TRASCRIZIONE

POP/ROCK GUITAR PLAY-ALONG Vol. 12 CD TABLATURE Every Breath You Take-THE POLICE-Rebel, Rebel-DAVID BOWIE

POP/ROCK GUITAR PLAY-ALONG Vol. 12. 867-5309/Jenny -Every Breath You Take -Money for Nothing -Rebel, Rebel -Run to You -Ticket to Ride -Wonderful Tonight -You Give Love a Bad Name. CD TABLATURE

Series: Guitar Play-Along
Softcover with CD - TAB
Artist: Various

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch!

This volume includes 8 songs:

867-5309/Jenny -TOOMY TUTONE
Every Breath You Take -THE POLICE
Money For Nothing -DIRE STRAITS
Rebel, Rebel -DAVID BOWIE
Run To You -BRYAN ADAMS
Ticket To Ride -THE BEATLES
Wonderful Tonight -ERIC CLAPTON
You Give Love A Bad Name -BON JOVI

48 pages.

 

Questa serie "Guitar Play-Along" ti aiuterà a suonare rapidamente e facilmente le canzoni preferite! 

Basta seguire la TABLATURE, ascoltare il CD, sentire come dovrebbe suonare la chitarra, e poi suonare

insieme con le basi. La melodia e i testi sono inclusi nel libro nel caso tu voglia cantare, o per aiutarti e

seguire la musica. Il CD audio è riproducibile su qualsiasi lettore CD. Con il computer e il Mac, è possibile

regolare la registrazione a qualsiasi tempo senza cambiare l'altezza del suono !

 

Questo volume include 8 canzoni:


867-5309/Jenny - TOMMY TUTONE
Every Breath You Take - THE POLICE
Money For Nothing - DIRE STRAITS
Rebel, Rebel - DAVID BOWIE
Run To You - BRYAN ADAMS
Ticket To Ride - THE BEATLES
Wonderful Tonight - ERIC CLAPTON
You Give Love A Bad Name - BON JOVI

48 pagine.

Prezzo: €14,95
€14,95

MATTHEWS DAVE BAND Guitar Legendary Licks 1994-2001 CD TABLATURE Ants Marching-The Best of What's Around-Crash into Me-Crush-Don't Drink the Water-I Did It-Satellite-So Much to Say-Stay (Wasting Time)-Too Much - What Would You Say.

MATTHEWS DAVE BAND Guitar Legendary Licks 1994-2001. CD TABLATURE

Dave Matthews Band Guitar Legendary Licks 1994-2001
Series: Guitar Educational
Publisher: Cherry Lane Music
Format: Softcover with CD - TAB
Artist: Dave Matthews Band
Author: Lois Dilivio

The Legendary Licks series presents the music of a band or artist in a comprehensive play-along package. Each book contains note-for-note transcriptions and detailed performance notes on how to play with a multitude of classic licks, fills, riffs, and solos – complete with recorded demonstrations on CD. Slowed-down versions are also onthe CD for the fast and tricky passages. This pack teaches 12 of DMB's best: Ants Marching - The Best of What's Around - Crash into Me - Crush - Don't Drink the Water - I Did It - Satellite - So Much to Say - Stay (Wasting Time) - Too Much - What Would You Say.

Inventory #HL 02500374
ISBN: 9781575604497
UPC: 073999185140
Width: 9.0"
Length: 12.0"
64 pages

gear setup

Ants Marching
The Best Of What's Around
Crash Into Me
Crush
Don't Drink The Water
I Did It
Satellite
So Much To Say
The Space Between
Stay (Wasting Time)
Too Much
What Would You Say

