Luise Walker’s Für den Anfang is an introduction to guitar playing that presents fundamental technical and musical skills through short exercises, melodies, and pieces. The contents include the melody “Kuckuck, Kuckuck,” scales in C major and G major, arpeggios, chord playing, and an alternating-stroke exercise.In addition, the collection features well-known tunes such as ‘Kuckuck, Kuckuck’, ‘Wenn ich ein Vöglein wär’ and ‘Schlaf, Kindlein, schlaf’, as well as a melody by Luise Walker and an allegro by Mauro Giuliani. The edition combines basic guitar techniques with a selection of short musical examples. The contents cover melodic playing, scales, arpeggios, chords, and alternating-stroke technique, introducing fundamental aspects of guitar playing in a concise and accessible format. The edition is classified as easy and is intended for guitar.

Inhalt: Caprichio Arabe Danza Mora Sieben Präludien (Endecha - Oremus/Preludio Nr. 1,3,4,5, "Lágrima"/Preludio Nr. 2) Adelita Marieta Pavana Maria Minuetto Estudio en Forma de Minuetto La Mariposa Alborada Rosita Sueno Recuerdos de la Alhambra

Südamerikanische Gitarrenmusik ist zumeist tief in der heimatlichen Folklore verwurzelt, vielfach sucht sie aber auch Anregungen in der europäischen Musik. Kurt Schumacher kehrt die Situation um und verbindet aus dem Blickwinkel eines Europäers abendländische mit südamerikanischen Einflüssen. Ergebnis sind spielfreudige Stücke mit eingängiger Melodik und prägnanter Rhythmik. Inhalt: - Bolero - Chôrinho - Tango Sem Nome - Lembrando Paganini - Tristòn - Recuerdo Brasileiro - Aire De Barcarola - Romanza Para Amelita - Vals No 1 - Tres Tazas Pequenas - Homenaje A Chopin

La cascatella Federico Orsolino (1918–1993) was an Italian guitarist and composer of the 20th century. Capriccio (La cascatella) for six-string guitar is one of his compositions. A contemporary review published in Der Gitarrist , the journal of the Gitarristische Vereinigung, characterizes Orsolino’s compositional style as being “almost throughout” shaped by melodic construction and “masterful inspiration.” The works Piccole impressioni di campagna and Capriccio (La cascatella) , discussed together in the review, are described as “moderately difficult to difficult” in terms of their technical demands. Capriccio therefore represents an interesting contribution to the Italian guitar repertoire of the 20th century. The work combines melodically oriented musical writing with technically demanding elements and is particularly suited to advanced guitarists, as well as to concert performance and pedagogical study within this repertoire.

Diese Sammlung von Liedern ist für den Gitarrenunterricht mit Kindern im Grundschulalter gedacht. Das Heft lässt sich nach relativ kurzer Unterrichtszeit bereits einsetzen. Während sich die ersten drei Lieder noch im Fünftonraum der G-Dur-Tonleiter bewegen, erweitert sich ab dem vierten Lied der Tonumfang. Die hinzugefügte zweite Stimme ist für die Begleitung durch den Lehrer bestimmt. Inhalt: 1. Hänschen klein 2. Hänsel und Gretel 3. Winter ade! 4. Es war eine Mutter 5. Müde bin ich, geh zur Ruh 6. Schlaf, Kindchen, schlaf! 7. Dornröschen 8. Summ, summ, summ! 9. Der Kuckuck und der Esel 10. Hopp, hopp, hopp! 11. Häschen in der Grube 12. Fuchs, du hast die Gans gestohlen 13. Ein Männlein steht im Walde 14. Brüderchen, komm tanz mit mir 15. Weißt du, wieviel Sternlein stehen? 16. Morgens früh um sechs 17. In meinem kleinen Apfel 18. Wer will fleißige Handwerker sehn? 19. Komt ein Vogel geflogen 20. Zeigt her eure Füßchen 21. Wi-de wi-de wenne

Venedig ist ein Ort der Träume und Sehnsüchte und Wurzel vieler kultureller Meisterwerke. Die faszinierende Ausstrahlung dieser bedeutenden Stadt hat Martin Klaschka in der Suite Veneziana eingefangen und in sieben klangvolle Bilder für Gitarre solo verwandelt. Musikalisch sind die mittelschweren Stücke mal nostalgisch, mal zeitgemäß lebendig und mal mit italienischem Esprit und Kolorit versehen. Inhalt: - Carnevale - Canale Grande - Ponte Rialto - Piazza San Marco - Gondoliere - Villa Romantica - Ponte dei Sospiri

In den" Funny Latin Impressions" hat Martin Klaschka die Lebensfreude und Lebendigkeit der lateinamerikanischen Musik eingefangen. Die vierzehn kurzen Stücke für Gitarre solo sind geprägt von verschiedenen Rhythmen und Tänzen wie z. B. Tango, Samba, Mambo oder Rumba. Dabei entstanden temperamentvolle Klänge mit eleganter Leichtigkeit für etwas fortgeschrittene Spieler.

