Exhibition"(disk)won the Deutscher Schallplattenpreis

1983. Concert tour in Korea.

1984 5.Played in concert with Wolfgang Shultz(a chief flutist of the Viena Philharmonic Orchestra).

6 .Came on a stage 4th International Guitar Festival in Toront

8~9.Played in concert with Larry CoryellUazz guitarist).

9 .Played concert in Korea .

11.Played concert with Chamber Orchestra of LeoS Jan:1Cek Ostrava.

1985 1 .Played consert in Taiwan.

3 .Gave the first performance of guitar concerto "Pegasus Efect" composed by Takashi Yoshimatsu .

9 ~10.Concert tour in Europe (London, West Germany, Wien)


Studied under following professors:

Kojiro Kobune, J.Thomas, N.Yepes, Andres Segovia, Toru takemitsu.

Presently, the first guitarist of the Nagasaki Guitar Ensemble.

Belongs to the Nagasaki Guitar Academy.

Published 16 LP records.

Data for the work

1980.7.13. First performance at the 108th Salon Concert of the

Nagasaki Guitar Music School.

From October 1980, performances in many pla~es, for example, at the little hall of the Tokyo Bunka Kaikan (1980.10.15.), the Amusterdam Concertgebouw (1980.11.14.), and at the Nagasaki Municipal Hall (1980. 11.23.), Toronto, Seoul (1984) . Taibei, London, Mettmann, Wien (1985)

1981.3 .10 and 11. Recording at the Iruma Municipal Hall.

1981.6 .21. Publication of the record and musical score.

1983. Won the Deutscher Schallplattenpreis.

Price: €49,99


PAGANINI NICCOLO', 24 CAPRICCI OP.1. VOL.1. L'opera completa dei 24 capricci trascritti per chitarra da Eliot Fisk. Dal n.1 al n.12. Vi ricordate la sfida tra Steve Vai e il giovane ragazzo nel film "crossroads" uscito in Italia con il titolo "Mississippi adventures"? Quelle scale e quegli arpeggi sono presi dal Capriccio n. 5.

24 Caprices, Volume 1 (Fisk)
Caprices 1-12
"These Caprices should be heard more often on guitar for the sake of the guitar. This is a musical feat well worth the effort&any one of the 24 could provide material for masses of practice&such a schedule should improve even the very best players. With comments, fingerings, exercises and advice from Fisk on these masterworks.&the editor has worked hard to present the reader with a solution&I can only recommend this sturdy issue to all of the Paganini devotees out there." Neil Smith, Classical Guitar Magazine

"I'm sure many of you were blown away when you listened to the Fisk CD of Paganini Caprices, but now the transcriptions of his arrangements are now published!" Guitar Magazine

"Finally, we have the book to accompany Fisk's wonderful CD. This publication is exemplary!" Gitarre & Laute Magazine

"Now with these transcriptions, the definition of a guitar virtuoso is at a new level." D.B., American String Teacher Magazine

Price: €29,95

PAGANINI NICCOLO 24 CAPRICES for guitar VOL.2 The Eliot Fisk master series CHITARRA SPARTITI

PAGANINI NICCOLO', 24 CAPRICCI OP.1. VOL.2. Dal n.13 al n.24. Trascrizione di Eliot Fisk.

Caprices 13-24

"These Caprices should be heard more often on guitar for the sake of the guitar. This is a musical feat well worth the effort&any one of the 24 could provide material for masses of practice&such a schedule should improve even the very best players. With comments, fingerings, exercises and advice from Fisk on these masterworks.&the editor has worked hard to present the reader with a solution&I can only recommend this sturdy issue to all of the Paganini devotees out there." Neil Smith, Classical Guitar Magazine

Price: €29,95



Music by Scott Tennant
SERIES: Pumping Nylon Series
CATEGORY: Classical Guitar Method or Supplement

The pieces in this book are selected and designed around the various techniques addressed in the best-selling book Pumping Nylon. They are offered as an extension of the excercises presented in that book, and to provideconcert pieces in which to apply the various techniques discussed. The emphasis here is technique-building repertoire appropriate for study and concert performance. New compositions included are by Adam del Monte, Joe Diorio, Brian Head and Carlos Rivera. Also included is the cadenza from Rodrigo's Concierto de Aranjuez. The CD is beautifully played by Scott Tennant and Adam del Monte.

Price: €25,99



Price: €29,99




Manuale completo che comprende: i 120 studi per arpeggio di Giuliani, esercizi per di controllo della velocità, le scale, il tremolo, la tecnica del flamenco, il suono, le unghie della mano destra, con esempi da J.S. Bach. TABLATURE

Scott Tennant, world-class classical guitarist and well-respected guitar eduactor, has brought together the most comprehensive technique handbook for the classical guitarist. It is presented here in both standard music notation and TAB. In addition to technical information not available elsewhere, he has compiled selections from Giuliani's 120 Right-Hand Studies; musical examples by Bach, Turina, Rodrigo and others; Tarrega arpeggio studies; and original compositions by Andrew York and Brian Head. Essential information and a great sense of humor are effectively combined in this best-selling book.