Introduction

The 12 singles represented here reveal the depth and breadth of the Dave Matthews Band's ideas and sounds from Under the Table and Dreaming to Everyday. From the philosophical "The Best of What' Around," to the pop perfection of "Too Much," to the soulful "Stay (Wasting Time)," straight on into the plugged-in and stripped-down "I Did It," the Dave Matthews Band has proved time and again the true nature and level of their artistty, as well as their personal drive to express themselves via whatever means necessary.
Dave Matthews Band has collectively walked a career path very different from many of its contemporaries.
Dave himself was born in South Africa in 1967 and grew up in not just that part of the world, but in England and Westchester, New York, as well. While the family was residing in Westchester, Dave's father John, a physicist, died; his mother Val moved the family back to South Africa not long after. Dave continued to reside there until he was called to serve in the army of the Apartheid government. Rather than join this army, he returned to the States, passing through New York before finally joining his family in Virginia.
After spending some time in a community college, Dave found himself working as a bartender at Miller's, a bar in Charlottesville. He had played some piano as a child, and had begun to play the guitar at about age nine. He was inspired by the musicians he heard and met in the community-Peter Griesar, Carter Beauford, Stefan Lessard, LeRoi Moore, and Boyd Tinsley. He also met guitar whiz Tim Reynolds, who would become a virtual "sixth" band member, contributing heavily to the first four albums as well as eventually touring with Dave as a duo. Dave wrote several songs, and with the encouragement and guidance of friends, he cut a demo with five of the local musical heavyweights. These musicians "clicked" from day one.
It soon became clear that the combination of Dave on vocals and guitar, Carter Beauford on drums, Stefan Lessard on bass, LeRoi Moore on sax, and Boyd Tinsley on violin was formidable-the Dave Matthews Band juggernaut had started to roll. The band made it dear that they allowed and even welcomed the bootlegging of their shows. In return, their fans rewarded them with devotion. At the time they were about to release their independently produced Remember Two Things in ovember of 1993, the band's reputation had grown so great that they essentially had their pick of major label deals. They signed with RCA.
The 1994 release Under the Table and Dreaming entered the Billboard charts at #34, went to #11 on the Billboard 200, and received a Grammy nomination for "What Would You Say." Two years later, Crash debuted atfr'2 and received Grammy nominations for the album itself and for the songs "So Much to ay."
"Crash into Me," and 'Too Much." Steve Lillywhite was the producer of these two releases plus the next- Before These Crowded Streets-which shipped at #1 on the Billboard charts.
In January of 2000, the band assembled to record. In June, three months behind schedule, the band and the record company listened to the material and agreed that they needed to rework their efforts. To paraphrase Dave, they were songs about dying, not songs about living. regardless of the fact that we're all going to die. Dave was subsequently introduced to Glen Ballard who had interned with Quincy Jone and produced for Alanis Morrissette, No Doubt, and Aerosmith, among many others. Dave and Glen holed themselves up for ten days and wrote the 12 new songs that became Everyday. It debuted at #1 on the Billboard charts, selling more than 700,000 copies in its first week of release.
Jot content to confine their activities to the musical area, the Dave Matthews Band established the Barna Works Foundation, an institution through which the band contributes to charities such as the American Diabetes Association, the Boys and Girls Clubs of America, the Southern Environmental Law Center. And various Charlottesville-area clinics and community centers.


Dave Matthews Band 1994-2001

The Legendary Licks series presents the music of a band or artist in a comprehensive play-along package. Each book contains note-for-note transcriptions and detailed performance notes on how- to playa multitude of classic licks. fills. riffs. And solos-complete with recorded demonstrations. Slowed-down versions are also on the CD for the fast and tricky passages.

