CHITARRA LAMPO

CLASSICAL GUITAR

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12 - 13 - 14 - 15 - 16 - 17 - 18 - 19 - 20 - 21 - 22 - 23 - 24 - 25 - 26

2887 A TREASURY OF CLASSICAL GUITAR REPERTOIRE. TABLATURE

Euro 15,00

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A TREASURY OF CLASSICAL GUITAR REPERTOIRE. TABLATURE

Series: Guitar Collection
Publisher: Hal Leonard TAB

Composer: Various Composers
A fantastic collection of 48 classical guitar pieces in standard notation and TAB. 114 pages.

Adelita (Mazurka)
Allegro Spiritoso
Bianco Fiore
Bourre In E Minor
Bourre
Capriccio
Captain Digorie Piper's Galliard
Dowland's Galliard
Espa?oleta
Estudio
Etude In E Minor
Gavotte I & II (from the 6th Cello Suite)
Gigue
Greensleeves
Gymnopedie No. 1
Jesu, Joy Of Man's Desiring
Kemp's Jig
La Volta
Lagrima
Las Folias de Espana
Lord Willoughby's Welcome Home
Menuetto
Menuetto (from Sonata Op. 22)
Minuet
Minuet In G
Mistress Winter's Jump
Mrs. Nichols' Almain
Packington's Pound
Pavana
Prelude
Prelude And Allegro
Recuerdos de la Alhambra
Rondo
Rujero
Sarabande
Se io m'accorgo
Spanish Romance
Study In A Minor
Study No. 5
Study No. 6
Study No. 2
Study, Op. 60, No. 3
Study, Op. 60, No. 7
Theme And Variations
Vaghe belleze et bionde treccie d'oro vedi che per ti moro

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0106 39 PROGRESSIVE SOLO FOR CLASSICAL GUITAR 1.WITH CD

Euro 21,00

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39 PROGRESSIVE SOLO FOR CLASSICAL GUITAR 1. Estudio In A Min. (Aguado) -Etude (Carulli) -Etude (Carcassi M) -Etude In A (Carcassi) -Grazioso (Giuliani) -Joyful, Joyful, We Adore Thee -Lagrima -Maestoso (M.Giuliani) -Moderato (Giuliani) -Rondo (Carcassi,Matteo) -Scarborough Fair -Studio (Carcassi) -Studio In A Min. (Carcassi) -Study (Giuliani) -Study In A Min. (Aguado) -Study In C (Giuliani) -Study In G (Aguado) -Vivace (Giuliani Mauro) -Waltz (Carcassi). CD TAB.

Book 1
Series: Guitar Educational
Publisher: Cherry Lane Music
Softcover with CD - TAB

39 outstanding classical guitar solos arranged with tablature for the first time. 48 pages

Allegretto
Allegro In A Min. (Giuliani)
Bourree (Bach)
Estudio In A Min. (Aguado)
Etude (Carulli)
Etude (Carcassi M)
Etude In A (Carcassi)
Grazioso (Giuliani)
Joyful, Joyful, We Adore Thee
Lagrima
Maestoso (M.Giuliani)
Moderato (Giuliani)
Rondo (Carcassi,Matteo)
Scarborough Fair
Studio (Carcassi)
Studio In A Min. (Carcassi)
Study (Giuliani)
Study In A Minor
Study In C (Giuliani)
Study In G (Aguado)
Vivace (Giuliani Mauro)
Waltz (Carcassi)

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0107 39 PROGRESSIVE SOLO FOR CLASSICAL GUITAR 2. WITH CD

Euro 21,00

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39 PROGRESSIVE SOLO FOR CLASSICAL GUITAR 2. Allemande (Bach) -Baxa De Contrapunto (De Narvaez) -Canarios (Sanz G) -Cancion Del Emperador (Narvaez) -Guardame Las Vacas (Narvaez) -Romance -Sarabande -Six Pavans (Milan) -Studio In B Minor (Sor) -Study In C (Sor) -Study In D (Sor) -Tarleton's Riserrectione(Dowland. CD TAB.