Franz Hasenöhrl’s Four Short Pieces is an appealing work from the Austrian guitar repertoire of the 20th century. The composition, dated 1947, comprises four contrasting character pieces. This edition is based on Luise Walker’s arrangement. As a guitarist and pedagogue, Walker was deeply committed to the promotion and careful adaptation of guitar repertoire. This varied collection of four concise character pieces brings together contrasting musical moods and is well suited both for pedagogical use and for performance.

Mauro Giuliani, born in Bologna in 1780 and died around 1845, was regarded as Italy’s finest guitar virtuoso even as a young man. He settled in Vienna in 1807, where he enjoyed great success as a concert performer, teacher and composer. His pupils included Bobrowitz, Mendl and, in particular, members of the aristocracy: the Austrian Archduchess Maria Luise, the Duke of Sermoneta, Count Georg Waldstein and others. From 1819 onwards, Giuliani’s name disappears from music reports; the final years of his life remain unclear. Autograph letters confirm that he initially travelled to Italy. He later turned up in London and St Petersburg; as late as 1833, he is said to have rivalled the Spanish guitar virtuoso Fernando Sor in London. The collection 10 Pieces for Guitar by Mauro Giuliani offers a carefully curated selection of characteristic works by this important Classical-period guitar composer. Ideal for teaching and concert performance, the pieces combine musical elegance with technical variety and are suitable for intermediate-level guitarists.

Der Flamenco ist eine Welt für sich, weshalb sich viele klassische Gitarristen nicht in diese Welt wagen. Die Musik lebt vom improvisierten Zusammenspiel von Gesang, Tanz und Gitarre. Daher hat Andreas Germek Stücke komponiert, die den Flamenco in Notentext fassen und keine allzu speziellen Flamencotechniken verlangen. Die einzelnen Stücke repräsentieren dennoch die verschiedenen Stile des Flamenco, die mit Einführungen in die Stücke erklärt werden: Eine Eintrittskarte in die Welt des Flamenco für Klassik-Gitarristen. Inhalt: - Cabalgando (Zapateado) - Danza Mora (Duo) - Luna de Plata (Bulería) - Estudio bajo la Luna - Ritmo latino (Rumba, Solo oder Duo) - Estudio en Mi-Menor - Agua Moruna (Granaína) - Paseo por La Habana (Guajira) - ... y no la puede olvidar (Petenera, Solo oder Duo)

Anton Diabelli (1781–1858) composed an extensive body of music for guitar, reflecting the instrument’s important place in early nineteenth-century musical practice. Active as a composer, music publisher, and guitar pedagogue in Vienna, Diabelli contributed significantly to the development and dissemination of guitar repertoire during his time. The Four Rondinos for Guitar , edited by Otto Schindler, represent a concise example of Diabelli’s instrumental writing for the guitar. The works combine the characteristic rondino form with the melodic, harmonic, and accompanimental idiom of the period. This edition provides access to a comparatively lesser-known part of Diabelli’s guitar repertoire and is of particular interest to performers, teachers, and scholars exploring guitar music of the early nineteenth century.

Ferdinando Carulli, born on 10 February 1770 in Naples and died on 17 February 1841 in Paris, is regarded as part of the older generation of Italian guitarists. After his initial musical studies and lessons on the cello, he turned to the guitar and went on to become a leading virtuoso and composer for his instrument. In 1808 he settled in Paris, where he spent most of the rest of his life. Carulli’s extensive body of work comprises several hundred pieces, predominantly for and featuring the guitar. Characteristic features include a song-like melodic style, clear formal structures and an idiomatic treatment of the instrument. In addition to numerous solo and chamber music works, he also devoted himself intensively to guitar teaching. His Méthode complète pour guitare ou lyre , Op. 27, was published around 1810/11 and became widely used. The later, revised teaching method, Op. 241, is dated to around 1825. This edition brings together a collection of 20 preludes by the composer.