- NOTE-FOR-NoTE TRANSCRIPTIONS
- CD WITH RECORDEDDEMONSTRATIONS
- PERFORMANCE NOTES
- GEAR SETUPS

CHERRY LANE MUSIC COMPANY
 

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JOHNSON ERIC BLOOM Guitar Recorded Version TABLATURE LIBRO CHITARRA SPARTITI ACCORDI ROCK

JOHNSON ERIC, BLOOM. GUITAR TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA E VOCE. TESTI, ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: Guitar Recorded Version

Softcover - TAB
Artist: Eric Johnson

Exact note-for-note transcriptions with tab for all 16 songs off the 2005 CD from guitar virtuoso Eric Johnson. The All Music Guide says, "all his trademarks are well represented - chops, tone, and extremely fluid playing."
192 pages

Bloom
Ciel
Columbia
Cruise The Nile
From My Heart
Good To Me
Hesitant
Magnetized
My Back Pages
Sad Legacy
Sea Secret
Summer Jam
Sunnaround You
Tribute To Jerry Reed
12 To 12 Vibe
Your Sweet Eyes

Prezzo: €29,99
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SHEPHERD KENNY WAYNE BAND BEST OF Guitar Recorded Version TABLATURE CHITARRA SPARTITI LIBRO

SHEPHERD KENNY WAYNE BAND, BEST OF. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA ROCK BLUES.
SPARTITI PER VOCE E CHITARRA CON: 
ACCORDI, PENTAGRAMMA, TABLATURE

Series: Guitar Recorded Version TAB
Artist: Kenny Wayne Shepherd

15 songs from this blues guitarist extraordinaire, including, 136 pages

Best of Kenny Wayne Shepherd Band
Series: Guitar Recorded Version
TAB
Artist: Kenny Wayne Shepherd

15 songs from this blues guitarist extraordinaire, including: Alive • Blue on Black • Born with a Broken Heart • Changes • In 2 Deep • Ledbetter Heights • The Place You're In • Slow Ride • True Lies • and more.
Inventory #HL 00690803
ISBN: 9781423401599
UPC: 073999927481
Width: 9.0"
Length: 12.0"
136 pages

Table of contents
Alive
Be Mine
Blue On Black
Born With A Broken Heart
Deja Voodoo
In 2 Deep
Last Goodbye
Ledbetter Heights
(Let Me Up) I've Had Enough
The Place You're In
Shotgun Blues
Slow Ride
Somehow, Somewhere, Someway
True Lies

 


BLUES GUITAR PHENOMS are a dime a dozen. Rosy-cheeked and eager to please, they are shepherded from venue to venue like circus acts, stunning audiences with their acrobatic techniques and stage savvy. Most succeed in getting an Established Black Bluesman or two to endorse their playing, and the guitar media race to proclaim them the real deal. The trouble is, prodigies usually grow up. And too many guitar phenoms learn the real meaning of the blues when fickle audiences turn their attention to the next generation of young wizards, leaving the too-old 20-year-old out in the cold.
Kenny Wayne Shepherd, who was a teenager and a high school senior in Shreveport, Louisiana, when his acclaimed debut album, Ledbetter Heights (Giant), was released, is an ex-phenom who made a particular splash as a blues baby: Ledbetter Heights went Gold and sat at the top of the blues charts for months. Shepherd's overdriven Strat tone, rapid-fire solos and overt Hendrix-isms had fans proclaiming him the new Stevie Ray Vaughan, no less.