Author Preface

Welcome! This is my little book about guitar technique. I want to make it clear from the start that the material in this book is meant to reflect my own way of doing things on the instrument. The exercises are those that have helped me, some of which I still practice every day.

The goal of Pumping Nylon is to offer ideas that will help solve various technical problems. The idea was to steer clear of assembling anything that resembled a method book. Rather, my intent was to focus only on specific technical issues which I felt had not been clearly explained elsewhere. Generally, the issues dealt with in this book are those that have been brought up time and time again by students in master classes and lessons over the past ten years or so.
The exercises and musical examples have been chosen because of their unique technical challenges. For instance, the Bach DOUBLE was taken from a solo guitar arrangement, stripped of all its bass notes and more comfortable fingerings, and transformed into a very effective string-crossing and scale study.
I don't pretend to have addressed every issue. (There are too many out there for one book!) The reader, however, is strongly encouraged to invent hislher own exercises whenever necessary, since all of our technical needs are so very different.
I hope you find a few answers to some of your questions. Go get 'em!

I would like to thank ...
Nat Gunod, for coaching me through this process for the last two years; Brian Head and Andy York for composing their wonderful "made-to-order" etudes; Billy Arcila for posing for the photos that were used to create the illustrations; Durmel DeLeon for the photography; John Dearman and Matt Greif for their technical assistance; an endless list of friends for their constant encouragement; and the students at the ational Guitar Summer Workshop, San Francisco Conservatory and the University of Southern California for being (not always voluntary) "guinea pigs" for much of the [I1aterial contained herein.
And special thanks to Ron Krown at Alfred Publishing for encouraging us to do this new edition.

Glossary of Signs
This list will help you to interpret the various markings in the music.
1, 2, 3, 4 Left hand fingers, numbered from index (1) to pinky (4).
p, i; m, a, Right hand fIngers: p = thumb, i = index, m = middle, a= ring finger.
The six strings of the guitar, numbered from low E 6 to high E 0.
IV, V, VII etc Roman numerals. Here is a quick review of these symbols: 1=1, 11=2, III=3, IV =4,
V=5, V1=6, VII=7, VIII=8, IX=9, X=IO, XI=11 and XII=12.
BII4 The B indicates a barre. The Roman numeral indicates the fret to be barred, and
the small subscript arabic numeral indicates the number of strings to be barred.
So, this symbol would indicate to barre four strings at the second fret.

-1, -2, -3, -4 A dash in front of a fingering indicates a guide finger shif . A shift is a movement
from one position to another. is a finger that can be used just before
and just after a shift. For instance, if the 4th finger has been used to play G on the
J st string. 3rd fret, and then moves to play A on the 1st string, 5th fret, it will be
marked -4.


Editor Preface
I hope you will enjoy this new edition of Scott's gratifyingly popular book. As a response to public
demand, we are happy to provide a version of the book that includes tablature. Hopefully, this will make the book useful to more guitarists. After all, everyone who plays the guitar has something to gain from learning some c1assical guitar technique, and something to learn from a great teacher.
This book evolved from a warm-up routine and technical regimen that Scott Tennant began teaching and writing about several years ago. It is this daily warm-up that has inspired the whimsical title.
Pumping nylon. But in the following pages Scott has done far more than merely map out an exercise routine.
He has provided a wealth of technical information not readily available elsewhere. He has also compiled a variety of both well- and lesser-known technical exercises such as the 120 Right Hand Studie" of Mauro Giuliani and some arpeggio studies by Francesco Tarrega, and has offered some exercises of his own as well. It is also through Scott Tennant that four great new studies. two by Brian Head and two by Andrew York, have been written and published.

But I think he has done a lot more than even those things.
What students and teachers alike will find inPumping Nylon is a joyful attitude toward problem-solving on the classical guitar. There is an underlying message that says if you are willing and able to look at an issue from a different perspective, and if you can bring the same creative powers that you bring to your music-making to your technical work, you can overcome obstacles. Furthermore. there's no law that says it can't be fun.
Anyone who has studied classical guitar is going to hnd ,lOl/lethùl.9 in this book that directly contradicts what you have been taught-or what you teach-about ,1olllethùl.q. This is inevitable. But ifyou dismiss this work for that reason. you will be missing much. I encourage you to read ono Take a look at ali the ideas presented here by this great player and teacher. You will come away better for it.
I expect that for years to come it will be commonplace to hnd well-worn copies of this book in students' hands. I am sure that for Scott Tennant, as for myself, that will be the biggest reward for this efrort.
Many thanks to the wonderful people at Alfred Publishing-especially the M.I. team-for helping to
make this and many other National Guitar Workshop books a reality.
Nathaniel Gunod Litchheld, Connecticut
July, 1997
How to Read Tablature
4th string,5th fret
An open C chord
An H over a slur - indicates a hammer-on.
A P over a slur - indicates a pull-off.
1st stringo 10th Fret ] __Played together
2nd string, l0th fret

