Gammes de Guitare Vol. 2 Pentatonique Majeure (French Edition)

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It's seven Variations upon the harmony from the famous theme by Corelli, and I tried to use various playing techniques of the modern Strings. The last variation is in a major key and it is a Rondo "impazzito" crazy in homage to the Corelli's title. I conducted myself the first execution in Kusatsu — Japan. That is the homonymous guitar piece by the Spanish composer Gaspar Sans I approached this composition as an observation of Sans' original from different perspectives and distances. A walk-through revealing deconstructed places within the piece.

Duration: 1'20", Kb. Duration: 1'23", Kb. Duration: 1'15", Kb. Duration: 11'21", Pierre, used with permission. The last variation is a chaconne and is thus a set of variations within a larger set. A setting for recorder and guitar is in progress. Apart from my attraction to the inherent beauties of the Folia, I enlist it because audiences and performers are engaged by music which offers something familiar and at the same time, paradoxically, something different, which of course variations are by their very nature. I would like to appear in the Guiness Book of World Records for having composed the greatest number of Folia variations, but fear that ultimately, I am too lazy for so lofty a goal.

Scott teaches recorder at the Royal Conservatory of Music in Toronto. By training, I am an oboist, but like many oboists, am able to manage the recorder when pressed. Duration: 7'12", 6. There are seven variations, but some are conjoined such that one perceives an extension of one into the next, rather than an altogether new variation.

Some of the variations are rather traditional; others are more adventurous with respect to harmony and metre. Duration: 9'25", 4. This set of nine symphonic Folia variations with a coda is for a standard concert band. As in all my Folia settings, I have aimed for variety in tempi, tonality, texture, meter etc. The score and parts are available for performance or recording by contacting me at astpierre ca.

Duration: 1'57", 1. Pierre , used with permission. Duration: 1'02", 1. Duration: 2'01", 1. Pentafolia is a set of three brief trio variations for recorders of La Folia using pentatonic scales. The diatonic pentatonic scale is characteristic of Celtic folkmusic. This scale may be formed from any five consecutive tones of the circle of fifths. It contains no semitones. The second variation uses a hybrid scale composed of elements of various oriental scales. The first and third variants employ the diatonic pentatonic scale and juxtaposed transpositions of it. The composer performs the prefatory solos.

Anthony St. The purpose for composing it was to provide a modern alternative to the Corelli, which, although composed for the violin, has long been a staple of the recorder repertoire.

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The edition for recorder appeared just two years after the original violin version. Although not quite as lengthy, the Pholia offers a wider variety of keys, modes, harmonies, textures, and meters than the Corelli. The piano is not subordinate to the recorder in the Pholia , but participates in a capacity equal to the recorder's. Duration: 1'09", Kb. I have enjoyed writing these variations of "La Folia" almost or just as much as many other composer s. It is a piece that dates back hundreds of years, and it is a honor to write a variation off this progression. I also enjoy this piece because this progression has so much potential and inspiration, and it is a basic sign to composers all around the world, the endless possibilities there are in music.

In my music, every piece of mine which consists in a minor key a to include the N6 chord, and having that in the La Folia I have written has a fun, and beautiful way to distinguish my style and interpretation of this piece. I am a classical musician and ongoing student of composition looking to write for all kinds of music and La Folia has been a great start. I encourage all young and amateur composers to study this form to g. I believe that I have found a Folia theme in a piece of music that is not listed on your web site.

The composer is Giovanni Benedetto Platti. Track 20 is the one of interest. This is the fourth movement, the Vivace, of his Concerto Grosso No. It is a short movement, but it works the first few notes of the late Folia theme into its melody many times. It is noticeable from the beginning, but is most obvious starting at It is not derived from the Corelli variations; as far as I know, it is unique. Ponce did cover a lot of different guitar techniques in these variations.

Duration: 25'46", 55 Kb. The Folia s , essentially a ground harmonic progression carrying a somewhat varying melody, appears to have originated in Portugal, dating from the late 15th century and connected with singing and dancing. Evidence of its adoption in Spain dates from the early 16th century and, early in the 17th century, it was established as a popular dance supported by singing and, instrumentally by five-course guitars and sonajas — metal discs attached to a metal frame, distantly related to the tambourine and still used in Mexico.

