19126339
3 Little Suites
19126339
19126339
19126339
Copyright Material for Preview Only - Sheet Music Plus
Guitar; Methods and Music for Children
SKU: UT.CH-106
For Guitar (2008). Composed by Carlo de Nonno. Saddle stitching. Classical. Score. Ut Orpheus #CH 106. Published by Ut Orpheus (UT.CH-106).
ISBN 9790215315921. 9 x 12 inches.
The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of ‘music for children’ but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more ‘traditional’ courses of study.
As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite ‘simple’.
I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write ‘descriptive’ music, I have tried to handle these pieces like stage scripts, giving each a specific ‘character’. For this purpose my long experience as a composer of theatre music has been very helpful.
It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.
(Carlo de Nonno).
Guitar; Methods and Music for Children
SKU: UT.CH-106
For Guitar (2008). Composed by Carlo de Nonno. Saddle stitching. Classical. Score. Ut Orpheus #CH 106. Published by Ut Orpheus (UT.CH-106).
ISBN 9790215315921. 9 x 12 inches.
The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of ‘music for children’ but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more ‘traditional’ courses of study.
As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite ‘simple’.
I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write ‘descriptive’ music, I have tried to handle these pieces like stage scripts, giving each a specific ‘character’. For this purpose my long experience as a composer of theatre music has been very helpful.
It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.
(Carlo de Nonno).
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