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LED ZEPPELIN MOTHERSHIP LIBRO GUITAR TABLATURE Jimmy Page Whole Lotta Love-Stairway to Heaven

LED ZEPPELIN, MOTHERSHIP. TABLATURE

LIBRO DI MUSICA PER CHITARRA CON TABLATURE.

It was a modest announcement, a two-page press release issued in November 1968: "Atlantic Records has signed the hot, new English group Led Zeppelin to a long-term exclusive recording contract. Although the exact terms of the deal are secret, it can be disclosed that it is one of most substantial deals Atlantic has ever made."
Most of what followed was quick biography-Jimmy Page's history with The Yard birds, where he had succeeded Eric Clapton and Jeff Beck as lead guitarist, and as one of the best and busiest session musicians in Britain; bassist John Paul Jones' success as an arranger of hit records for Donovan and The Rolling Stones, among many others. There were references to drummer John Bonham's already notorious solos as a member of American singer Tim Rose's touring band and to Robert Plant's blooming reputation as "one of England's outstanding young blues singers."
There was a promise too. "Top English and American rock musicians who have heard the tracks," the release said, referring to Zeppelin's imminent debut album, "have compared the LP to the best of Cream and Jimi Hendrix and have called Led Zeppelin the next group to reach the heights achieved by Cream and Hendrix."
That was audacious talk, a fat power chord in the face, at a time when Hendrix still walked the Earth and Cream were a fresh memory-the latter played their farewell shows that ,'ery month at London's Royal Albert Hall. In comparison, when Lcd Zeppelin opened their first North American tour in Denver, Colorado, on December 26, 1968, they were third on a bill to Vanilla Fudge and Spirit and treated like a doormat. The promoter, Plant told me years later, deducted the cost of the backstage grub" this four-Ioaves-and-fivc-fishes thing"-from the band's pay.
At other dates, Plant operated Zeppelin's PA. system himself, onstage, and Bonham often played without miking his kit (a minor annoyance as he was loud enough without electricity). In Detroit a local newspaper ad for Zeppelin's three-night stand at the Grande Ballroom announced the appearance of "Led Zeptlin." But as Page said later, recalling that tour, "You could feel something happening-first this row, then that row. It was like a tornado, and it went rolijng across the country." By the end of 1969, Page, Plant, Jones, and Bonham had torn through North America four times, each time to bigger, sold-out audiences. In Britain, where they had been in clubs as The ew Yard birds as late as October 1968, Zeppelin quickly followed Cream into the Royal Albert Hall, ftlling it in June 1969 (and again in January 1970). 
In that first whiplash year, Led Zeppelin also released two of the most exciting and important rock albums ever made, Led Zeppen fill and Led Zeppelin II-together, the fundamental bones of hard rock and heay\ metal for the next four decades.
From the start, Led Zeppelin were working warriors. They toured like dogs-albeit in wild-boy luxury, fiercely protected by their manager, Peter Grant-and made eight studio albums (one a double LP) at a pace that now seems superhuman. Page claimed the total recording time for Led Zeppelin was 30 hours. The band made II on rare off days berwcen shows in the summer of '69, in nearly a dozen different studios. "I remember we did vocal overdubs in an eight-track studio in Vancouver where they didn't even have proper headphones," Page rccalled in a 1977 interview with Dave Schulps for the American magazine Trails-Oceanic Trouser Press. "Can you imagine that?"
Actually, yes. Even the band's harshest critics-and there were armies of thcm at the time-could not deny that Led Zeppelin had a rare drive to excel and conljuer. "So many people are frightened to take a chance in life," Page told Rolling Stone's Cameron Crowe in 1975, "and there's so many chances you have to take." Jones did not hesitate to give up the regular, lucrative checks from his studio gigs to be in Led Zeppelin; as soon as he heard about Page's plans for a new group, in the late summer of '68, he called Page and asked to join. Page himself was throwing dice when, on the recommendation of Terry Reid (who turned down Page's offer to be vocalist), he checked out and hired Plant, just 20 and unknown beyond the club grind in England's industrial Midlands. Page then took Plant's advice and grabbed the singer's friend, Bonham.
"It was a series of intense, dynamic crescendos, one right after the other;' Plant told me, describing Zeppelin's first American shows in 1968 and '69. "There was no room for the letdown."
That is also a perfect description of the power, confidence, and desire-the lust for liftoff-in these songs and performances. Led Zeppelin wanted everything, in record time. And they were afraid of nothing. Mothership--the peak of their canon-is what No Fear sounds like.
The first four songs here, all from Led Zeppelin, are the work of a new band racing against clock and budget to connect their individual histories and collective passions into a new, huge music.
The roots are unmistakeable, the combination unprecedented: the blues, twang, and holler of America's Deep South and black urban neighborhoods, especially anything bearing the classic Chess, Sun, and Atlantic labels; the British folk renaissance; California Day-Glo psychedelia.
So are the ambitions. "Good Times Bad Times" and "Communication Breakdown" are as tightly arranged as any candy-pop 45 Page and Jones played on as hired guns. But the details are explosive: Bonham's ayalanche rolls and Jones' pummeling bass outbursts in "Good Times Bad Times"; the nuclear buckshot of Page's chords behind Plant's arcing wail in ... 