In Covarrubias commented in his Tesoro de la lengua castellana o espanola that, so noisy and energetic were the proceedings, the name 'Folia' madness was appropriate. Ponce, like other post-baroque composers, treats the theme with more dignity than abandon and, in line with the character of the succeeding variations, provides it with un-traditional harmonies. The fugue has a subject that paraphrases the melodic line of the Folia, proceeds to a three-voice stretto and a pedal point that ascends, with mounting tension, almost to the upper limit of the fingerboard, before descending to a final, triumphant statement of the subject and a brief coda.

This work has been fittingly described as the 'Old Testament' of the guitar's 20th-century repertory. In this context the use of the ancient melody 'La Folia' is significant. Tansman repeatedly referred to the musical heritage of various generations. Unpublished Ph. Ponce musical language is one of great subtlety and understatement. Fortunately it was never put to the test. And at this juncture I must admit to using a technical trick. Segovia plays a truncated version of the piece in which many variations are removed and others are not in their proper place. In our own times the Mexican Manuel Ponce, who wrote principally for the guitar, also composed some Follies; indeed, his most important work comprises no less than 20 variations followed by a majestic fugue.

Manuel M. Ponce, too employs it in this function. Hambly Potter sorry — it's just too much of a name similarity with a certain Harry to pass up for a pun studied with Beethoven in Vienna , so I hypothesize off the cuff that there may be a connection with Salieri's 26 Variations on "La Follia di Spagna" for orchestra from It's mere conjecture on my part, but it seems strange for someone to compose a symphonic work based on the folia after Salieri's grand treatment just on the spur of sudden enthusiasm for the folia harmonies and theme at a time when most pre-baroque and baroque music was buried deep down in dusty library archives.

The Grove Dictionary online states that the Concertante was composed in , but the autograph MS in the British Library says "August ," so that is more likely to be the completion date. Potter's Concertante has been neither published nor recorded, though some of Potters' symphonies have had a revival in our times. In La Folia, the sax and guitar solo are completely improvised. I am German and live in Spain since 32 years. I started my musical career with recorder and early music, but then I spent a lot of time playing jazz, rock, studio musician and Artistic Producer.

This project "Looking Back" is the union of my favorite music with my favorite instruments. We have a lot of sucess in Spain but we just started to try to move more international. That is why I feel so ilusioned when people like you, in Europe, give me a positive feedback of our music. I saw in your page Gregorio Paniaguas Cd La Folia, I recorded it when I was very young and there is a lot of improvisation in it from my part.

It was a very special experience, Gregorio Paniagua is a very special guy……. This is part 2 of the track. The theme or a close variant starts at about 5 min. I love adapting early music to the charango, and 'La Folia' seemed a natural fit, especially after hearing Bill Kirkpatrick do it. I think 'Folia' should be played quickly, it's a dance …. It's an obstinate theme since centuries and we didnt want it to be forgotten…and you must know why… of course you can use the song for your site and you are right there are not often rock band which use it…Lets call it Barock!!!

Duration: 1'42", 02 kB. The theme as indicated below and the first variation. The Corelli Variations is not only his last work for solo piano, but in fact the only work for solo piano composed during his twenty six years of exile in the USA. It was first played by him in New York The theme is not actually by Corelli. It is an ancient dance melody called La Folia which has been quoted or varied by various composers down the ages, including Bach, Cherubini and Liszt. Rachmaninov uses the theme as it appears in Corelli's twelfth violin Sonata, and his set of twenthy variations, though beautiful and compelling in it's own right, can be seen as a sort of study or preparation for the immensely succesful Rhapsodie on a theme by Paganini for piano and orchestra which appeared two years later: certainly variations four and eight seem to anticipate passages in the later work.