39 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR
Book 2
Series: Guitar Educational
Publisher: Cherry Lane Music
Softcover with CD - TAB

39 outstanding classical guitar solos arranged with tablature for the first time. Includes, 44 pages

Allemande (Bach)
Baxa De Contrapunto (De Narvaez)
Canarios
Cancion Del Emperador
Guardame Las Vacas (Narvaez)
Romance
Sarabande
Six Pavans (Milan)
Studio In B Minor (Sor)
Study In C (Sor)
Study In D
Tarleton's Riserrectione(Dowland

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1736 60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR, Featuring the Music of the World's Greatest Composers: Bach, Handel, Mozart, Beethoven & Brahms. CD TALATURE

Euro 20,99

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60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR, Featuring the Music of the World's Greatest Composers: Bach, Handel, Mozart, Beethoven & Brahms. CD TABLATURE

Series: Guitar
Publisher: Cherry Lane Music TAB
Arranger: Mark Phillips

Most classical guitar folios feature compositions by the lesser-known “guitar” composers. This collection, however, exclusively features music by the world's most renowned composers. The works of Johann Sebastian Bach and George Frederick Handel represent the culmination of the Baroque era. Wolfgang Amadeus Mozart stands at the summit of the Classical era. Ludwig van Beethoven straddles the Classical and Romantic eras, and Johannes Brahms is the giant of the Romantic era. For educational purposes, the pieces have been organized in order of difficulty within each composer's section. In addition, complete performances of all pieces can be heard on the accompanying CD. Enjoy! Includes: Jesu, Joy of Man's Desiring • The Harmonious Blacksmith • Ode to Joy • Lullaby • and more.
Inventory #HL 02500584
ISBN: 9781575606286
UPC: 073999887044
Width: 9.0"
Length: 12.0"
120 pages

Air - Composed by Johann Sebastian Bach
Bourree - Composed by Johann Sebastian Bach
March from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach
Minuet 1 - Composed by Johann Sebastian Bach
Minuet 2 - Composed by Johann Sebastian Bach
Minuet 3 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach
Minuet 4 - Composed by Johann Sebastian Bach
Minuet 5 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach
Minuet 6 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach
Air (Originally Untitled) from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach
A Child Is Born in Bethehem - from Cantata n.65 - Composed by Johann Sebastian Bach
Chorale from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach
Jesu, Joy Of Man's Desiring - Composed by Johann Sebastian Bach
Jesu, Meine Freude (Chorale) - Composed by Johann Sebastian Bach
The Harmonious Blacksmith - Composed by George Frideric Handel
Gavotte - Composed by George Frideric Handel
Sarabande - Composed by George Frideric Handel
Minuet - Composed by George Frideric Handel
Adagio 1 - Composed by George Frideric Handel
Adagio 2 - Composed by George Frideric Handel
Adagio 3 - Composed by George Frideric Handel
Bourree 1 - Composed by George Frideric Handel
Bourree 2 - Composed by George Frideric Handel
Bourree 3 - Composed by George Frideric Handel
Allegro 1 - Composed by George Frideric Handel
Allegro 2 - Composed by George Frideric Handel
Andante - Composed by George Frideric Handel
Theme - Composed by Wolfgang Amadeus Mozart
Minuet 7 - Composed by Wolfgang Amadeus Mozart
Trio 1 - Composed by Wolfgang Amadeus Mozart
Trio 2 - Composed by Wolfgang Amadeus Mozart
Andante 1 - Composed by Wolfgang Amadeus Mozart
Andante 2 (2nd Movement) From Piano Concerto n.20 - Composed by Wolfgang Amadeus Mozart
Andante 3 (2nd Movement) From Piano Concerto n.15 - Composed by Wolfgang Amadeus Mozart
Allegro (1st movement theme) from Piano Concerto n.13 - Composed by Wolfgang Amadeus Mozart
Russian Folk Tune - Composed by Ludwig van Beethoven
Pretty Minka - Composed by Ludwig van Beethoven
German Dance 1 - Composed by Ludwig van Beethoven
German Dance 2 - Composed by Ludwig van Beethoven
Ecossaise - Composed by Ludwig van Beethoven
Country Dance - Composed by Ludwig van Beethoven
Landler (Tyrolean Air) - Composed by Ludwig van Beethoven
Ode to Joy - Composed by Ludwig van Beethoven
Dance - Composed by Ludwig van Beethoven
Bagatelle 1 - Composed by Ludwig van Beethoven
Bagatelle 2 - Composed by Ludwig van Beethoven
Lullaby - Composed by Johannes Brahms
Symphony No. 3 (3rd Movement) - Composed by Johannes Brahms
Waltz 1 (Op. 39, No. 02) - Composed by Johannes Brahms
Waltz 2 (Op. 39, No. 15) - Composed by Johannes Brahms
Like a Melody - Composed by Johannes Brahms
These pieces are organized in order of difficulty within each composer's section.

