Solo Guitar - Level 5 - Digital Download SKU: A0.1027911 Composed by Mason Peralta. Contemporary,Jazz. Individual part. 5 pages. Mason Peralta #3088127. Published by Mason Peralta (A0.1027911). Nimbus for Solo Guitar is a modern concert piece in one movement. It is an hommage to the works of guitarist Django Reinhardt and blurs the line between traditional classical and jazz repertoire.Number of pages: 4Total time:  approx. 3 minutes, 30 secondshttps://masonperalta.com

Solo Guitar - Level 5 - Digital Download SKU: A0.982523 Composed by Johann Sebastian Bach. Arranged by Daniel Clark. Baroque. Individual part. 26 pages. Daniel Clark #6435265. Published by Daniel Clark (A0.982523). This is a full transcription of Bach’s second violin partita for classical guitar, including the Allemanda, Corrente, Sarabanda, Giga, and the Ciaccona. The transcription is authentic to the original has been made strictly to the original violin manuscript. The partita has been arranged in D-tuning to take advantage of the resonance of the guitar, though the lower D on the guitar is never played since it is below the dynamic range of the violin, (taking into account the octave difference). Bach’s Ciaccona, or Chaconne, in d-minor for solo violin from the second partita is well known on the guitar thanks to Segovia’s arrangement. However, Segovia’s version takes a number of liberties in his arrangement that have the effect of blurring the contrapuntal voices through his decision to harmonise the chords into 6-strings wherever possible. This current arrangement takes the contrary position that it is better to clearly retain the different voices. The working dynamic range of the classical guitar and violin are similar, albeit with an octave difference in pitch. The fact that the classical guitar notation is written an octave higher than it is in relation to the notation for other instruments makes transcribing the violin work for guitar relatively straightforward.  Consequently, I have made no changes to the violin version. This transcription is exact, in the sense that the manuscript for the violin has been used as a basis for the transcription. The articulation of the arpeggios is suggested at the beginning of these sections, which are arranged to be idiomatic to the violin. These realisations can also be adopted on the guitar, though I have not written these out and leave it to the performer to interpret these passages.   

Solo Guitar - Level 4 - Digital Download SKU: A0.914743 Composed by Eric J Roth. 20th Century,Contemporary. Individual part. 7 pages. Eric J Roth #5296287. Published by Eric J Roth (A0.914743). This Gigue is the finale of a four-movement sonata composed in 2018. Publication of the entire sonata is forthcoming. In the interim, I am offering three movements – the Passacaglia, Sarabande and Gigue – as single standalone works. I have performed them in my own concert programs both as part of the larger sonata and on their own. I believe that they work equally well both ways. The Gigue form is a lively dance in triple meter that stems from the Irish jig. It probably originated in England and Ireland in the 16th century. In the Baroque period and beyond, composers have often used gigues as the final movement of dance suites. The Gigue offered here is a galloping romp in 6/8 time with eighth notes running throughout most of the piece. It recalls similar gigues by the lutenist Sylvius Leopold Weiss (1687-1750) and the Tarantelle by Johann Kaspar Mertz (1806-1856). (The Tarantella is a similar lively dance form in triple time). Like the Passacaglia, the Gigue uses an E harmonic minor scale with an added (structural) B flat that helps to blur the sense of strict tonality. The second section includes hints of G and B tonal areas before returning to E minor to end the piece.

Solo Guitar - Level 4 - Digital Download SKU: A0.914738 Composed by Eric J Roth. 20th Century,Contemporary. Individual part. 7 pages. Eric J Roth #4756827. Published by Eric J Roth (A0.914738). (7 pages. 3 pages of music)This Passacaglia is  the first of a four-movement sonata composed in 2018. Publication of the entire  sonata is forthcoming, but the Passacaglia is offered here as a single,  standalone work. I have performed the Passacaglia in my own concert programs  both on its own and as part of the larger sonata. I believe that it works  equally well both ways. The Passacaglia form  originated in 17th-century Spain. It started as a series of strummed  chords that served as an interlude between dances. The term itself translates  as street song. Over time, it evolved to become a series of variations set  over an ostinato or ground bass, usually in triple meter. It is often  indistinguishable from a Chaconne. In character, the Passacaglia is often  serious, or even grave. The Passacaglia  offered here adheres to this tradition in most ways, except that it is in 5/4 instead of triple meter. The ostinato phrase is five measures long and set in  quarter notes. Variations usually occur in pairs and are distinguished by  texture. Beginning simply, the variations build in complexity throughout the  piece. The main theme, introduced in the second pair of variations, recurs  later in a fuller texture. One final statement of the ostinato in bare octaves  ends the piece. The tonality stems from an E harmonic minor scale, although an  added B flat serves to blur any sense of strict tonality.Please note that there are some minor differences between the score and the YouTube video of a live performance from 2018.