All this potentially meant lots of pressure on Shepherd because he, as much as anyone, knew that blues Peter Pans grow up and have to keep producing when they're 20,30 and even 40 years old. But the blond-haired guitarist knew exactly what to do: hit the road, challenge himself by playing with the best rock guitarists around and grow. And so he joined the G3 tour, first as an opening act and then, with the departure of Eric Johnson, as a full-fledged partner of Joe Satriani and Steve Vai. Shepherd impressed many fans on the rest of that tour, and he certainly impressed his tour mates. "When I first heard Kenny Wayne Shepherd, I thought, 'Uh-oh, another Stevie Ray Vaughan clone,' " recalls Vai. "Just like the first time I heard Stevie Ray, I thought, 'Uh-oh, another Hendrix clone.' I was equally wrong both times. Kenny has the depth and insight to make what he doesemotionally powerful and remove it miles from clonedom. He has that elusive 'it.' " "He is a real talent," agrees Joe Satriani. "Anyone can practice guitar, learn some licks and make believe that they're an entertainer. But to be a real natural, to be great at your instrument-to be able to walk out on any stage and immediately plug into both the musicians and the audiencethat is realtalent. And that iswhat Kennyhas." And Shepherd's abilities are abundantly evident throughout The Trouble Is... , the follow- up to Ledbetter Heights. The maturing guitarist partially attributes the new album's strengths, and his growth, to his G3 odyssey. "Ledbetter Heights chronicles a part of KENNY WAYNE SHEPHERD·
my career," says Shepherd. "But that part is the beginning. I've grown a lot. I listen back to tapes of myself when I was 15, and it doesn't even compare to how I'm playing now. And I almost feel that way about my first album. I think growth comes along with experience, just being out there doing it." Shepherd's playing today is more confident, more personal and less derivative of Stevie Ray Vaughan, even though he is backed by Vaughan's former band, Double Trouble-drummer Chris Layton, bassist Tommy Shannon and keyboardist Reese Wynans-on half the album. "I wanted to use them because they're simply the best rhythm section for the type of music I like," Shepherd explains. "They're also my friends, and playing with them was a blast." His regular touring band appears on the rest of the album, with new singer Noah Hunt handling lead vocal chores throughout. Highlights include a rollicking run through Bob Dylan's "Everything is Broken" and a great take on Jimi Hendrix's "I Don't Live Today," as well
as Shepherd originals like the leadoff single "Slow Ride," the instrumental "The Trouble
Is" and "Long Gone," which features blues harmonica great James Cotton. As strong as the album is, there's no reason to think that number three won't be even stronger. For Shepherd is, as his friend Steve Vai says, "a work in progress."

GUITAR: This record took longer to complete than you had planned. Why?
KENNY WAYNE SHEPHERD: The writing was a little tough. While I was on the road doing
interviews, people kept asking me if I was feeling pressure to come up with a good second album and avoid the "sophomore slump." I was like, "What are they talking about? I don't feel any pressureat all. This is a blast." But then we came off the road to record, and I didn't really have any material because I hadn't been writing, or even thinking about it, for a year and a half. Youget into a road groove: you wake up, do promotion, soundcheck, have dinner, shower, get to the club, play.Then you're up real late, and you're wired. You probably haveto travel, so you get to bed early in the morning, oversleep, get up
and start all over again. I had to get out of that, to change my frame of mind from playing live to writing music. I hadn't done it in a long time, and I got kind of discouraged, at first. Nothing was happening, and I didn't know where it was gonna come from. But I just kept going, and the next thing I knew I had 37 songs.

KENNY WAYNE SHEPHERD
GUITAR: The first single, "Slow Ride," is really hard-hitting. It reminds me of Freddie King's "I'm Going Down."

SHEPHERD: Thanks! Me too, actually. We wanted to come out of the box with a slamng ming track that screamed, "We're back!" That song sort of came out of nowhere and
took everybody by surprise, in a way very similar to what "Deja Voodoo" did on the
last album. When I was recording Ledbetter Heights, we cut 13 songs, then took
two weeks off. During that period, I went home and wrote "Born With a Broken
Heart," "Deja Voodoo," "Let Me Up I've Had Enough" and a few more-almost half
of the songs on the album, and most of the big ones. So we decided to do the same
thing this time. I went in the studio with Double Trouble and 19 songs. Then I went
back on the road for a few weeks and wrote two really strong tunes, "Long Gone" and
"Slow Ride."

GUITAR: Now that you're done recording, how do you feel about the final product?
SHEPHERD: I'm really excited about everyng thing. Working with Jerry [Harrison, producer; the former member of Talking Heads has also produced Live, Big Head Todd and othicers-GUITAR Ed.] has been a real pleasure. I think the album is awesome, sonically-the
drums and guitars sound great-but more importantly the material is really strong. I'm
also excited because I sang a lot more this time, doing backup vocals on four or five
songs, plus singing lead on a cut of "Voodoo Chile," which surprisingly sounds pretty
decent. [laughs] Even though we decided not to put it on the album, I feel it was a big
step for me.

