CHITARRA - GUITAR

BARRIOS AGUSTIN MANGORE, THE COMPLETE WORKS OF VOL. 1. Richard Rico Stover.

Product Description:
The product of decades of scholarly investigation, Volume 1 contains 67 musical works by the virtuoso Paraguayan guitarist Agustín Barrios Mangoré (1885-1944). This is the first edition of Barrios’ music based on all available sources: manuscripts, phonograph recordings and published editions (pre-1970s). Written in standard notation only, the two volumes of this definitive collection are illustrated with period photographs, concert programs and Barrios’ own drawings. The legacy of Barrios is one of the most important and outstanding contributions ever made to the classic guitar, and it is with great pride that Mel Bay Publications offers here for the first time in one edition the collected works of Agustín Barrios Mangoré.

Song Title: Composer/Source:
A mi Madre Agustin Barrios Mangore
Abri la Puerta mi China Agustin Barrios Mangore
Aconquija Agustin Barrios Mangore
Aire de Zamba Agustin Barrios Mangore
Aire Popular Paraguayo Agustin Barrios Mangore
Aire Sureno Agustin Barrios Mangore
Aires Andaluces Agustin Barrios Mangore
Aires Criollos Agustin Barrios Mangore
Aires Mudejares Agustin Barrios Mangore
Allegro Sinfonico Agustin Barrios Mangore
Altair Agustin Barrios Mangore
Arabescos Agustin Barrios Mangore
Armonias de America Agustin Barrios Mangore
Cancion de la Hilandera Agustin Barrios Mangore
Capricho Espanol Agustin Barrios Mangore
Choro da Saudade Agustin Barrios Mangore
Confesion Agustin Barrios Mangore
Contemplacion Agustin Barrios Mangore
Cordoba Agustin Barrios Mangore
Cueca Agustin Barrios Mangore
Danza Agustin Barrios Mangore
Danza Guarani Agustin Barrios Mangore
Danza Paraguaya Agustin Barrios Mangore
Diana Guarani Agustin Barrios Mangore
Dinora Agustin Barrios Mangore
Divagacion Agustin Barrios Mangore
Divagaciones Criollas Agustin Barrios Mangore
Don Perez Freire Agustin Barrios Mangore
El Sueno de la Munequita Agustin Barrios Mangore
Escala y Preludio Agustin Barrios Mangore
Estilo Agustin Barrios Mangore
Estilo Uruguayo Agustin Barrios Mangore
Estudio de Concierto Agustin Barrios Mangore
Estudio de Concierto No. 2 Agustin Barrios Mangore
Estudio del Ligado Agustin Barrios Mangore
Estudio en Arpegio Agustin Barrios Mangore
Estudio en Si Menor Agustin Barrios Mangore
Estudio en Sol Menor Agustin Barrios Mangore
Estudio Inconcluso Agustin Barrios Mangore
Estudio No. 3 Agustin Barrios Mangore
Estudio No. 6 Agustin Barrios Mangore
Estudio para Ambas Manos Agustin Barrios Mangore
Estudio Vals Agustin Barrios Mangore
Fabiniana Agustin Barrios Mangore
Gavota al Estilo Antiguo Agustin Barrios Mangore
Habanera Agustin Barrios Mangore
Humoresque Agustin Barrios Mangore
Invocacion a mi Madre Agustin Barrios Mangore
Jha Che Valle Agustin Barrios Mangore
Jota Agustin Barrios Mangore
Julia Florida Agustin Barrios Mangore
Junto a tu Corazon Agustin Barrios Mangore
La Bananita Agustin Barrios Mangore
La Catedral Agustin Barrios Mangore
La Samaritana Agustin Barrios Mangore
Las Abejas Agustin Barrios Mangore
Leyenda de Espana Agustin Barrios Mangore
London Carape Agustin Barrios Mangore
Luisito Agustin Barrios Mangore
Luz Mala Agustin Barrios Mangore
Mabelita Agustin Barrios Mangore
Madrecita Agustin Barrios Mangore
Madrigal Agustin Barrios Mangore
Maxixe Agustin Barrios Mangore
Mazurka Apassionata Agustin Barrios Mangore

BARRIOS, IN TABLATURE VOLUME 1. LIBRO CON CD E TABLATURE

LIBRO DI MUSICA CLASSICA CON CD.

SPARTITI PER CHITARRA.

PENTAGRAMMA E TABLATURE.

Contiene: el sueno de la munechita -minueto en la -prelude in Em -gavota al estilo antiguo -medallon antiguo -dinora -prelude in Cm -maxixe -las abejas -danza guarani -villancico de navidad -oracion -Julia florida -romanza en imitacion al violoncello -choro de saudade. CD TABLATURE

Product Description:
Augustin Barrios was one of the greatest geniuses who ever played and composed music for the guitar. This book features a variety of his works ranging from the moderately easy to complex. In addition to being excellent technique studies, these compositions are wonderful solo pieces that reflect the impressionistic, Latin, and European influences found in the unique Barrios compositional style.

Format: Book/CD Set
Song Title: Composer/Source:
Choro Da Saudade Agustin Barrios Mangore
Danza Guarani Agustin Barrios Mangore
Dinora Agustin Barrios Mangore
El Sueno De La Munequita Agustin Barrios Mangore
Gavota Al Estilo Antiguo Agustin Barrios Mangore
Julia Florida - Barcarola Agustin Barrios Mangore
Las Abejas Agustin Barrios Mangore
Maxixe Agustin Barrios Mangore
Medallon Antiguo Agustin Barrios Mangore
Minueto En La Agustin Barrios Mangore
Oracion Agustin Barrios Mangore
Preludio In C Minor Agustin Barrios Mangore
Preludio In E Minor Agustin Barrios Mangore
Romanza En Imitacion Al Violoncello Agustin Barrios Mangore
Villancico De Navidad Agustin Barrios Mangore

BAROQUE GUITAR, DI FREDERICK NOAD. CD

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 J.S., IN TABLATURE.

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

Contiene: minuet 1 in G maggiore (dal piccolo libro di note di Anna Magdalena Bach) -musette in D maggiore (dal piccolo libro di note di Anna Magdalena Bach) -minuetto 2 in G minore (dal piccolo libro di note di Anna Magdalena Bach) -bourre in E minore (dalla prima suite per liuto) -invenzione in C minore e invenzione in D minore (per due chitarre) -minuetto in G minore -Jesu, joy of man's desiring (dalla cantata 147) -gavotta (dalla terza suite per liuto) -preludio in D minore (dalla prima suite per liuto). CD TABLATURE

Product Description:
This edition contains 10 of J.S. Bach's finest compositions scored in notation and tablature. Works include: Two Part Invention in C Major; Gavotte, from the 3rd Lute Suite; Prelude in D Minor; Bouree in E Minor, from the 1st Lute Suite; and others. The CD is a stereo listening CD and on it each selection is played at both a slow and performance tempo. All songs from the book are on the CD.
Contents:

Minuet 1 In G Major -- J.S. Bach
Minuet In G Minor -- J.S. Bach
Bouree In E Minor -- J.S. Bach
Gavotte From The 3rd Lute Suite -- J.S. Bach
Musette In D Major -- J.S. Bach
Prelude In D Minor -- J.S. Bach
Minuet 2 In G Major -- J.S. Bach
Two Part Invention In C Major -- J.S. Bach
Two Part Invention In D Minor -- J.S. Bach
Jesu, Joy Of Man's Desiring -- J.S. Bach

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