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2778 50 GREAT CLASSICAL GUITAR SOLOS, Howard Wallach. Bach, Carcassi, Dowland, Giuliani, Handel, Sor, Tárrega, e altri. 114 pagine. TABLATURE

Euro 13,99

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50 GREAT CLASSICAL GUITAR SOLOS, Howard Wallach. Bach, Carcassi, Dowland, Giuliani, Handel, Sor, Tárrega, e altri. 114 pagine. TABLATURE

Series: Guitar
Publisher: Cherry Lane Music
Softcover - TAB
Arranger: Howard Wallach

Covering music from the Renaissance, Baroque, Classic and Romantic eras, this fabulous collection includes 50 solos in notes and tab from Bach, Carcassi, Dowland, Giuliani, Handel, Sor, Tárrega and other acclaimed composers. 114 pages

Types of Dances and Pieces

Pavan = A dance of Italian origin popular in the 16 th and 17 th centuries. It was in simple duple time and of stately character.

Villanella = Street song popular in the 16 th Century, also a type of part-song less complex than the madrigal.

Finale = The last movement of a work in several movements.

Chaconna = Originally a dance of 3-in-a-measure rhythms, with the music built on (over) a ground bass. Sometimes there is no actual ground bass, but the music falls into a number of short sections similar to those written over a ground bass.

Bouree = A lively dance in quadruple time beginning with an up beat.

Allemanda = A dance usually in 4/4, but sometimes in duple meter. Often found as the
first dance of a suite. It is serious in character and of moderate speed.

Romanesca = 1) A kind of galliard from Romagna.
2) A certain melody popular in the 17 th Century as a ground bass.

Volta = A quick dance in triple meter; also known as "Lavolta" or ILaVolta,"
similar to the galliard.

Courante = A French dance popular in the 17 th and 18 th centuries and commonly found in the baroque suite. There are two types:
1) The Italian variety: rapid tempo in simple triple time.
2) The French variety: similar to the Italian, but with a different character and in quadruple meter.

Menuet = - A stately court dance of the 17 th and 18 th centuries in triple time. It was an optional movement of the suite and is found later in the classical symphonies of Haydn and Mozart.

Passepied = A lively dance in 3/8 or 6/8 time, which originated amongst French sailors, and later became popular at court.

Sarabande = A slow and stately dance form in triple time. It was a standard movement
of the baroque suite. There had existed an earlier, lively version.

Waltz = A dance in 3/4 time which came into prominence in the last quarter of the 18 th
Century. It rose to tremendous popularity in the 19 th Century, especially in Vienna.

Caprice = A light, quick composition with an improvisational feel, often including
striking or original effects.

Bagatelle = A short unpretentious instrumental composition; a trifle.

Landler = A type of slow waltz originating in northern Austria.

Prelude = A piece of music which precedes something else. In the 19 th and 20 th centuries, a self-contained short instrumental piece which sets a mood.

Mazurka = A traditional Polish country dance in triple time with an accentuation of the second beat of each measure and an ending of the phrases on that beat.