GUITAR: That's a tall mountain to climb. SHEPHERD: Yeah, but it felt good. It was awesome to have Chris and Tommy playing it. The fact that I'm singing it feels great, too, because it's a Hendrix song, and it's sort of meant for the guitar player to sing. I just couldn't see doing it with another singer; it was either I sing it or we don't cut it, so I decided to give it a go, and it felt pretty good. I am probably going to start doing it every night.

GUITAR: It must be strange, being a star attraction who doesn't sing, as you have to turn a
lot of control over to another person.
SHEPHERD: Yeah, it is a weird situation. I need to have total confidence that that person
is going to do my music exactly how I want to hear it. That's part of the reason we
felt we had to change singers. Noah is very talented, and he has the right attitude and
voice for what I want to do. I'm singing more myself, which is helping me become an even
bigger part of my music. Just the fact that live I'm now singing all these background

KENNY WAYNE SHEPHERD

... vocals, plus doing "Voodoo Chile," will give me more practice on the road than I got last
year, when I hardly sang at all. I'm going to keep practicing and working on it, maybe
slowly adding songs here and there. It's definitely getting better; my voice and confidence
level are both eons beyond where they were when I did "Riverside" [on Ledbetter Heights],

GUITAR: Is it largely an issue of confidence at this point?
SHEPHERD: That's a big part of it. I was definitelya little insecure about it, because if
I am going to do something, I want it to be up to the musical standards that I hold up
for myself. My guitar standards are very high, and I wanted my vocals to be just as good,
though I realize that it's not always like that. Look at Hendrix, Stevie Ray and Eric Clapton.
They're all great singers who improved throughout their careers, but the bottom line
is their singing doesn't compare to their playing, and that's why, for many years, they
all played without singing. It's something they had to grow into, and I'm growing into
it slowly. But I'm not going to rush it. Working in the studio with Jerry has really
helped me get to the point where I can just belt it out and accept the sound of my own
voice, which is really difficult-especially when you hear it played back on big studio
monitors, and you can hear every little mistake. [laughs]

GUITAR: It sounds like Jerry was really good for you. But why, considering all the success
you had together, did you decide to not work with your last producer, David Z?
SHEPHERD: David was great to work with, but I felt it was time to look in a different
direction. Then I heard the Big Head Todd and the Monsters album Jerry produced for
my label [Beautiful World, Revolution], I thought it was clearly Big Head Todd's best,
so I immediately asked my A&R guy to get Jerry. I felt we would see eye to eye, musically.
And I was right.
I felt that this album needed to be more aggressive, both playi ng-wise and in its production.
I feel like my playing has improved at least 90 or 100 percent from when I did
the first album, and I really wanted that to come through. I wanted everyone to be able
to hear the emotion and dexterity that's there now, and wasn't there before.

GUITAR: Why do you think that is?
SHEPHERD: It's a result of doing so much touring. When you play live every night for a
year and a half or two years straight, it really makes your chops a lot better. You don't
notice it so much while it's happening, but you listen back and hear it. When we started
touring to promote Ledbetter Heights, we did about 250 shows in a year and a half.
How could you not grow from that experience?

GUITAR: How exactly have you improved?
SHEPHERD: Well, I really practiced my vibrato
a lot, and I think it's way better. I also
bend much more precisely and confidently; I hit all my notes now. Basically, my overall
technique is just much better than it was. But I also think I've developed better taste
and more of an understanding of when to hold back and when to let it rip and really
playa lot of notes. Being on the road with guys like B.B. [King] showed me a lot. He
can knock you off the stage with one note, so I tried to figure out how to do that. In
terms of influences, I've also gotten more into Albert King, so there's more of his licks
popping up in my pLaying.While I was on the road, I got really deeply into Albert and Hendrix.