Otherwise, each variation sets off its neighbours by neat contrasts of mood or colour. There is a passage marked 'Intermezzo' after variation thirteen which is really a sort of cadenza; and the work ends with a reflective, slow coda. Rachmaninoff completed his Variations on a Theme of Corelli Op. This is not only his last work for solo piano but it is the only work for solo piano composed during his twenty-six years of exile in the U.

This set of variations represents the second time Rachmaninoff. He was to use the form one more time in the famous Rhapsody for Piano and Orchestra on a theme of Paganini Op. I've played them here about fifteen times, but of these fifteen performances, only one was good. The others were sloppy. I can't play my own compositions!

And it's so boring! Not once have I played these all in continuity. I was guided by the coughing of the audience. N'importe quand the coughing increased I would skip the next variation. Whenever there was no coughing I would play the proper order. In one concert, I don't remember where — — some small town, the coughing was so violent that I only played ten variations out of twenty.

My best record was set in New York, where I played eighteen variations. Rachmaninoff uses the theme as it appears in Corelli's twelfth violin Sonata, and his set of twenty variations, though beautiful and compelling in its own right, can be seen as a sort of study or preparation for the immensely successful Rhapsody on a Theme by Paganini for piano and orchestra which appeared two years later: certainly variations four and eight seem to anticipate passages in the later work.

The self-doubt which haunted Rachmaninoff through his life led him to indicate that variations eleven, twelve and nineteen may be omitted if desired, though they are rightly included in this recording. Otherwise, each variation sets off its neighbors by neat contrasts of mood or color. There is a passage marked Intermezzo after variation thirteen which is really a sort of cadenza; and the work ends with a reflective, slow coda.

The variations are organized into an entirely logical structure, with a series of swift variations reaching a dramatic climax before the pensive coda. The rhythms are more vital than in his mature Russian works apparent, for example, in the incisive fifth variation, with its frequently changing time-signature and the harmonies are more adventurous, more pungent, particularly in the slower Nos.

All of these characteristics constitute a new, more subtle mode of expression, and Vladimir Wilshawk rightly commented on the difference that had overcome his style since the more extrovert Etudes-Tableaux during a performance on which Rachmaninoff had broken a string on the piano. Rather like his last set of songs, the Corelli Variations leave a feeling of regret that Rachmaninoff never again wrote a solo piano piece and allowed the attractive features of this later style to develop fully.

The Variations on a theme of Corelli actually a traditional tune called La Folia used by Corelli in his twelfth violin sonata was Rachmaninov's last work for piano solo Though as skilfully constructed set of variations in its own right, it have sic! Through his work with the violinist Fritz Kreisler a partnership that produced a whole series of gramophone recordings he had got to know the violin music of Arcangelo Corelli, one of whose themes appealed to him so much that in he used it as the basis of a set of piano variations, his Variations on a Theme of Corelli op.

In fact, the theme derives from an old Iberian folkson, but what matters more is that Rachmaninov got to know it in Corelli's melancholy guise. The piano writing in this late work is a little stricter and more translucent than in the composer's earlier piano pieces. As a whole these variations are a fine example of Rachmaninov's incipient late style and, as such, a model for the pieces that he wrote during the summer months between now and his death in the United States in The thematic basis of the work is a Portuguese dance melody 'La Folia', which was used by several Baroque composers as a variation theme and features in one of Corellis sonatas.

Amazingly, Rachmaninov does not vary the theme by creating virtuoso developments of the original. Corellis variations concentrated on individual harmonic developments, something that also characterises Rachmaninovs later works. The compositional skill with which Rachmaninov treats the Baroque theme takes the wind out of the sails of critics who consider him to have been a briliant pianist but deny that he was a talented composer. The warm friendship between Rachmaninov and Fritz Kreisler resulted not in a violin work but in a set of solo piano variations dedicated to Kreisler, for whom Joseph Joachim had once predicted a solo career as a pianist.

The unlikely collaboration between two such temperamentally different artists as the taciturn Rachmaninov and the amaible Kreisler yielded a series of remarkable recordings of Beethoven, Schubert and Grieg violin sonatas. Kreisler introduced Rachmaninov to the tune 'La Folia', which he believed to be by Corelli, but which is of more ancient Portuguese origin.

