5395607
Guitar School Book 2
5395607
5395607
5395607
Copyright Material for Preview Only - Sheet Music Plus
Chamber Music Guitar
SKU: PR.49400311B
Based On The Principles Of Francisco Tarrega. Composed by Emilio Pujol. Edited by Matanya Ophee. Perfect. Instructional Method. Methods And Studies. With Standard notation. Theodore Presser Company #494-00311B. Published by Theodore Presser Company (PR.49400311B).
ISBN 9781882612512. UPC: 680160491001.
The Escuela Razonada de la Guitarra of Emilio Pujol needs no introduction. The work has occupied a major position in guitar pedagogy ever since it was first published in 1934 by Romero y Fernandez in Buenos Aires. Many subsequent guitar methods have drawn inspiration from it. The lack of an English language version, however, has prevented many English speaking guitarists from a clear understanding of Pujol’s teachings. Those who were fortunate enough to have attended Pujol’s master classes in Cervera have had first-hand exposure to his ideas, but others, who have used the lessons and examples without being able to read the text, can have gathered only a rough idea about Pujol’s approach to guitar pedagogy. In spite of certain preconceptions regarding this book, it is of paramount importance to the teaching of all facets of guitar technique, guitar musicianship, and guitar artistry.
Chamber Music Guitar
SKU: PR.49400311B
Based On The Principles Of Francisco Tarrega. Composed by Emilio Pujol. Edited by Matanya Ophee. Perfect. Instructional Method. Methods And Studies. With Standard notation. Theodore Presser Company #494-00311B. Published by Theodore Presser Company (PR.49400311B).
ISBN 9781882612512. UPC: 680160491001.
The Escuela Razonada de la Guitarra of Emilio Pujol needs no introduction. The work has occupied a major position in guitar pedagogy ever since it was first published in 1934 by Romero y Fernandez in Buenos Aires. Many subsequent guitar methods have drawn inspiration from it. The lack of an English language version, however, has prevented many English speaking guitarists from a clear understanding of Pujol’s teachings. Those who were fortunate enough to have attended Pujol’s master classes in Cervera have had first-hand exposure to his ideas, but others, who have used the lessons and examples without being able to read the text, can have gathered only a rough idea about Pujol’s approach to guitar pedagogy. In spite of certain preconceptions regarding this book, it is of paramount importance to the teaching of all facets of guitar technique, guitar musicianship, and guitar artistry.
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