GUITAR: Playing with Double Trouble must have been exciting for you.
SHEPHERD: There was definitely a lot of excitement there, from me and also from them. We kept a lot of my original tracks from our sessions because the three of us were playing off of each other so much. I'd playa lick and Chris would accent it perfectly,
and when I tried to overdub it wasn' t as locked in, because when we were
doing it together, there was so much intuition happening. They inspired me to play
a lot of new and different stuff. Sometimes, I'd just want to see if I could turn their
heads. The whole experience was definitely inspirational.

GUITAR: Sure. That's the band you grew up worshipping.
SHEPHERD: [laughs] Definitely. But I know those guys so well now that they are real
friends. Chris and I talk on a regular basis, and I also love Tommy. He's really funny, the
kind of guy who has to have dessert after every single meal. Of course, they both quit
drinking and everything, and now they've quit smoking, too. Tommy chews that
Nicorette gum and has a patch on at the same time, and he's going around sniffing
people's cigarettes. [laughs] He's a character, and he is truly one of the kindest guys
I've ever met. We wrote a lot together, and they really didn't write much with Stevie.
There was a lot of jamming going on. We probably have five OAT tapes of stuff that
isn't on this album. They're the best rhythm section for the kind of music I'm doing.
They're the guys who pretty much created the stuff.

GUITAR: What do you think they brought to Stevie's music?
SHEPHERD: The rhythm section is the foundation.
They pushed Stevie to play; they were an integral part of his sound.

GUITAR: There was a strong element of restraint in Stevie's playing that I detect in yours.
SHEPHERD: Thanks. A lot of players think that Stevie's music is just such fiery, asskicking
guitar that to match it they have to play all-out, over-the-top, going-for-broke,
on ten. But it's not about that, man. It's about taste and restraint. That's where the
single-note thing comes in, the understanding of Albert King, just being real tasteful.
Youcan play something fast, but play it tasty and fast. Put some emotion into it.
The thing that I dug most about Stevie's playing is that it's a bridge between blues
and rock, and I think that's the direction my music leans towards. My music has a little
bit of a harder, sharper rock edge than Stevie' s did. I'm probably the middle point
between Stevie and Hendrix.

GUITAR: You started your first national tour playing small clubs, then opened for everyone from B.B. King to Bob Dylan to the G3 tour. Ultimately, you became a full-fledged member of the G3-one of the Big Three. How have you enjoyed the tour?
SHEPHERD: It's been great. Joe, Steve and Robert Fripp are all really a pleasure to work with. I saw Steve when he toured with David Lee Roth and was wearing all the fluorescent green and pink stuff, and I heard a bit of Satriani's stuff, like "Satch Boogie," but I got my first real dose of them when I did the first shows. I was impressed with both of them. I really dig what Vai does and enjoy listening to him because he has extremely creative ideas that I wouldn't come up with, placing notes in ways that I wouldn't. I've heard him play some licks that just blew my mind. He is a truly phenomenal guitarist. But I'm a little more drawn to Satriani because he puts a lot of blues into his music. There's a lot of Albert King in there, wh ich may surprise people who haven't seen him live. It surprised me. I think anyone who's into guitar music should check these guys out live, even if you don't think you want to. Same goes for Robert Fripp, who has been opening the shows. His set is very interesting and exotic. They've all been great, and the jam at the end of the show is killer.

GUITAR: Blues harmonica great James Cotton appears on "Long Gone." What did you want out of him?
SHEPHERD: I love his work with Muddy Waters, especially on Hard Again and King Bee, and I wanted to hear that sound. And we got it, man. James played his ass off. He did some cool fills throughout the song, then at the end of the tune he just went off and played some incredible stuff. I really felt like I was listening to a Muddy Waters record when I heard that, which was exactly what I ....