Rachmaninov was very taken with its potential for variation treatment, and during the summer of he composed the 'Variations on a Theme of Corelli'. These mark a return to the creativity that had deserted him following the cool reception of the Forth Concerto, yet for all their clarity of texture a foretaste of the 'Paganini' Variations , the 'Corelli' Variations were again largely misunderstood by audiences. Rachmaninov regarded this reception with disdain and in December wrote to Medtner: 'I've played them about fifteen times, but … not once have I played them in full.

I was guided by the audience's coughing. When the coughing increased I skipped to the next variation. When there was no coughing I played them in the proper order. At one concert … the coughing was so violent that I only played ten variations out of twenty'. My record is in New York, where I managed eighteen. Rachmaninov's continued disillusionment meant that he never again attempted a large-scale work for solo piano. More well known than the 'Variations on a theme of Chopin' is the 'Variations on a theme of Corelli' Rachmaninov composed the work during the summer of , a time of some despair for him.

On January 15th of that year, his name appeared in the New York Times as a signatory to a letter that was critical of the current government in Russia. Tweo months laterin a Moscow review of a performance of his composition 'The Bells', he was referred to as a 'violent enemy of Soviet Russia'. This initiated a boycott of the study and performance of his music in Russia. Even though Rachmaninov said he was proud to be the object of such wrath, it must have hurt him deeply. Nevertheless, he commenced composing the 'Corelli' variations at the end of May, while in Clairefontaine, France. Although he complained that he did not have the time to compose and writing was harder for him now than when he was younger, he quickly completed it by the end of June.

He then began to revise his second piano sonata. It may have been Fritz Kreisler, to whom the 'Variations on a theme of Corelli is dedicated, who made Rachmaninov aware of Corelli's theme. In , they had recorded violin and piano works of Beethoven, Grieg, and Schubert. Although the theme was used by the Italian composer and violinist Arcangelo Corelli in the twelfth violin sonata opus 5 , the tune was not original with Corelli, but is an old Portuguese melody called La Folia. Other composers besides Rachmaninov, such as C. Bach in his Twelve Variations auf die Folie d'Espagne , also utilized this theme.

Rachmaninov's 'Corelli' variations can be grouped into contrasting sections. After the first thirteen variations which are all in the key of D minor , there is an 'intermezzo', which is followed by two variations in the very alien key of D-flat major. For the last five variations and coda, Rachmaninov returns to to D minor.

This work seems preparatory for his 'Rhapsody on a Theme of Paganini', which he composed three years later. Many of the variations such as number 10 foreshadow the later work. Rachmaninov gave the public premiere of 'Variations on a Theme of Corelli' on October 12, , in Montreal. Based upon his remarks to his friend Nikolai Medtner to whom Rachmaninov had dedicated his last piano concerto , Rachmaninov did not seem to enjoy playing this work.

He once said that playing his own music was boring. Rachmaninov stated that whenever there was more coughing in the audience, he would skip the next variation! In one recital, he played only ten of the twenty variations, though in New York he performed eighteen. Moreover, for some curious reason, as in his earlier set of variations, Rachmaninov allows the performer the option of omitting three numbers 11, 12, and However, in both sets also the Variations on a Theme of Chopin of variations Mr.

Wild properly plays them all! I shall of course happily contribute the info about Follia, follia Presently I work as composer-in-residence for the well-known Danish period ensemble Concerto Copenhagen. When the great Italian oboist Alfredo Bernardini wanted to organize a concert centered around La folia, he asked me to write a short piece for this occasion and I immediately accepted.

The endless number of variations on this years old melody is a virtual relay race through history, literally "from time to time", and it was fascinating to imagine a tiny place for oneself in this line. The instrumentation was more or less given from other pieces on the program. I wrote the music during the late summer of I was working on Piano Sonata No. At that time I was not completely happy with the piece, but with Ponce's encouragement I got it hammered out as the kind of virtuoso vehicle that I had imagined it could be.