To Plant, the essence and promise of Led Zeppelin was in "the quest, the travels and explorations that Page and I went on to far climes well off the beaten track," he told me in a 1988 inten·iew. \X'orld domination obvioush' had its benefits. "I had a dream/Crazy dream/Anything I wanted to know, any place I needed to go," Plant crowed in "The Song Remains The Same" on 1973's Houses Of The Holy'. Except it was no dream. By then, Bron-Yr-Aur, a remote cottage in southern Wales,was famous for the songs Page and Plant wrote there in 1970 and '71; Page and Plant had also recorded in India with members of the Bombay Symphony. "D'yer Mak'er" may have been tongue-in-cheek reggae (say the title real fast), but the blunt-instrument treble of Jones' bass was authentic homage to the trull- heavy bottom and primitive fidelity of Jamaican records and rhythm sections. (page often put Jones way up in Zeppelin mixes; in "I houses Of The Holy," originally cut for that album, the chugging bass is louder and dirtier than Page's guitar.)
"Of course, we only touched the surface," Plant said of those excursions with Page between records and tours. "W'e weren't anthropologists. But we were allowed, because we were musicians, to be invited in societies that people don't normally witness, It was quite a remarkable time, to open your eyes and see how Berber tribesmen lived in the northern Sahara"-a memorable trip that inspired the thundering march and orchestral sandstorm of "Kashmir" on the 1975 double album Phpica! Graffiti. 
Jones' skills as an orchesrrator and multi-instrumentalist, rarely mentioned even in ra\'e reviews of the band's records, were pivotal in Zeppelin's songs of pilgrimage (real and imagined). The
mounting doom of "No Quarter" on Houses Of The Holy starts with the simple, compelling black-liquid ripple of his electric piano.
In "Kashmir" staccato strings march alongside Page's climbing guitar, and long mellotron chords roll O\'er the horizon like clouds of dust. \X'hen I asked Plant, in 1988, about "Stairway To Heaven" and its status as the definitive Zeppelin song, he immediately corrected me, "It's not," he said, "'Kashmir' is."
Ultimately, everything here is definitive Zeppelin, in some way: the rude, thundering funk of "Trampled Under Foot," driven by Jones' percolating c1a\'inet and Bonham's merciless drumming; the ferocious, prolonged assault of "Achilles Last Stand" (page told Dave Schulps that he meticulously orchestrated the song's horde of guitars "in my mind," then recorded "all the overdubs in one night"); and the elegant sweep and memorial tenderness of "All My Love."
Then, suddenly, there was no Zeppelin, On September 25, 1980, a day after the group convened to rehearse for yet another Korth American tour, Bonham was found dead at Page's home, following a mammoth drinking binge. "The band didn't exist," Plant said later, "the minute Bonzo died."
The music and history were left unfinished. On December 4 Atlantic Records issued a one-sentence press release: "We wish it to be known that the loss of our dear friend and the deep respect we have for his family, together with the sense of undi\'ided harmony felt by ourselves and our manager, have led us to decide that we could not continue as we were," It was simply signed "Led Zeppelin."
The end came with ironic timing-12 years almost to the day after Atlantic sent out that first announcement in 1968. It also scaled the purity and power of everything Jimmy Page, Robert Plant, John Paul Jones, and John Bonham wrote and played together in what now seems like a very short time. Led Zeppelin did not last long enough to faiLInstead, they have a unique, eternal life in this music that can never be tainted and will never be topped. The band is gone. The thrill is not.

