In this book, guitarist and music historian David Grimes presents 20 "small sonatas" or sonatinas, complete with detailed performance notes and bio sketches of each of the contributing composers: Leonhard von Call, Matteo Carcassi, Ferdinando Carulli, Mauro Giuliani, Francesco Molino, and Antonio Nava. While flexible, the early 19th-century sonatina form usually consists of 2 - 4 contrasting movements, here in guitar-friendly keys, making these pieces ideal for performance by intermediate-level students. In all but the most challenging passages, Grimes has intentionally kept fingering to a minimum to allow students to form their own concept of this critical skill. Then, as many bass notes in these pieces are played on open strings, the player must develop a sense of when to selectively damp dissonant tones or observe a rest-- exposing and overcoming yet another shortcoming in the education of many guitarists. Most classic guitar teachers are familiar with the easy didactic studies by Carcassi, Carulli and Giuliani; Favorite Sonatinas offers more highly developed, but not yet virtuoso pieces by the same Italian triumvirate-- plus three more composers in a similar vein-- promoting confident, enjoyable sight-reading by guitarists of all levels.

In this book, guitarist and music historian David Grimes presents 20 “small sonatas” or sonatinas, complete with detailed performance notes and bio sketches of each of the contributing composers: Leonhard von Call, Matteo Carcassi, Ferdinando Carulli, Mauro Giuliani, Francesco Molino, and Antonio Nava. While flexible, the early 19th-century sonatina form usually consists of 2 - 4 contrasting movements, here in guitar-friendly keys, making these pieces ideal for performance by intermediate-level students. In all but the most challenging passages, Grimes has intentionally kept fingering to a minimum to allow students to form their own concept of this critical skill. Then, as many bass notes in these pieces are played on open strings, the player must develop a sense of when to selectively damp dissonant tones or observe a rest— exposing and overcoming yet another shortcoming in the education of many guitarists. Most classic guitar teachers are familiar with the easy didactic studies by Carcassi, Carulli and Giuliani; Favorite Sonatinas offers more highly developed, but not yet virtuoso pieces by the same Italian triumvirate— plus three more composers in a similar vein— promoting confident, enjoyable sight-reading by guitarists of all levels.

This collection of 30 classical guitar transcriptions of works by Christoph Graupner highlights this forgotten master’s unique contributions to Baroque music. Originally composed for cembalo (harpsichord), these delightful French dances may remind you of Bach and Scarlatti, two of Graupner’s better-known contemporaries. This book contains a brief biography of the composer, performance notes, and the original title, key, source, and publication date of each piece. The arrangements are written in standard notation only with left-hand fingering suggestions. For ease of learning and to provide a stylistic guideline for sight reading, online audio recordings are included.

Sonatina is the grand-prize winner of the 2010 Boston GuitarFest Composition Competition. While the designation “sonatina” typically suggests simplicity or reduced scale, the musical and technical demands that pervade this fifteen-minute work suggest a far more ironic meaning. Written in three-movements in a conventional sonata form, it was conceived as a recital or competition tour-de-force for Serbian-American virtuoso Nemanja Ostojic.

Under the tutelage of his famous father Johann Sebastian Bach, Carl Philipp Emanuel Bach studied harpsichord and clavichord during his early years and eventually adopted the piano as his primary instrument. A prolific composer, producing over 200 works, C.P.E. Bach wrote symphonies, sonatas and other instrumental works in the Rococo and early Classical style of the 18th century. This style of writing is marked by lyric phrases and light ornamentation that put aside the polyphony and thorough bass of the late baroque composers. The ideas for interpreting and ornamenting the sonatinas in this collection are taken from "Essay on the True Art of Playing Keyboard Instruments" by C.P.E. Bach. They transpose quite well for solo guitar and are a refreshing alternative to compositions by guitarists of the classical era like Sor and Giuliani.

Frederick Noad, author of the successful classical guitar tuition series Solo Guitar Playing Vol.1 and Vol.2, here presents the Classical Guitar Treasury for solo guitar. This unique collection of guitar music spans the late Renaissance to the late Classical period, including new and unusual repertoire as well as popular works and showpieces - Suitable for intermediate players. Songlist: - Sonatina 2 [Carcassi] - Menuet 1 [Handel] - Menuet 2 [Hande]) - Lachrimae Pavan [Dowland] - Elegiac Fantasy Op. 59 [Sor] - Minuet: The Self Banished Lover [Blow] - Sonatina 3 [Carcassi] - Introduction And Variation [Sor] - Sonata In C Major Op. 15 No. 2 [Sor] - Gavotte [Turk] - Sonatina 1 [Carcassi] - Suite In G Minor [Visee] - The Frog Galliard [Dowland] - Variations On A Theme [Hagen] - The Right Honourable The Lady Rich, Her Galliard [Dowland] - Sarabande [Handel] - Variations On A Theme Of Mozart [Sor] - The Shoemaker's Wife [Dowland] - Fuga [Handel] - Mrs White's Nothing [Dowland] - Complaint [Dowland] - Sonata In C Major Op. 15 [Giuliani] - Passpied [Handel] - Menuet [Handel]

Works by Schumann, DeVisee, Schubert, Carulli, Paganini, Diabelli, Saint Saens, and many more. for the intermediate level classic guitar student.