To celebrate the anniversary, I am giving you (finally...) : iPhone LickByNeck !!!!!!
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Sheet Music Collection (G)


Garoto - A Caminho dos Estados Unidos

Garoto - Carioquinha

Garoto - Debussyana

Garoto - Desvairada

Garoto - Duas Contas

Garoto - Inspiracao

Garoto - Lamentos do Moro

Garoto - Mazurka no.3

Garoto - Sinal dos Tempos

Garoto - Um Rosto de Mulher

Garoto - Voltarei

M. Giuliani - 12 Walzes Op 57

M. Giuliani - 24 Etudes

M. Giuliani - 24 Etudes Op 48

M. Giuliani - Allegro Op 50

M. Giuliani - Andantino

M. Giuliani - Composiciones Op 111

M. Giuliani - Etudes Op 1

M. Giuliani - Fughetta

M. Giuliani - Grande Ouverture Op 61

M. Giuliani - Gran Sonata Eroica

M. Giuliani - Opus 30 pieces

M. Giuliani - Ramillete de mis Flores Preferidas Op 46

M. Giuliani - Rondoletto Op 4

M. Giuliani - Rondoes Op 14

M. Giuliani - Rossiniana 2

M. Giuliani - Rossiniana 3

M. Giuliani - Rossiniana 6

M. Giuliani - Scherzo

M. Giuliani - Seis Grandes Variaciones Op 112

M. Giuliani - Sonate

M. Giuliani - Sonate Op 15

M. Giuliani - Sonatine Op 71

M. Giuliani - Theme and Variations Op 20

M. Giuliani - Theme and Variations Op 6

M. Giuliani - Three Preludes

M. Giuliani - Two Fantaisies

M. Giuliani - Variations on 'Foiles d'Espagne'

M. Giuliani - Variations Op 105

M. Giuliani - Variazioni per Chitarra

M. Giuliani - Variations on a theme by Handel

F. Gragnani - Sonatine

E. Granados - Spanish Dance no.1 - Minueto

E. Granados - Spanish Dance no.2 - Oriental

E. Granados - Spanish Dance no.3 - Zarabande

E. Granados - Spanish Dance no.4 - Vilanesca

E. Granados - Valses Poeticos

G.B.Granata - Dances

J. Guimareas - Sounds of Bells


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Sheet Music Collection (D-F)


LC Daquin - La Guitarra

T Damas - Etude

C. Debussy - La fille aux lin

C. Debussy - Prelude from Suite Bergamesque

Domeniconi - Koyunbaba (Suite)

Domeniconi - Minyo

Domeniconi - Omaggio A A.Carlevaro

J. Dowland - Aloe

J. Dowland - Dr. Cases Pavane

J. Dowland - Earl of Essex Galliard

J. Dowland - Fancy

J. Dowland - Fantasy (in E major)

J. Dowland - First Galliard

J. Dowland - Frog Galliard

J. Dowland - Go From My Window

J. Dowland - Lachrimae Pavan

J. Dowland - Master Piper's Galliard

J. Dowland - Melancholy Galliard

J. Dowland - Mignarda Galliard

J. Dowland - Mr. Langton's Galliard

J. Dowland - My Lady Hunsdon's Puffe

J. Dowland - Piper's Pavan

J. Dowland - Queen Elizabeth's Galliard

J. Dowland - Robin

J. Dowland - Round Battle Galliard

J. Dowland - Sir Henry Guilforde Almaine

J. Dowland - Sir John Smith Almaine

J. Dowland - Sir John Souchs Galliard

J. Dowland - Solus Cum Sola

J. Dowland - Tarleton's Resurrection

J. Dowland - The Lord Viscount Lisles Galliard

J. Dowland - The Shoemaker's Wife

M. Falla - Chanson Du Feu Follet

M. Falla - Homage to Debussy

J. Ferrer - Capricho Op.48

J. Ferrer - Nocturno no.1

J. Ferrer - Nocturno no.2

D. Fortea - Allegro Concerto

D. Fortea - Andalus

D. Fortea - Elegia

D. Fortea - Monteria

Foscarini - Works

G. Frescobaldi - Aria con Variazioni

G. Frescobaldi - Aria detto Baletto

G. Frescobaldi - Dances and Variations

M. de Fuenllana - Fantasies


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Score of Movie Music


Recently I came came across of the score book and like to share in my blog.
  • Anastasia
  • Deep Purple
  • Hi-Lili, Hi-Lo
  • Invitation
  • Mimi
  • Over the Rainbow
  • Softly, As I leave you
  • Spring is here
  • Star eyes
  • The bad and the beautiful
  • The boy next door
  • The green leaves of summer
  • The shadow of your smile
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Sheet Music Collection (C)