Since the piece uses fragments at first, then complete phrases of the famous "Folia" theme and since the other materials trade on the gestures, if not real quotations from standard repertoire, I was justifiably concerned that the whole thing would come off merely as a bombastic rehash. Born in Venice in the second half of the 17th century, Giovanni Reali was a little-known Italian violinist and composer.

He is said to have been 'maestro di cappella' in Guastalla in My own 'Folias Nuevas' for baroque guitar has not been recorded yet. I should do it! It is one page only and it's like a 'prelude on the Folia' in fact.

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La Folia — literally a folly, or even, madness — began life as a measure ground melody and bass , composed sometime in the 16th century in Portugal. Whoever wrote it should have posthumous claim to some substantial, overdue royalty payments, as the tune was to become one of the most eduring and widely used of all grounds, subjected to expansion and variation by composers from Vivaldi to Rachmaninov and beyond.

One of the most famous sets of Folia variations was written by the celebrated Italian violinist Arcangelo Corelli sometime around the year , as the conclusion to his Opus 5 set of violin sonatas, and later arranged for recorder and continuo. It is this latter version that we have used as a framework for ours, adding a second part for the violin and freely infiltrating our own material throughout. Whilst the resulting musical madness may not fit the currently accepted boundaries of 'authenticity' we hope that it is taken in the truly Baroque spirit with which it — and indeed the whole album — is intended….

And do we really need another recording of Corellis La Folia? Wrong answer. Red Priests own Fantasy based on this famous piece is outrageous, raucous, and radical, but still within the realm of historical possibility. Duration: 2'38", 05 kB. I think that the tempo may be little slower but not so much redaction: instead of the 82 and the suggestion to drop the tempo to adagio. In the opus 97 of Reicha, there is no adagio but lento. Others studies are indicated : andante maestoso, or poco andante. So Reicha indicates precisely what he wants. In this case, the "brevis nota" of the first mesure is also a quaver or a semiquaver, so shorter in comparison.

So Reicha knew the difference… If you want to play slower, you need a very better quality of sound and a intense "sentimental" Reicha knows Kant! I had not yet the occasion of playing this piece on a fortepiano to hear how it can sound and to hear the resonance of the full accords, which would influence the tempo. Duration: 5'56", 20 kB.

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The theme and all variations. Manuscript used with permission by the Rijksarchief Gelderland. Duration: 1'07", kB. Even during the 15th century, 'Follias' were the ecstatic peaks of traditional fertility ceremonies in the cultural area found to the South-West of the Pyrenees. A continuing repetition of the same harmonic formula was supposed to conjure up spirits and put the dancers in a trance-like state.

This effect corresponds to the meaning of the word 'Folia' as a generic term for 'madness', or 'craziness', but also for 'infatuation' in Portuguese- and Spanish-speaking areas. Based on the knowledge that performance practice of the 17th century was far more linked to the idea of a musical improvisation in many respects than to the playing of pre-fabricated notes, some middle voices for the dance movements in the suites in the course of the 'Follia' were written by the musician according to the rules of basso continuo and compositional theory in the 17th century.

Duration: 1'30", kB. My idea with the piece was that the La Folia theme shouldgradually appear, not be obviously played at once as the Folias often tend to do. The piece is also written in a-minor, notthe normal d-minor, which I think suits it better. The full LaFolia theme can now finally appear since the correct time signature and chord progressionhave been presented. Finally on variation no. The piece ends with an quiet extremecontrapuntal Coda later named: "Chaos" in bar Here several of the earlier variations meet and blends them selves in with some of the newer variations, where all the parts should be played asindividualistic solo parts; non should be hidden away, all the parts are equally important!

Duration: 0,43", 04 kB. Tema Larghetto, sequenced by J. Rothschild, used with permission. Duration: 2,16", 28 kB. Presto, sequenced by J. Duration: 2,05", 08 kB. Largo — Larghetto — Largo, sequenced by J. Duration: 2,19", 24 kB. Allegro, sequenced by J. I began working in December on a set of variations on the theme known as 'La Follia'. La Follia was an excellent choice, because it is for me an example of a truly perfect theme. It's aural appeal alone makes me want to listen to it over and over, making it a ready candidate for variations.

