Virtuoso Argentine guitarist Néstor Ausqui presents arrangements of fifteen pieces including two complete suites by 17th-19th century composers: Bach, Buxtehude, Couperin, Paradis, Telemann, and Weiss. While generously fingered, much of this music is highly ornamented and so recommended for the intermediate to advanced guitarist. Written in standard notation only.
The much anticipated 5th French Suite by J.S. Bach has finally been published inits entirety for classical guitar by internationally acclaimed Argentinian virtuoso Nestor Ausqui. This sui generis collection has been widely sought after by guitarists, whom for many years only could attain fragmented pieces of the suite. Now the entire suite is available for the first time! The transcriber must understand the essence and intent of the original, and then in the transcription, create the impression that the music was indeed originallywritten for the guitar. In this transcription of the 5th French Suite, Nestor Ausqui has accomplished this brilliantly. Dr. William Toutant Professor Emeritus and former Dean of Music at California State University Northridge
Nestor Ausqui hails from the picturesque Argentinian city of Santa Fe: a robust and vibrant city catering to the arts and culture, most notably music. Definitive de Falla is Ausqui's second book from Mel Bay Publications, following the release of the Nestor Ausqui Collection (MB99894EB). This book and accompanying audio represent an important collection in the classical guitar genre. Guitarists from around the world will enjoy Ausqui's faithful attention to detail in the transcriptions,making this book an excellent addition to any guitarist's library.
Famed Argentine classical guitar virtuoso, Néstor Ausqui presents this collection of nineteen heretofore unpublished guitar solos. Promising to be a performing guitarist’s dream, the compilation spans centuries with arrangements of pieces by John Dowland, J. S. Bach, Francis Cutting, Franz Schubert, Domenico Scarlatti, Robert de Visée, and others. The collection also includes modern compositions like “Luminous Cielo” by Cruz Trevino, “Absence” by Ricardo Almará, and an arrangement of a melody inspired by a Civil War-era poem, “All Quiet Along the Potomac Tonight” written by Ethel Lynn Beers, composed by John Hill Hewitt, and arranged by the author. The next time your audience clamors for “Otra!, Zugabe!, or Just one more!”, you won’t draw a blank with this ample selection of encores in your music library. Written in standard notation only with moderate fingering suggestions for the intermediate to advanced guitarist.
Virtuoso Argentine guitarist Néstor Ausqui presents arrangements of fifteen pieces including two complete suites by 17th-19th century composers: Bach, Buxtehude, Couperin, Paradis, Telemann, and Weiss. While generously fingered, much of this music is highly ornamented and so recommended for the intermediate to advanced guitarist. Written in standard notation only.
Nestor Ausqui hails from the picturesque Argentinian city of Santa Fe: a robust and vibrant city catering to the arts and culture, most notably music. Definitive de Falla is Ausqui's second book from Mel Bay Publications, following the release of the Nestor Ausqui Collection (MB99894EB). This book and accompanying audio represent an important collection in the classical guitar genre. Guitarists from around the world will enjoy Ausqui's faithful attention to detail in the transcriptions,making this book an excellent addition to any guitarist's library.
Famed Argentine classical guitar virtuoso, Néstor Ausqui presents this collection of nineteen heretofore unpublished guitar solos. Promising to be a performing guitarist’s dream, the compilation spans centuries with arrangements of pieces by John Dowland, J. S. Bach, Francis Cutting, Franz Schubert, Domenico Scarlatti, Robert de Visée, and others. The collection also includes modern compositions like “Luminous Cielo” by Cruz Trevino, “Absence” by Ricardo Almará, and an arrangement of a melody inspired by a Civil War-era poem, “All Quiet Along the Potomac Tonight” written by Ethel Lynn Beers, composed by John Hill Hewitt, and arranged by the author. The next time your audience clamors for “Otra!, Zugabe!, or Just one more!”, you won’t draw a blank with this ample selection of encores in your music library. Written in standard notation only with moderate fingering suggestions for the intermediate to advanced guitarist.
One might think that it would be impossible to arrange the music of Georges Bizet's opera, Carmen, for solo classic guitar, but Néstor Ausqui has done it! While the guitar is an intimate and sweet-sounding instrument, it does not have a broad dynamic range; yet, as Dionisio Aguado proclaimed in his Nuevo Método para Guitarra of 1843, the classic guitar's expansive palette of tone color gives it the ability to emulate "a miniature orchestra". These characteristics make the guitar the ideal instrument to reflect both the character and sensuality of the dances that occur throughout Bizet's Carmen--Aragonaise, Habanera, Seguidillas, and Danse Bohéme--as well as Carmen's sober "Chant de la Mort". Recommended for the advanced guitarist, Carmen Suite is written in standard notation with extensive digitation and occasional drop-D tuning. In Néstor Ausqui's Carmen Suite, "...the guitar both sings like a human voice and accompanies itself, giving the work an irrefutable guitar identity. The characteristic feeling manifested in Spanish dance is now expressed through the guitar with a full and defined instrumental singularity." -- Guillermo René Alvarez Musicologist, Professor at the Instituto Superior de Música, Universidad Nacional del Litoral-Argentina
The much anticipated 5th French Suite by J.S. Bach has finally been published inits entirety for classical guitar by internationally acclaimed Argentinian virtuoso Nestor Ausqui. This sui generis collection has been widely sought after by guitarists, whom for many years only could attain fragmented pieces of the suite. Now the entire suite is available for the first time! The transcriber must understand the essence and intent of the original, and then in the transcription, create the impression that the music was indeed originallywritten for the guitar. In this transcription of the 5th French Suite, Nestor Ausqui has accomplished this brilliantly. Dr. William Toutant Professor Emeritus and former Dean of Music at California State University Northridge
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