Table of Contents
Signs, Symbols, and Terms .
Found in this Book
Music of the Renaissance
Pavan V Milan .
Pavan VI Milan .
Polish Dance I Anonymous .
Polish Dance II Anonymous .
Villa nella Dlugoraj .
Finale Dlugoraj .
Pa van Byr d .
Mr. Dowland's Midnight Dowland .
My Lord Willoughby's Dowland .
Welcome Home
Music of the Baroque Era
La Chaconna Vallet .
B0urre e Va IIe t .
Allemanda Calvi .
Romanesca Calvi .
Volta Galilei .
Courante Sweelinck .
Menuet de Visee .
B0urre e de Vise e .
Passepied I Le Cocq .
Passepied II Le Cocq .
Menuet Handel '
Oh Sacred Head Now Wounded Bach .
Sarabande Bach .
Bourre e Bach .

Music of the Classic Era
Study in G Major Aguado '
Wa Itz Aguado ,
Andantino Carulli .
Waltz Caru Iii .
Andante Carulli .
Study in A Major Carcassi .
Study in E Minor Carcassi .
Ca price Carcassi .
Allegretto Giuliani .
Andantino Giuliani .
Study in A Minor Giuliani .
Andante Sor .
Study in A Major Sor .
Study in D Major Sor .
Minuet Sor .
Music of the Romantic Era
Bagatelle Schumann .
La nd Ier I Mertz .
Landler II Mertz .
Study in C Major Coste .
Study in A Minor Coste .
Prelude Coste .
Russian Song Tchaikovsky .
Prelude in D Major Tarrega .
Prelude (Endecha) Tarrega .
Prelude in D Minor Tarrega .
Prelude in E Major Tarrega .
Mazurka Tarrega.

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6532 ASAP CLASSICAL GUITAR, Learn How to Play the Classical Way, James Douglas Esmond. CD TABLATURE

Euro 16,99

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ASAP CLASSICAL GUITAR, Learn How to Play the Classical Way, James Douglas Esmond. CD TABLATURE.

LIBRO PER CHITARRA CON CD E TABLATURE

Per chi incomincia a suonare la chitarra classica, ASAP, As Soon As Possible, con il significato di: "al più presto possibile".

Serie: Guitar
Editore: Centerstream Publications
Copertina morbida con CD - TAB
Autore: James Douglas Esmond

Manuale facile anche per studiare da soli. Questo libro e CD per i principianti e chitarristi di livello intermedio propone pezzi classici ed esercizi presentati progressivamente nelle note e tablature, con le spiegazioni precise e brani eseguiti sul CD. Un perfetto metodo per imparare a suonare Più veloce possibile! 36 pagine.

Teacher-friendly or for self-study, this book/CD pack for beginning to intermediate guitarists features classical pieces and exercises presented progressively in notes and tab, with each explained thoroughly and performed on the accompanying CD. A great way to learn to play ASAP! 36 pages.

List of piece playing tips and explanations of exercises

R.H.Exercise Group #1
An easy introduction to the most basic finger patterns used in these pieces as well as good reading for the open strings.

R.H.Exercise Group #2
Moreindex and middle combinations. Start slowly and work for balance in the hand and an even tone.

L.H.Exercise #1
Stay on one string for as long as necessary to get perfect. Moving each finger deliberately and independent of others.

L.H.Exercise #2
Work to keep fingers down until they absolutely need to move.

Spanish Theme
Use this as a reinforcing piece for first position reading by saying notes out loud while playing. Index and Middle throughout for the top line. Work this line separately for awhile before adding the Bassline.

Ode to Joy
This piece, like the last is introduced in two parts and the Bassline will require a bit more attention.

Minuet in C
This piece should be approached like the last two but the parts require even more attention. Follow the left hand fingerings very closely. Get the left hand and the Bassline very good before adding together.

R.H.Exercise Group #3
These arpeggiations will be useful and comprehensive in regards to learning the next pieces in the book. Take one at at a time and practice very slowly.

L.H.Exercise #3
The L.H. and RH. should be practiced equally in this exercise. Practice the right hand alone and don't go too fast.

Pastoral Theme
Feel the left hand being free even thought the 3rd finger is rooted to the low G. Practice the top line by itself as well.