It's 16 bars are the paragon of balance; 8 bars take you from tonic to dominant, and another 8 bars take you back. It is capable of being both very simple and very complex. It's no wonder that literally hundreds of variations on La Follia have been written over the last 4 centuries. My variations completed May 26, are based on Jean-Baptiste Lully's 'Les folies d'Espagne' of — one of the earliest examples.

The first movement of my sonata simply presents the theme on which the following movements are based, and is basically identical to Lully's opening theme, except that I removed all ornamentation in my version. The meter of almost all Follia variations is in 3. Also, most Follia variations simply repeat the 'Follia chord-progression' over and over.

I had to get away from that as well in order to accomplish the key transitions necessary in Sonata form. The third movement opens with a variation in which La Follia is reduced down to the chord progression itself. The central section is essentially a diminution of the theme, with a transition back to a recap of the beginning.

The 2 solo violins alternate throughout the movement, giving both an equal opportunity to play the theme.

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This set of La Follia variations, written in the Baroque style, is a testament to the La Follia theme itself. No other theme in the history of music has been so readily and widely adaptable to variation. I've come across another potential La Folia entry for your website during my research. The piece is currently not featured on your list. Below is the information that I found; it does not give any further description of the music or a score sample since it only exists in manuscript, but I presume that it shouldn't be too difficult to get additional information from the Budapest Music Center BMC or the composer directly.

The manuscript, titled "Partes de Folias", has a theme and then 13 variations. Some of these variations are very closely influenced and even copied by other published folias from the time like Corelli's, for example. We added then another 16 variations which fit the character of this folia very well. I can't give an accurate date for this folia, but it's definitely 18th century and as I said must be after Corelli's publication since there is at least one very clear quotation. The Folia theme was a popular tune in Europe between the 16th and 18th centuries. There are two different types of Folias: The Early Folia earliest described in Salinas's De musica libri septem, and the Late Folia starting from the 's.

The differences between the early and the late folias are more evident in the melodic and rhythmic patterns than in the harmony. The late folia is attributed to Jean-Baptiste Lully Pablo Miguel y Yrol Reglas y advertencias generales, calls the earlier type folias espaolas and the later type folias italianas. Folias usually have many variations. As you can see the two most interesting thing about this particular folia are: 1.

In addition to the given variations in the manuscript, we have added a number of variations ourselves. As you can see, the original manuscript is for recorder and basso continuo. We realize the b. This means we have to add another part so actually our version of this follia is for three parts not two.

Duration: 1'35", 03 kB. The theme as indicated below in the sheet music and the remaining 2 differencias separated by a single beat. I've always been intrigued by the folia myself, when I was a teenager and living in Brazil there was a popular pop song I forget by which band that had the lines "quando a folia passa,. The fiery passions of the 16th century Portuguese folias were still smouldering in the folias italianas style to be found in Luz y Norte , but the dance became a vehicle for the exhibition of technical virtuosity in the French Folies d'Espagne.

We don't know why the variations were written, but Salieri, who enjoyed a reputation as being among the more innovative composers, had evidently kept pace with 19th-century trends in orchestral writing: the complete work makes striking use of brass and woodwind colors, and even includes solos for the harp as well as the violin. No wonder it has been compared to Ravel's Bolero. But intriguing as it is, Salieri's 'La folia' has no more been able to claim a place in posterity than its composer.

This was the last work by the senescent composer. Vor allem vom Alle wichtigen Gitarristen hatten im Das Werk beginnt sehr getragen. Salieri's subsequent few compositions were mostly of a more entertaining genre divertimenti, etc. In fact, his Variazioni sulla Follia di Spagna of is in all probability his last symphonic work. It has been deftly transcribed for a double reed sextet of 2 oboes, 2 English horns, and 2 bassoons by Jeffrey Linville as a special project for the University of Iowa's Double reed Ensemble. It has been prepared for publication through Bocal Music. The term Follia, which appears as early as the 15th century in Portuguese and Spanish poetic texts, dances, and song variations usually accompanied by guitar , is of two styles: the "early follia" and the "late follia".