A. de Cabezón - Duos and other works

L. de Call - Sonate

L. de Call - Sonatine

F. Campion - Suites

F. Campion - Sarabande and Gigue (transcr. by Pujol)

A. Cano - Andante Grave

A. Cano - El Eco

A. Cano - Estudio de Concierto

A. Cano - Un Recuerdo

A. Cano - 10 Etudes

M. Carcassi - Sonatine Op.1

M. Carcassi - Op.5 excerpts

M. Carcassi - Variations on a French Air

L. Castellaci - Prelude

F. Chopin - Mazurka Op.6 no.1

F. Chopin - Nocturne no.10

F. Chopin - Nocturne no.15

F. Chopin - Nocturne no.20

F. Chopin - Prelude op.28 no.4 (transcription)

F. Chopin - Prelude op.28 no.6 (transcription)

F. Chopin - Prelude Op.28 no.7

F. Chopin - Prelude Op.28 no.11

F. Chopin - Prelude op.28 no.15 (transcription)

F. Chopin - Prelude Op.28 no.20 (all preludes transcribed by F.Tarrega)

N. Coste - 25 etudes

N. Coste - Adagio et Divertissements

N. Coste - Air de la Famille Suisse

N. Coste - Andante et Allegro

N. Coste - Andante et Menuets

N. Coste - Andante et Pollonaise

N. Coste - Delfzil

N. Coste - Deuxieme Polonaise

N. Coste - Deux Quadrilles

N. Coste - Divagation

N. Coste - Divertissement Op28

N. Coste - Divertissement Op9

N. Coste - Fantaisie Op16

N. Coste - Fantaisie Symphonique Op28

N. Coste - Feuilles D'Automne

N. Coste - Grand Caprice Op11

N. Coste - Grande Serenade Op30

N. Coste - Grand Solo Op24

N. Coste - La Chasse Des Sylphes Op29

N. Coste - La Passage Des Alphes Op27

N. Coste - Largo

N. Coste - La Romanesca

N. Coste - La Ronde de Mai

N. Coste - La Source du Lyson

N. Coste - La Vallee D'Ornans

N. Coste - Le Depart Op31

N. Coste - Les Bords du Rhin

N. Coste - Les Cloches Op21

N. Coste - Les Soirees D'Auteuil Op23

N. Coste - Le Tournoi

N. Coste - Le Zuyderzee Op20

N. Coste - Livre D'or du Guitariste

N. Coste - Marche Funebre

N. Coste - Mazurka Op33

N. Coste - Meulan Op22

N. Coste - Opus 12

N. Coste - Opus 13

N. Coste - Quatre Marches et Six Preludes

N. Coste - Recreation du Guitariste

N. Coste - Rossini Variations

N. Coste - Six Pieces Originales

N. Coste - Valse Favorite

N. Coste - Valses



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Sheet Music Collection (A)