Series: Guitar Book
Medium: BOOK
Artist: Led Zeppelin
232 pages
24 of their biggest hits from the mult-platinum collection, spanning their entire career. Good Times Bad Times - Communication Breakdown - Dazed and Confused - Babe I'm Gonna Leave You - Whole Lotta Love - Ramble On - Heartbreaker - Immigrant Song - Since I've Been Loving You - Rock and Roll - Black Dog - When The Levee Breaks - Stairway to Heaven - The Song Remains the Same - Over the Hills and Far Away - D'yer Mak'er - No Quarter - Trampled Under Foot - Houses of the Holy - Kashmir - Nobody's Fault but Mine - Achilles Last Stand - In the Evening - All My Love.

 

TITLE COMPOSER
Ramble On Jimmy Page (composer); Robert Plant (composer)
Since I've Been Loving You Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
No Quarter Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
When the Levee Breaks Jimmy Page (composer); Robert Plant (composer); Memphis Minnie (composer)
The Song Remains the Same Jimmy Page (composer); Robert Plant (composer)
Heartbreaker Jimmy Page (composer); John Bonham (composer); Robert Plant (composer); John Paul Jones (composer)
Immigrant Song Jimmy Page (composer); Robert Plant (composer)
Whole Lotta Love Jimmy Page (composer); John Bonham (composer); Willie Dixon (composer); Robert Plant (composer); John Paul Jones (composer)
Babe I'm Gonna Leave You Jimmy Page (composer); Robert Plant (composer); Anne Bredon (composer)
Communication Breakdown Jimmy Page (composer); John Bonham (composer); John Paul Jones (composer)
Dazed and Confused Jimmy Page (composer)
Good Times, Bad Times Jimmy Page (composer); John Bonham (composer); John Paul Jones (composer)
Black Dog Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
Rock and Roll Jimmy Page (composer); John Bonham (composer); Robert Plant (composer); John Paul Jones (composer)
All My Love Robert Plant (composer); John Paul Jones (composer)
In the Evening Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
Stairway to Heaven Jimmy Page (composer); Robert Plant (composer)
D'yer Mak'er Jimmy Page (composer); John Bonham (composer); Robert Plant (composer); John Paul Jones (composer)
Kashmir Jimmy Page (composer); John Bonham (composer); Robert Plant (composer)
Trampled Under Foot Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
Houses of the Holy Jimmy Page (composer); Robert Plant (composer)
Achilles Last Stand Jimmy Page (composer); Robert Plant (composer)
Nobody's Fault but Mine Jimmy Page (composer); Robert Plant (composer)
Over the Hills and Far Away Jimmy Page (composer); Robert Plant (composer)
 

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WYLDE ZAKK GUITAR LEGENDARY LICKS LIBRO CD TABLATURE CHITARRA-Miracle Man-No More Tears

WYLDE ZAKK, LEGENDARY LICKS. CD TABLATURE

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

 

ARTIST APPROVED.

Zachary's equipment: guitars, amps, strings .010-.060 or .011-.070!!!, effects, beer!?! 1,000,000 Miles Away -All For You -Born To Lose -Counterfeit God -Horse Called War -Miracle Man -No More Tears -Perry Mason -Speedball -Stillborn -Suffering Overdue -The Blessed Hellride. Split-channel play-along (basi per i solo), and slowed-down (rallentata) version. 


Series: Guitar Educational
Publisher: Cherry Lane Music
Softcover with CD - TAB
Author: Toby Wine
Artist: Zakk Wylde

This comprehensive play-along pack gives you an inside look at Wilde's guitar style. Includes note-for-note transcriptions and performance notes on how to play licks, fills, riffs, and solos with recorded demonstrations on CD. 64 pages

All For You
The Blessed Hellride
Born To Lose
Counterfeit God
Horse Called War
Miracle Man
No More Tears
1,000,000 Miles Away
Perry Mason
Speedball
Stillborn
Suffering Overdue

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ADVANCED CONCEPTS FOR BLUES GUITAR SOLOING BARRY LEVENSON Canned Heat LIBRO CD TABLATURE

LEVENSON BARRY, ADVANCED CONCEPTS FOR BLUES GUITAR SOLOING. CD TABLATURE

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

Metodo del chitarrista dei Canned Head. 

About Advanced Concepts for Blues Guitar Soloing
By Barry Levenson. For Guitar. Blues. Book with CD. 65 pages.

Metodo per assoli Blues, fatto dal chitarrista dei Canned Heat.