Gymnopedie #1
This is the first Chordal piece and therefore working on it by "Blocking" the left hand and just practicing the motions that the left hand uses from ms. to ms. will be beneficial. Also practice the Bassline and right hand motions alone.

New World Theme
Approach this piece the same way as the first three "Break-Down" pieces.

Etude in C
For this piece just looking at the tablature and practicing the arpeggio patterns by themselves with no left hand is a good way to start. Then incorporate blocking the left hand motions as well before putting together slowly.

Etude in A minor
Approach this piece the same way as the Etude in C.

Musette
Approach this piece by breaking up the two lines, but pay very close attention to the top line. De-emphasize the
Bass notes as much as possible. A light touch when holding down the repeated C and G is good for the other fingers.

Academic Festival Overture
Practice the chords that happen on every other beat to start. Try to de-emphasize the middle voices as well.

A Dance
Get familiar with the repeating Bassline in this piece so it can be put into the background while the top voice and middle voices can focused on more. Follow the fingering strictly.

Simple Lamentation
Practice the Bassline a lot by itself, being careful to shape it and work on having a good volume and even tone.

Soldier's March
Practice the chords without worrying about the rhythm at first and then after working the RH. motions, combine.

Sunrise
Approach this piece in the same way as Musette, being careful to have a light left hand, especially when moving up
the neck.

Reflections
Practice the RH. arpeggio pattern by itself before learning the L.H. Focus on some of the harder chord changes.

Adagio
Practice the melody by itself a lot to get a very good, even sound. Make sure to de-emphasize the middle voices.

Musetta's Waltz
Use the same approach as with Adagio, take your time to plant the L.H./ RH. fingers on the ending 8th note run

Cannon
Practice the repeating Bassline first to get it very solid, then work on each 4 measure piece before connecting them.

Eine Kleine Nachtmusic
Special care on the opening octaves should be taken. Be careful not to tense up the right hand on repeated fingerings throughout.

Foreword - How to use the Book
This book, while organized progressively, is constituted of all pieces that are developmental in nature for a beginner's technique. It is therefore recommended but not necessary to go through the book in a stepwise fashion. In addition the pieces can be broken in to several technique categories( i,m studies, arpeggio studies, chordal, etc.) and some pieces fall in to several of these categories. To ease the student into reading on the guitar the pieces have been arrange in very manageable keys, no more than 1# used.
I strongly suggest following all the fingerings that are suggested, however, if there are places in the book where a teacher or student wishes to change a fingering then that should be fine as long as the student adheres to it. There are many options for fingerings on the guitar and the important thing to remember is that the student is building what I like to call a "Technique Memory" and that each piece, or section of a piece can be seen as a set of directions that will, if practiced carefully, be absorbed and adhered readily to the next similar piece. As Guitarists, we are always building towards more difficult pieces but in a way always dealing with some of the same as well so it makes sense to stick closely to fingerings for some time.
Write in even more if necessary.
The exercises and 1st section of Broken-Down pieces are meant to really help the student ease into the book. The exercises do not have to be mastered before studying the pieces, especially due to the reading aspect, but should be incorporated into a daily practice routine.
I hope you enjoy the pieces and find this to be fun and helpful on your journey as a Classical guitarist.

Biography
James Douglas Esmond started playing the guitar
seriously in his teens. He received his Bachelor's
of Music Theory and Classical Guitar performance
from Ithaca College, Ithaca, N.Y.Upon graduating
he became involved in church music. He has held
positions in various churches, as a guitarist, organist,
singer and conductor. In addition to his church
work, he also teaches Guitar and Piano at Blue Sky
Studios in Delmar, N.Y., and writes and arranges
compositions in various genres and styles. He currently
serves as the Organist/Music Coordinator at
Newtonville Methodist Church in Loudonville, N.Y.
He resides in Albany N.Y.with his wife Meighan.