Prezzo: €27,99
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JEWEL THE BEST OF Guitar Recorded Version TABLATURE BOOK CHITARRA LIBRO SPARTITI

JEWEL, THE BEST OF. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA POP ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Recorded Version TAB
Artist: Jewel

12 hits for guitar from this Alaskan pop rock singer, including,
96 pages

Table of contents :
Angel Standing By
Break Me
Foolish Games
Hands
Intuition
Jesus Loves You (What About Me)
Jupiter
Life Uncommon
Standing Still
What's Simple Is True
Who Will Save Your Soul
You Were Meant For Me

Prezzo: €24,99
€24,99

GUITAR PLAY-ALONG 3 HARD ROCK CD TABLATURE Iron Man Black Sabbath-Smoke On The Water Deep Purple

GUITAR PLAY-ALONG VOLUME 3, HARD ROCK. CD TABLATURE

1981 - Crazy Train [Ozzy Osbourne]

1970 - Iron Man [Black Sabbath]

1980 - Living After Midnight [Judas Priest]

1984 - Rock You Like A Hurricane [Scorpions]

1984 - Round And Round [Ratt]

1972 - Smoke On The Water [Deep Purple]

1987 - Sweet Child O' Mine [Guns N Roses]

1964 - You Really Got Me [Van Halen].


Series: Guitar Play-Along
Softcover with CD - TAB
Artist: Various

The Guitar Play-Along Series will assist you in learning to play your favorite songs quickly and easily. Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. 8 songs, including: Crazy Train - Iron Man - Living After Midnight - Rock You like a Hurricane - Round and Round - Smoke on the Water - Sweet Child o' Mine - You Really Got Me. 72 pages

Prezzo: €20,99
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PARKENING CHRISTOPHER DUETS & CONCERTOS 234 Pagine TABLATURE CHITARRA-GRANADOS

PARKENING CHRISTOPHER, DUETS & CONCERTOS. 234 Pagine. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE.

Series: Guitar Recorded Version
Softcover - TAB
Artist: Christopher Parkening

Throughout his career, Christopher Parkening, America's preeminent classical guitarist, has had the opportunity to perform with many of the world's leading artists and orchestras. This folio, Duets and Concertos, contains many selections from those collaborations, and features a wide range of musical pairings which show the guitar at its versatile best: voice and guitar, guitar duets, chamber music, and concertos. All of the pieces included here have been edited and fingered for the guitar by Christopher Parkening, and to quote Christopher himself, "No compromise has been made in requirement of technique. All of these pieces are suitable for performance by the virtuoso guitarist." This folio contains 35 transcriptions. 234 pages

Table of contents:

Berceuse
Canon
Ciranda Bambole
City Called Heaven
Come Again! Sweet Love Doth Now Invite
Con Amores, la mi Madre
Concerto In C Major
Concerto In D Major
Dormi Jesu
Drewries Accordes
Fine Knacks For Ladies
Infant Holy, Infant Lowly
Jesus, The Light Of The World
The King's Hunt
La Maja de Goya
La Rossignol
La Volta
Lamento
Lord, I Couldn't Hear Nobody Pray
Mary And Her Baby Chile
Mary Had A Baby
Methinks I See An Heav'nly Host
Offertorio
An Old Music Box (Ou I'on entend une vieille boite a musique)
Pampano Verde
Quittez Pasteurs
Round The Glory Manger
Sanctify Us By Thy Goodness
Silent Night
Sometimes I Feel Like A Motherless Child
Suo Gan
Trio In C Major
The Virgin Mary Had A Baby Boy (Caribbean Carol)
Watkin's Ale
Wexford Carol
What If I Never Speed?

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BEST OF BLUEGRASS 10 Songs Fiddle-Mandolin-Banjo-Guitar-Dobro-Bass LIBRO CD TABLATURE SPARTITI

BEST OF BLUEGRASS. 10 Must-Know Songs Arranged for Fiddle, Mandolin, Banjo, Guitar, Dobro and Bass. CD TABLATURE

CD INCLUDED CONTAINING THE ORIGINAL RECORDINGS ! ! !

LIBRO DI MUSICA CON CD, SPARTITI, PARTITURA DI OGNI STRUMENTO, CON TABLATURE. 