Salieri employs the late follia style in this set of variations. In the late follia style a specific harmonic structure is maintained throughout a set of variations, almost always in the key of D minor with the second beat of the odd measures being dotted and slightly accented.

This is the style which became a very popular form, taken up by the likes of Marin Marais , A. Duration: 2'28", 05 kB. Duration: 1'28", 03 kB. The theme as indicated in the sheet music and the 3 remaining variations Sequenced by Manuel Ferre and used with permission. Duration: 1'23", 03 kB. The theme as indicated in the sheet music and the 3 remaining variations.

Elizabeth Brown wrote for the slipcase:. Spanish guitarist and composer Gaspar Sanz was exposed to this new style when he went to Italy to study organ and guitar. He then returned home and published the first collection of mixed rasgueado strummend and punteado plucked guitar solos in Spain in Sanz's Folia is the quintessential baroque form: a set of melodic and rhythmic variations on a chord progression, that is both dramatic and stately in feel.

This particular piece has a very unusual feature: one of the variations has the phrase "esta glosada toda se corre" this variation always is running engraved at the beginning. This seems to be some sort of performance direction, perhaps indicating that this passage should have a faster tempo, which alludes to the wilder roots of the folia in Spain. His Folias — a dance theme, three variations, and da capo return — is kin to the famous tune, sometimes called Folies d'Espagne, which was used for variations by a host of composers from Frescobaldi, Corelli, Vivaldi, Pasquilli and Marais to Liszt and Rachmaninoff.

Two versions of the Folia, a fifteenth-century dance, exist in the baroque era; an early and a later variant with a more complex cadential formula which became standardised in Europe. Sanz's version employs features from both. The earliest extant use of this ground appears in Mudarra's "fantasia que contrahaze la harpa en la manera de Ludovico" 15 for vihuela This generally rambunctious dance again features tambourines and a variety of other instruments and appears to have been very popular on the stage.

He goes onto explain that the term folia means mad or empty headed. The steps of the dance were surely meant to illustrate this point. With its emphasis on the second beat, the folia actually has more in common with the later baroque sarabande than its namesake the Spanish zarabanda. Duration: 2'43", 1. Corbetta seems to be one of the first authors to superimpose to the traditional bass of the Folia the characteristic treble melody in triple meter, with a dotted second beat in each measure, that was to become associated with the genre from the late seventeenth century on.

In fact, Gaspar Sanz' version was basically an adaptation of Corbetta's setting. A leading guitarist, composer and teacher of his time, Regino Sainz de la Maza has also earned a mark in history by being the first performer of the most played concerto ever, Rodrigo's 'Concierto de Aranjuez'. Many of Sainz de la Maza's compositions are flamenco-based, but another passion was the Baroque.

The dances transfer wellfrom the Baroque guitar to the modern guitar, once the six single strings of the modern guitar can be reconciled with the five double strings of the Baroque instrument. Saionz de la Maza's rescue work was done before the Early Music movement got into its stride, and the musical values of his time were unimpeded by questions of authenticity. Gaspar Sanz lived during the Seventeenth Century, and spent most of his career away from Spain.

He became maestro to the Spanish Viceroy at Naples and guitar teacher to Don Juan of Austria, for who he wrote a book of instruction which contains interesting examples of Spanish dance music and folksong of that period. The Portuguese origin of this dance is therefore probable. Alessandro Scarlatti , padre de Domenico, el autor de tantas bellas sonatas para e,1 clave, haba trabajado con el gran Girolamo Frescobaldi en Roma; de l aprendera la tcnica de la Variacin, o Partite, en la acepcin italiana ms antigua de esta palabra. Existe, segn Willy Apel, un vnculo de unin entre Cabezn y Frescobaldi a travs de la escuela de tecla de Npoles, y de la que son exponentes magnficos un Antonio Valente y otros compositores.