Table of Contents and C.D. Track List

Exercises and Pieces in graded order, with playing Tips

Foreword and Biography

Track 1. -R.H.Exercise Group #1
Track 2. - R.H.Exercise Group #2 .
Track 3. -L.H.Exercise #1 .
Track 4. -L.H.Exercise #2 .
Track 5. -Spanish Theme (Melody and Bassline) .
Track 6. -Spanish Theme .
Track 7. - Ode to Joy (Melody and Bassline) .
Track 8. - Ode to Joy .
Track 9. - Minuet in C (Melody and Bassline) .
Track 10. - Minuet in C .
Track 11. -R.H.Exercise Group #3 .
Track 12. -L.H.Exercise #3 .
Track 13. - Pastoral Theme .
Track 14. - Gymnopedie #1 .
Track 15. - New World Theme .
Track 16. -Etude in C .
Track 17. -Etude in A minor .
Track 18. -Musette .
Track 19. - Academic Festival Overture .
Track 20. - A Dance .
Track 21. - Simple Lamentation .
Track 22. - Soldier's March .
Track 23. - Sunrise .
Track 24. - Reflections .
Track 25. - Adagio .
Track 26. - Musetta's Waltz .
Track 27. - Cannon .
Track 28. - Eine Kleine Nachtmusic .

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0268 6 ARIAS FROM MOZART'S OPERA "THE MAGIC FLUTE". OPUS 19

Euro 10,00

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6 ARIAS FROM MOZART'S OPERA "THE MAGIC FLUTE", OPUS 19. Arrangiate per chitarra da Fernando Sor. Marty Hodgson. Con notazione tradizionale.

Availability:

6113 LA CHITARRA CLASSICA, Guida per il principiante con istruzioni progressive e oltre 25 brani da studiare e suonare. LIBRO E CD

Euro 18,99

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LA CHITARRA CLASSICA, Guida per il principiante con istruzioni progressive e oltre 25 brani da studiare e suonare.
Autore Paul Henry.

LIBRO CON CD

METODO PER CHITARRA HAL LEONARD

Metodo Hal Leonard dedicato a chiunque voglia imparare la chitarra classica, per la prima volta tradotto in italiano. E' una guida per principianti assistiti da insegnante, ma anche per autodidatti, scritta dal famoso chitarrista P. Henry, che usa la musica dei grandi compositori classici per insegnare le basi dello stile e della tecnica classica. Il Cd allegato include tutti i brani del metodo per dimostrazione e play-along.

LA CHITARRA CLASSICA

Guida per il principiante con istruzioni progressive e oltre 25 brani da studiare e suonare.

Autore Paul Henry.

INDICE

Prima di cominciare . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anatomia della chitarra classica . . . . . . . . . . . . . . . . . .

Posizione da seduti. . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Accordatura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Elementi fondamentali di teoria . . . . . . . . . . . . . . . . . . . .

Posizione della mano destra . . . . . . . . . . . . . . . . . . . . . .

Come Suonare le corde . . . . . . . . . . . . . . . . . . . . . . . . .

Posizione della mano sinistra . . . . . . . . . . . . . . . . . . . .

Note sulla 1ª corda. . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 2ª corda. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Suonare la musica a due Voci . . . . . . . . . . . . . . . . . .

Studio n° 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 3ª corda. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio suonato sulle prime tre corde. . . . . . . . .

Studio n° 2 - legature di valore . . . . . . . . . . . . . . .

Studio n° 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 4 - minime puntate e legature di valore. . . .

Gli ottavi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 5 - melodia in ottavi con accompagnamento al basso .

Studio n° 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Altre note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 3. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Articolazione . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 4. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tempo 6/8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 5. . . . . . . . . . . . . . . . . . . . . . . . .

Preludio n° 6 in Re . . . . . . . . . . . . . . . . . . . . . .

Studio n° 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 4ª corda. . . . . . . . . . . . . . . . . . . . . . .

Tema in Re minore . . . . . . . . . . . . . . . . . . . . . . .

Variazione sul tema in Re minore . . . . . . . . . . .

Studio n° 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 5ª corda. . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Note sulla 6ª corda. . . . . . . . . . . . . . . . . . . . .

Fantasia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Le scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Gli accordi . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio n° 13 . . . . . . . . . . . . . . . . . . . . . . . . . . .