CHITARRA CON TABLATURE

BANJO CON TABLATURE

 

Package TAB.

Series: TRANSCRIBED SCORES 
Book & CD Package - TABLATURE

Artist: Various

This unique pack provides complete note-for-note scores for 10 bluegrass classics. The fiddle, mandolin, and bass parts are in standard notation. The banjo parts are written in banjo tab. The CD includes the original recordings as a further reference. Songs include:

-Cripple Creek - THE STONEMANS

-Darlin' Corey - JIMMY MARTIN WITH RICKY SKAGGS

-Durham's Bull - FIDDLIN' RONNIE STEWART 

-Great Speckled Bird - JIM & JESSE

-John Henry - MERLE TRAVIS

-Man of Constant Sorrow - JIM SILVERS

-Mule Skinner Blues - GRANDPA JONES

-Salty Dog Blues - MAC WISEMAN

-Sittin' on Top of the World - PINNACLE BOYS

-Wabash Cannonball - BENNY MARTIN 

 

110 pages

Prezzo: €34,99
€34,99

PINK FLOYD Authentic Play-along BASS LIBRO 2CD BASI TABLATURE Wish You Were Here-Time-

PINK FLOYD, Authentic Playalong: Pink Floyd. BASS, 2CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA BASSO CON CD DI BASI E TABLATURE. 

This book and CD set presents a selection of songs by the original stadium innovators, all transcribed in accurate Bass Guitar Tab and complete with a set of authentic backing tracks.

Get your hands around those stunning and unique Roger Waters bass lines - by playing along with the enclosed CDs you'll feel just like a member of the band yourself! Includes Time, Money, and Wish You Were Here.

Another Brick In The Wall (Part 2)
Comfortably Numb
Have A Cigar
Money
See Emily Play
The Fletcher Memorial Home
Time
Wish You Were Here
Young Lust

Prezzo: €29,95
€29,95

CLASSICS FOR ELECTRIC GUITAR John Kiefer LIBRO CD TABLATURE-GIUSEPPE VERDI-DEBUSSY-BACH

CLASSICS FOR ELECTRIC GUITAR, John Kiefer. CD TABLATURE

LIBRO DI MUSICA CON CD, SPARTITI PER CHITARRA. PENTAGRAMMA E TABLATURE. 

Collezione delle trascrizioni "classiche" per la chitarra eletrica moderna. La selezione include alcune Fantasie per flauto di Telemann, C.P.E. Bach's Solfegietto, Saint Saens' Danse Macabre, Debussy's Syrinx e altri. Le tecniche chitarristiche comprendono alternate e hybrid picking, string skipping e sweep picking. Contiene CD con tracce bonus di altri proggetti del autore con Mel Bay.

A collection of "classical" transcriptions for modern electric guitar; selections include several of Telemann's flute Fantasias, C.P.E. Bach's Solfegietto, Saint Saens' Danse Macabre, Debussy's Syrinx and more. Guitar techniques involved include alternate and hybrid picking, string skipping and sweep picking in a time-tested context. Includes companion CD of the selections in a variety of settings. CD also features bonus tracks from the author's other Mel Bay projects.

Product Number: 98672BCD
Formato: Libro/CD

Contenuto:

Saltarello I -- Anonymous
Saltarello II -- Anonymous
Fantasia 1: Vivace -- G.P. Telemann
Fantasia XI: Allegro -- G.P. Telemann
Fantasia VIII: Largo -- G.P. Telemann
Fantasia VIII: Spirituoso -- G.P. Telemann
Fantasia X: A Tempo Giusto -- G.P. Telemann
Fantasia VI: Dolce -- G.P. Telemann
Trio from Suite in A Minor -- G.P. Telemann
Solfeggietto -- C.P.E. Bach
Danse Macabre -- Camielle Saint-Saens
Requiem Dies irae (opening) -- Guiseppe Verdi
Syrinx -- Claude Debussy

Prezzo: €23,99
€23,99
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