Nathaniel Gunod has edited many guitar books including
Benjamin Verdery's by Howard \Vallach, and Play AIM. co-authored Benjamin Verdery's
instructional directed the video, is the author of Cla. Guitar. A recital·ist on Baroque. Classical period and modern c1assical guitars, he has taught students from ali over the world at the Peabody Conservatory of Music and the National Guitar Workshop. where he is Associate Director.
He is the founder of the NGSW Classical Guitar Seminar and the D'Addario Guitar Concerto Competition. Preface



Inspiration only lasts a relatively brief time. We alI eventually fìnd ourselves experiencing a "dry spell."
We get stuck on something in our practicing and can't seem to improve, and sometimes it may seem that we're getting worse. At times we may even think of just quitting. Have you ever felt that the joy you once had for playing is gone forever?
These are not emotions you're experiencing alone. They visit everyone now and then. OccasionalIy we need to give ourselves a break and put down the guitar for a day, a few days, or however long it takes to feel refreshed again. For those who play for a living and don't always have that luxury, some digging back into one's past might be the key. Why did you want to play the guitar in the fìrst piace? Try to recall the feelings you experienced when you fìrst decided that you really wanted to play. Perhaps recall the joy you felt when you heard that fìrst recording or concert that thrilled you. What qualities about the instrument first drew you to it?
As I have done for several circumstances in my life, it may make you feel better to jot down a few of these positive thoughts on a piece of papero Then, when you hit another rough period, you can read through them.

In Conclusion
Music is the most powerful of ali the arts. It instantly stirs up emotions, conjures visions, and offers
glimpses of other, higher dimensions. It arouses men to battle; kindles amorous passions in lovers; soothes a baby to sleep; comforts us when we grieve. It engages our hearts and our minds, and can bring out the best that we are. One can safely presume that not a single emotion, nor any human or natural event, has been left undocumented by music.
As musicians, our objective is to command the elements of music as best we can in order to tap into that other dimensiono It is our access into heaven, if only for a while. But while we are there we can take aH who are listening ith uso If just one person is uplifted by our playing and walks away feeling better than before he carne, we have made a difference. A healing has taken piace.
I very much hope that you have found at least one thing in this book that has helped you. I also hope that, as you work to improve your technique, you do not lose sight of the larger goals: to be able to express yourself freely on your instrument and to turn every note you play into great music. When you can do those things, you cease to be just a guitar player and become a healer and magician.

Table of Contents

Author' s Preface
Glossary of Signs
Editor' s Preface
How to Read Tablature
Some Do's and Don'ts
About the Hands
About the Body
About Holding the Guitar- The Triangle

The Left Hand

Finger Placement and Accuracy
Pressure and Release
Pressure/Release Exercise
Finger Exchange
Ascending Slurs (Hammer-ons)
Descending Slurs (Pull-offs)
Finger lndependence
#3 - Opposing Motion
#4 - Horizontal Character Builders
#5 - Odair's Favorite Drill
#6 - "The Spider"

The Barre
Weight vs. Pressure
Being Selective
Summing It AlI Up
Quadrivial quadrary by Andrew York -

A Four-Voice Study for the Left Hand :
Fanfare by Brian Head-A Slur Study

The Right Hand
Tone Production
Nail Length and Shape :
Nail Length
Nail rypes
Shaping the Nails
Angle and Placement

Rest Stroke (Apoyando)
The Movement
Press ure

Free Stroke (Tirando)
Right-Hand Finger lndependence
Arpeggios from Tarrega's The Complete TechnicaL Studies

The Thumb
Shaping the Nail
Develop That Thumb!

Flamenco Techniques .
What Else Can the Thumb Do? .
Sofeare. Falseta ,
Alzapua .
Alzapua Falseta ,
Rasgueados .
Some Practical Applications .
from Turina's Sevillana .
from Turina's Rafaga .
from Rodrigo's Conciato de Aranjuez, 2nd Movement .

Daily Warm-Up Routine .
Left-Hand Walking-#l, #2 & #3 .
Ascending Slurs - #4 .
Descending Slurs - #5 .
Triplets - #6 .
Fixed-Finger Exercises-#7 & #8 .
Right-Hand Walking - #9 .
Two-Finger Rasgueados-#10 .

Tremolo .
Psychological Outlook
Exercises .
Lopsided Tremolos .
Chant by Brian Head: A Tremolo Study .

Scales: Control and Velocity .
Misconceptions about speed .
Right-Hand Velocity .
Synchronization .
String Crossing .
Piecing Things Together .
Some Other Speed Aids .
Rhythmic Variations .
Speed Bursts .
Problem Solving in Scales .
Marking String Crossings .
Evolution of a Scale .
Scale Study - Double from the Courante, Partita No.1, BWV 1002, Johann Sebastian Bach .

Arpeggios .
Full Planting and Sequential Planting .
Giuliani's 120 Right-Hand Studies .
Practicing Tips .
Didactic Doodle by Andrew York .

Afterword .
Performance Anxiety .
In Conclusion

Scott Tennant . 

Price: €24,99


RODRIGO JOAQUIN, CONCERTO DE ARANJUEZ. Ed. Romero, solo la parte della chitarra.

Price: €19,99
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