La Fola, primitivamente danza, se , convierte en tema bsico de composicin, y se presenta como complejo armnico-meldico en el que estn implicadas las cuatro voces polifnicas segn el mUSiclogo Miguel Quero! Este bajo de Fola, se repite invariablemente a lo largo de la obra como un bajo ostinato. La Fola de A. Scarlatti, de gran empeo virtuosstico, forma parte integrante de una de sus Toccatas. The Toccata No. A detailed description of this dance was given by Salinas in in the seventh book of his 'De Musica' Duration: 0'28", 02 kB. In this recording, Mr. As Pasquini, so was Alessandro Scarlatti Palermo, — Naples, , an Arcadian with the name Terpandro, who played a big role within music history as a composer-teacher as well as father Pietro and Domenico were his most well known offspring, and it was he himself who introduced them to the art of music.

Alessandro Scarlatti made the toccatistica form and the Folie d'Espagne his, developing each single variation, from the point of view of keyboard technique, in a truly original manner. In order to show the harpsichord's obvious and hidden tonal and dynamic resources to their advantage he surrounds his writing with a veritable "cacophony" of chords and formulas, dictated more by him than rules.

They are placed at the end of the CD and would appear to be a musical metaphor of Enconium moriae, in praise of folly, recalling Erasmus. Andrea Marcon plays A.

The result is a simultaneously sweet and crystalline sound. Robert Woolley plays A. Just as in the famous model of the "Toccata d'ottava stesa' folowed by the notorious Follia variations, the sequence of movements here is clearly recorded in the sources. The beginning, a rather convention.


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The 22 variations on the ubiquitous Follia motif, more widely-known siblings recorded in volume I. Here the focus is not on the melodic and harmonic daring, but rather on changing tone colour, movement, and the pace. Information about Schaffner is difficult to find. I have only been able to find a short bio of him in Fetis' Biographie universelle des musiciens et bibliographie gnrale de la musique: Volume 8, pg. Schaffner Nicolas-albert , born in Silesia in , learned to play several instruments in his youth, particularly the violin and clarinet, on which he acquired a certain degree of skill.

The reasons that made him give up his position as the director of the orchestra of the Rouen theater in [is unknown], but he [nonetheless continued] performing his functions until The following year he No date of Schaffner's death is given by Fetis when he was writing his Biographie quoted above, which was published in Paganini's first public performances as a soloist began in and he eventually visited Germany and France , where Schaffner was located according to Fetis.

Detected by Bret Werb, this rather unknown composition. The Folia theme is quoted in the opening and closing of the Gigue movement. Published by Mel Bay Publications, Inc. Sheet Music. Published by Music Sales. For all guitars. All styles, chord rhythm and improvisation. Published by Mel Bay Pub. Composed by Stephane Gagnon. This edition: 2nd edition. With Standard notation. Carl Fischer GT Size 9x12 inches. Published by Hal Leonard. Lick Library. Lick Library RDR Alfred's Play Series. By Jack Petersen.

All Styles. Level: Beginning-Intermediate. Published by Santorella Publications. By Sam Martin. Creative Concepts Publishing. Size 4. Published by Creative Concepts. Composed by Andy Aledort. Guitar World. Guitar Educational. Scales and Play Along. Softcover Audio Online. With introductory text, instructional text, standard guitar notation, guitar tablature, guitar chord diagrams and musical examples. By Michael Schenker.

Hal Leonard RDR The Ultimate Beginner Series. Book and CD. Guitar Method or Supplement Special Format. Rock and Blues. Size 3. By Various. Essential Elements Guitar. Softcover with CD. To Go! Guitar [Sheet music] Music Sales All the scales you'll ever need. Compact format. Easy diagrams. The ultimate instant reference.

They're all in here! Guitar Journals. Size 9. Published by Centerstream Publications. Basix[R] Series. Each musical example in this book is demonstrated on the accompanying CD backed by a ful rhythm section. It includes special sections on advanced and world scales. Includes fingerings, full TABs for each scale, and helpful tips for all guitarists. Relative minor chord relationships are shown. By Scott A. By Ronny Lee. Listen Details. By Kevin Dillard. Published by Alfred Music Publishing.