M. Abloniz - Bossa Nova

M. Abloniz - Tangillo

S. Abreou - Tiko Tiko

D. Aguado - Air Espagnol Variations

D. Aguado - Andante No.1

D. Aguado - Estudios, and other short pieces

D. Aguado - Fandango

D. Aguado - Gran Solo de Sor

D. Aguado - Guitar Method part 1

D. Aguado - Guitar Method part 2

D. Aguado - Guitar Method part 3

D. Aguado - Six minuets and six valses

D. Aguado - Three Rondo Brillants

I. Albeniz - Asturias Leyenda

I. Albeniz - Cadiz

I. Albeniz - Cataluna

I. Albeniz - Cordoba

I. Albeniz - Cuba

I. Albeniz - Danza Espanola no.3

I. Albeniz - Granada

I. Albeniz - Malaguena Op.165 no.3

I. Albeniz - Mallorca

I. Albeniz - Rumores de Caleta

I. Albeniz - Saltarello

I. Albeniz - Sevilla

I. Albeniz - Tango Op.165 no.2

I. Albeniz - Torre Bermeja

I. Albeniz - Zambra

I. Albeniz - Puerta De Tierra

H. Albert - Altspanisches Lied

H. Albert - Altwiener Walzer Idyll

H. Albert - Elegische Mazurka

H. Albert - Intermezzo

H. Albert - Menuet in G major

H. Albert - Sonata no.1

T. Albinoni - Adagio

N. Alfonso - Trois Etudes

E. Amador - Estudio Para el Dedo Quinto

E. Amador - Estudio Para la Mano Izquierda Sola

E. Angulo - Lento

M. Anido - Barcarole

M. Anido - National Song

M. Anido - Vidalita

M. Anido - Yukatan Song

Anonymous - A big collection of the unknown authors!

Anonymous - El Condor Pasa

J. Arcas - Andante Y Estudio

J. Arcas - Bolero

J. Arcas - Bolero in D minor

J. Arcas - Dream (a tremolo study)

J. Arcas - El Fagot

J. Arcas - Fantasia

J. Arcas - Gaetana (Mazurka)

J. Arcas - Il Bacio

J. Arcas - Jota Aragonesa

J. Arcas - La Saltarina

J. Arcas - Los Panaderos

J. Arcas - Manuelito

J. Arcas - Two Minuets

J. Arcas - Polaca Fantastica

J. Arcas - Polonesa

J. Arcas - Preludio

J. Arcas - Preludio from Wilhelm Tell

J. Arcas - Rondena

J. Arcas - Tanda de Valses

J. Azpiazu - Spanish Dances

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Carlevaro, Abel - Guitar Masterclass - Fernando Sor's


Guitar Master Class 1 

Product Description:


Technique, Analysis and Interpretation of 10 of Fernando Sor's best known Studies.

Product Number: ECH711
Format: Book
Language: English
ISBN: 3890440231
ISBN13: 9783890440231
Series: Chanterelle
Publisher: Chanterelle
Date Published: 9/27/2007


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Carlevaro, Abel - Guitar Masterclass - Heitors Villa Lobos


Heitor Villa Lobos 


Description:


In this book, masterful Uruguayan guitarist and teacher Abel Carlevaro (1918-2001) offers insights to the performance of the ?5 Preludes? (1940) and ?Choro No. 1? (1920) by Heitor Villa-Lobos. Without presenting the complete works being analyzed, Carlevaro guides the student through the most challenging parts of each of these landmark pieces. Using short examples in standard notation only, Carlevaro reveals profound and illuminating insights; for the advanced student, it?s almost like being in a real master class with the maestro himself.

"The guitar of Villa-Lobos opened up new paths in musical expression. Without doubt, through a surprising process of self teaching, he created an innovative technique that could not have been learnt in an academy, and also a personal technique, original because of its truthfulness, its message, its humanity and its life." -Abel Carlevaro


Product Number: ECH712
Format: Book
Language: English
ISBN: 0204701031
ISBN13: 9790204701032
Series: Chanterelle
Publisher: Chanterelle
Date Published: 7/30/2007

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Diatonic Major and Minor Scales by Andres Segovia


Download this free guitar ebook 

 


This is about as simple as you can get. Eight pages long, including a one-page introduction from Segovia. The transcriptions of the scales are designed for classical guitarists, with major and melodic minor forms for every key. This is an incredible tool for learning the notes up and down the fretboard, and exactly what anybody studying classical guitar in auniversity setting will need.



Download this free guitar ebook

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Carlevaro, Abel - Guitar Masterclass - Villa-Lobos 12 Studies


12 studies 


Description:
In this book, masterful Uruguayan guitarist and teacher Abel Carlevaro (1918-2001) offers insights to the performance of the ?12 Studies? (1929) by Heitor Villa-Lobos. Without presenting the complete works being analyzed, Carlevaro guides the student through the most challenging parts of each of these twelve landmark pieces. Using short examples and facsimiles of a few bars of the original manuscripts given to him by Villa-Lobos himself, Carlevaro reveals profound and illuminating insights. For the advanced student, it?s almost like being in a real master class with the maestro himself. This book is written in standardnotation only.
"Villa-Lobos gave birth to the modern guitar, forging a new path for it; the newly expanded musical and technical possibilities have greatly benefited the repertoire for the instrument." -Abel Carlevaro
Product Number: ECH713
Format: Book
Language: English
ISBN: 020470104X
ISBN13: 9790204701049
Series: Chanterelle
Publisher: Chanterelle
Date Published: 7/30/2007


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Why Transcribe? We look at a Bach Cello Suite.


