The Guitarist’s Practice Book The Guitarist’s Progress, Book Combining the convenience of internet shopping with our unique personal service, our “home service” option for guitar sales is now proving popular with customers. In order to make it easier guitara read and learn I pretend the key signature is 2 sharps and move up one fret but, as you say, the fingerings are so comprehensive they tend to dictate the patterns anyway. Pujol starts by attempting a scientific explanation of sound, and comes to the obvious conclusion that a string will sound different depending on what it is struck with, specifically flesh or nail. 27 Nov Guitar School – Book 1 sheet music – guitar sheet music by Emilio Pujol Vilarrubi: Editions Orphee. This category only includes cookies that ensures basic functionalities and security features of the website. We cannot post your review if it violates these guidelines. These cookies will be stored in your browser only with your consent. Convert documents to beautiful publications and share them worldwide. So there is absolutely no idea when the book publisher might translate vol. This website uses cookies to improve your experience. I hope that these great Spanish, and indeed universal, musical compositions, played with a very personal flamenco guitar, will reach the broad public that shares my love of music.Rational School of Guitar, Book 2 Ophee. I worked on them with affection and a great deal of respect. The music that I play on this album is a very personal version of my vision of Manuel de Falla’s music. This original guitar can be heard in some pieces of Siete Canciones Populares Españolas and in Danza Final. These strings are tuned on octave lower than usual and enabled me to obtain a broader tessitura. To do so, I was forced to modify my flamenco guitar, changing the fourth, fifth and sixth strings for the grave strings of a 10-string guitar. On this occasion, however, I wanted to respect the original registers as much as possible.
It is normal to change octave in some parts. One of the greatest difficulties involved in transcribing orchestra or piano music for guitar is the instrument’s limited tessitura. That was why the transcription of pieces such as Danza Final, rich in polyrhythms and counterpoints, was a veritable challenge, requiring the use of up to four guitars. Analysing his orchestral scores, I tried to maintain the largest number of voices as possible. In my transcriptions, and in my playing, I aim to highlight the flamenco essence of his music.
Many of the dances from “El Sombrero de Tres Picos” had already been transcribed by masters such as Miguel Llobet or Emilio Pujol. I believed that the guitar could add further depth, highlighting the flamenco spirit that inspired Falla to compose them.įor the first volume of this trilogy of Falla transcriptions, I chose El Sombrero de Tres Picos, Siete Canciones Populares Españolas and Cuatro Piezas Españolas. His music overflows with surprising harmonies and melodies that I always felt close to my flamenco soul.
I have wanted to transcribe the work of Manuel de Falla for a long time.