Romance . . . . . . . . . . . . . . . . . . . . . .

Studio n° 14 . . . . . . . . . . . . . . . . . . . . . . . . .

Corale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Brani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Allegro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Valzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andantino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andante. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Aria ungherese. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Altri accordi . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Shenandoah . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I sedicesimi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Allegro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Le terzine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andantino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Il Tocco Appoggiato. . . . . . . . . . . . . . . . . . . .

Estudio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Moderato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Esercizi 1-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Cancion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Serenata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tocco Appoggiato con il Pollice. . . . . . . . . . . . . .

Moorish Caravan . . . . . . . . . . . . . . . . . . . . . . . .

Passacaglia . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Le Legature di Espressione . . . . . . . . . . . . . .

Preludio n° 7. . . . . . . . . . . . . . . . . . . . . . . . . .

Legature discendenti . . . . . . . . . . . . . . . . . . . .

Gavotte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Esercizio sulle legature di Espressione. . . . . . .

Altri brani. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Studio in La minore . . . . . . . . . . . . . . . . . . . .

Chanson. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Malagueña. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Minuetto . . . . . . . . . . . . . . . . . . . . . . . . . . .

Vals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andante. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Inno alla gioia . . . . . . . . . . . . . . . . . . . .

Aria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Greensleeves . . . . . . . . . . . . . . . . . . . . . .

Minuetto . . . . . . . . . . . . . . . . . . . .

Tema in La. . . . . . . . . . . . . . . . . .

Pagina di consultazione. . . . . . . . .

Utilizzo delle unghie . . . . . . . . . . . . .

Prendersi cura della propria chitarra . . . .

Cambiare le corde della chitarra classica.

Guida alle corde e alle note . . .

Ringraziamenti . . . . . . . . . .

A proposito dell’autore . . . .

Pagina Traccia Pagina Traccia

PRIMA DI COMINCIARE

A PROPOSITO DI QUESTO METODO

Benvenuti al metodo Hal Leonard per chitarra classica. Il libro fornisce una guida didattica progressiva nell’approccio pratico allo studio dei fondamenti della chitarra classica, come la lettura della musica, l’armonia, concetti basilari che ogni principiante dovrebbe conoscere. Gli stadi iniziali nell’apprendimento dello strumento sono i più importanti, perché gettano le fondamenta del futuro successo musicale. È vivamente consigliato esercitarsi su ciascuna sezione del metodo in modo progressivo, poiché ad ogni nuovo concetto ne segue un altro. L’ascolto del CD allegato fornisce una chiara idea di come gli esercizi e i brani andrebbero eseguiti, oltre a insegnare all’orecchio come guidare le dita. Il metodo illustra i concetti fondamentali per un chitarrista principiante.

COSA È LA CHITARRA CLASSICA?

Imparare a suonare la chitarra classica non significa necessariamente dover imparare la musica classica. Significa imparare a suonare la chitarra seguendo la tradizione classica sviluppatasi nei secoli e in continua evoluzione. Lo studente imparerà a suonare da solista suonando contemporaneamente la melodia e l’accompagnamento, proprio come farebbe un pianista. Lo studente imparerà le tecniche di accompagnamento semplici, ma anche parti più complesse, imparando la musica dei grandi compositori, e stili diversi. È l’approccio, non la musica, che crea il musicista classico. La cosa più interessante nell’apprendimento della chitarra classica è che si utilizzano i metodi e le tecniche che sono state affinate nel tempo dai più grandi chitarristi mai vissuti.

C’È BISOGNO DI UNA CHITARRA CLASSICA?

Si può cominciare lo studio con una chitarra acustica, ma la chitarra classica è più semplice da suonare. Le corde di nylon si premono più facilmente con minor sforzo, e lo spazio tra le corde facilita entrambe le mani. Le chitarre classiche sono costruite in modo da poter suonare musica complicata. Esse; hanno un corpo più piccolo e sono più sensibili alle varietà di colore, di dinamica, di tono, tutti elementi molto importanti quando si suona.

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