Bach's First Cello Suite in D 


One of the best exercises for the guitarist is to transcribe pieces penned for other instruments into guitar renditions. Why is this so beneficial?  Well, we often play music specifically composed for our instrument and these pieces are written guitaristically.  The composer knows the limits of the instrument -- or at least what he or she feels are the limits -- and then crafts a melody that fits these preconceived notions.  Limits and constraint are the result.  


Taking a piece written for the piano (like Albeniz' material) or the piece we will be exploring -- Bach's First Suite for unaccompanied cello -- meanswe are forced to think outside the parameters we expect and get used to with guitar-specific pieces.  Wit the Bach piece, we are forced to put ourselves into Bach's mind and determine what harmonies he was implying with double stops on the cello -- very few complete chords, but much implied, subtle and sublime harmonies can be heard.  Whenever you are attempting a transcription, it is necessary that you not only have a benchmark edition of the piece specifically for the original instrument, but it is also a blessing to have a resource that shows the composer's original edition -- like the Bach Gesellschaft.  In the case of the Bach, numerous editions as well as Gesellschaft facsimiles are available.  What I've done here is reproduced my transcription of the Sarabande of the First Cello Suite.  You will note that there are harmonies that could not be played on the cello -- just try a six-note chord.
 

 

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Baroque Music


The English word baroque is derived from the Italian barocco, meaningbizarre, though probably exuberant would be a better translation more accurately reflecting the sense. The usage of this term originated in the 1860s to describe the highly decorated style of 17th and 18th century religious and public buildings in Italy, Germany and Austria, as typified by the very baroque angelic organist adorning the Gottfried Silbermann organ completed in 1714 for the Cathedral in Freiberg, Saxony (illustrated above). Later, during the early-to-mid 1900s, the term baroque was applied by association to music of the 17th and early 18th century, and today the term baroque has come to refer to a very clearly definable type or genre of music which originated, broadly speaking, around 1600 and came to fruition between 1700 and 1750. 


Listen to music of the 1200s and 1300s. It's relatively primitive in terms of melody and harmony. If we move to the 1500s we find a great difference, as Italian music began to blossom and English composers like Dowland, Morley and Tomkins produced the wonderful melodies and surprisingly sensitive poetry which accompanied them - or vice versa. A major theme underlying music at that time however was the exploration of form. There was still so much new to discover: new melodic lines and harmonic progressions to be explored, new combinations of instruments, and new forms in music such as the fugue, canon, and variations on a bassline, a popular tune or a chorale. As the 1600s progressed, so these different musical forms took on definite shape, and the period from 1700 to 1750 can clearly be seen as the "high baroque". 


Two geographical influences were at work here. In north Germany and Holland, composers such as Froberger, Kerll, and particularly Dietrich Buxtehude were concentrating mainly on the art of counterpoint, especially the fugue. Here, organ and voice were the major elements. At the other end of Europe, in Rome, the instrumental forms of the sonata and concerto were formalized. Every period in music has certain recognizable clichés, and much of what is typical in baroque music, specific cadences and snatches of melody, can be traced back to one Arcangelo Corelli, who seems to have influenced just about everybody, from his Italian contemporaries and students to Handel who sojourned in Rome from 1704 to 1710. From Rome, the "Italian" influences spread northwards while the stricter north German forms flowed southwards, intermingling to produce a common baroque vocabulary. Indeed, the inter-mingling of musical trends from different parts of Europe was surprisingly extensive, considering the relatively primitive methods of travel and communication. Vivaldi, Geminiani, Corelli, Scarlatti, Handel and many others all met one another or were thoroughly conversant with one another's music. Bach journeyed north from his "base" in Thuringia and Saxony, southern Germany, to hear Buxtehude, and his later travels included Dresden and Berlin. Bach owned and/or copied the music of many of his contemporary composers, often re-writing them for different instruments. Indeed this was a recognized method of study widely practised in baroque times. 


It is also important, when studying the composers and their music of the baroque or indeed any age, to review the circumstances in which composers worked. Take Vivaldi for example. Though he wrote many fine concertos (like the Four Seasons and the Opus 3) he also wrote many works which sound like five-finger exercises for students. And this is precisely what they were. Vivaldi was employed for most of his working life by the Ospedale della Pietà. Often termed an "orphanage", this Ospedale was in fact a home for the female offspring of noblemen and their numerous dalliances with their mistresses. The Ospedale was thus well endowed by the "anonymous" fathers; its furnishings bordered on the opulent, the young ladies were well looked-after, and the musical standards among the highest in Venice. Many of Vivaldi's concerti were indeed exercises which he would play with his many talented pupils. 


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Scale Passages in Bach Chaconne


One of my all-time favorite pieces is the d minor Chaconne by Johann Sebastian Bach. Albert Valdes-Blain told me that no guitarist should play this piece in a recital until they'd reached their fortieth birthday. He felt a younger man couldn't possibly have built up the emotional 'bank account' to successfully impart anything to the music. My personal opinion? I don't believe any player will successfully find, interpret and deliver the full range of emotional content Bach wrote into this piece. It is a masterwork, some argue the one of the brightest lights of Western culture.
 

The Chaconne is a set of variations stemming from a brooding, dark theme crafted from a series of three and four note chords. Originally written for the violin, the violinist dreads the chordal variations and runs through the scale stuff. The guitarist breaths a sigh of relief on the chordal stuff and sweats the scales! One man's poison... Well, about two pages into the Segovia edition we find the first brutally quick scale passages. Due to the complexity of the implied harmonies in these melodic runs, the guitarist must articulate every note. Each note is a gem set by a master. This is not a chance to show off chops, it is an opportunity to touch souls!


Please note the drop D tuning. Practice this passage slowly and with an open ear. The harmonies are simply spectacular. As with all exercises I've given you, practice slowly and cleanly with high articulation. Feel free to play with different fingerings and string voicings. A metronome will come in very handy!
 

You can see plainly that I've messed with Segovia's work. This is what works for me; it doesn't mean that's the way you have to perform the passage. Find a copy of the violin score and note the legato markings. You know, whenever you learn a piece transcribed from another instrument's repertoire, go back tot he original score and check it out. You may see something that the transcriber missed.
 

jsa1 


jsa2
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J.S. Bach: The complete lute suites


Heres a complete version of the complete lute suites:

 
Lute Suites For Guitar by Johann Sebastian Bach (1685-1750). Edited by Jerry Willard. For guitar. Music Sales America. Baroque. Difficulty: medium to medium-difficult. Guitar solo book. Standard guitar notation (no tablature), fingerings, performance notes and introductory text. 96 pages. Music Sales #AM27616. Published by Music Sales (HL.14002939).

ISBN 0825699797. With standard guitar notation (no tablature), fingerings, performance notes and introductory text. Baroque. 9x12 inches.

The complete works for lute solo by Johann Sebastian Bach. Newly transcribed and annotated, including historical and performance notes.
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J.S. Bach Sheet Music


It's a my collection of Bach Guitar score. Including, but not limit to:


J.S. Bach - Cello Suite no.1

J.S. Bach - Chaconne in d minor

J.S. Bach - Fugue in G minor

J.S. Bach - Lute Suite no.1

J.S. Bach - Lute Suite no.2

J.S. Bach - Lute Suite no.3

J.S. Bach - Lute Suite no.4

J.S. Bach - Violin Partita no.2

J.S. Bach - Prelude in C minor

J.S. Bach - Prelude, Fugue, and Allegro

J.S. Bach - Violin Sonata no.1

J.S. Bach - Violin Sonata no.2

J.S. Bach - Violin Sonata no.3

J.S. Bach - Prélude BWV 1007

J.S. Bach - BWV9965 Bourree

J.S. Bach - bwv9991 Prelude

J.S. Bach - Air on G

J.S. Bach - Gavotte



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