 

Welcome to Advanced Concepts for Blues Guitar Soloing the next level up from Barry Levenson's first book Exciting Concepts for Blues Guitar Soloing. In the first book, Barry explored motific development, conceptual playing over chord changes, phrasing, target notes, bending techniques and advanced position playing. In this volume Barry has transcribed ten solos from his Storyville CD's Heart To Hand, Closer to the Blues and Hard Times Won. He has analyzed key concepts and techniques in these solos by isolating specific measures and going into in-depth explanations of the more pertinent concepts that comprise these solos. Also, at the end of the book Barry have included a brief discography of CDs and/or songs that will help shed light on these concepts. The solos are the result of all the years of playing, learning, studying, and more playing. Barry hopes that they can be useful in some small way to help others to find their own means of self-expression. Barry Levenson is the lead guitarist for the world famous blues/rock/boogie band Canned Heat.

TITOLI:

CHASING THE MONEY

HARD TIMES WON

AIN'T GOING BACK

BLUE TEARS

PARTY BOY

DRINKIN' STOPS ME THINKIN'

GRAVEYARD SHIFT

INHUMANITY BLUES

COBRA DAYS

SLIP ME SOME GREEN JACK

 

LESSON:

HYBRID SCALES

CHROMATIC ROW

MOTIFS

TARGET TONES

ARPEGGIOS

STRING BENDING

VIBRATO

SLIDES

UNISON SLIDE

HAMMER-ON

PULL-OFF

TRILL

RAKES

HYBRID PICKING

DOUBLE-STOPS

BOX

NINTH CHORD POSITION

B.B. KING POSITION

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PORCUPINE TREE DEADWING GUITAR TABLATURE BOOK CHITARRA LIBRO SPARTITI Authentic Guitar TAB

PORCUPINE TREE, DEADWING. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Includes the Following Selections:
Title Composer
ARRIVING SOMEWHERE BUT NOT HERE
WILSON, STEVEN
DEADWING
WILSON, STEVEN
GLASS ARM SHATTERING
HARRISON, GAVIN/WILSON, STEVEN/BARBIERI, RICHARD/BALCH, COLIN
HALO
HARRISON, GAVIN/WILSON, STEVEN/BARBIERI, RICHARD/BALCH, COLIN
LAZARUS
WILSON, STEVEN
MELLOTRON SCRATCH
WILSON, STEVEN
OPEN CAR
WILSON, STEVEN
SHALLOW
WILSON, STEVEN
START OF SOMETHING BEAUTIFUL
HARRISON, GAVIN/WILSON, STEVEN

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HENDRIX JIMI BLUE WILD ANGEL LIVE AT THE ISLE OF WIGHT Guitar Recorded Version TABLATURE Purple Haze-Hey Joe

HENDRIX JIMI, BLUE WILD ANGEL. LIVE AT THE ISLE OF WIGHT. TABLATURE

Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight
Series: Guitar Recorded Version TAB
Artist: Jimi Hendrix

Inventory #HL 00690608
ISBN: 9780634057281
UPC: 073999572667
Width: 9.0"
Length: 12.0"
232 pages

18 songs from the recently released Hendrix concert DVD and CD, including:

All Along The Watchtower
Dolly Dagger
EZY Ryder
Foxey Lady
Freedom
Hey Baby (New Rising Sun)
Hey Joe
In From The Storm
Lover Man
Machine Gun
Message To Love (Message Of Love)
Midnight Lightning
Purple Haze
The Queen (Adaptation of 'God Save The Queen')
Red House
Sgt. Pepper's Lonely Hearts Club Band
Spanish Castle Magic
Voodoo Child (Slight Return)

232 pages.

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DEEP PURPLE AUTHENTIC BASS PLAYALONG CD TABLATURE SPARTITI BASI LIBRO BASSO-Highway Star

DEEP PURPLE, AUTHENTIC BASS PLAYALONG. CD TABLATURE

LIBRO DI MUSICA HARD ROCK CON CD DI BASI PER VOCE E VOCE E BASSO.
SPARTITI PER BASSO E VOCE. TESTI, ACCORDI, PENTAGRAMMA E TABLATURE.

Take over from Roger Glover and be the bassist for Deep Purple! Containing eight of their biggest and best songs from the early years, this book includes a specially recorded sound-alike Cd with full performance demonstrations by Neil Williams, and backing tracks to play and sing along to. Transcribed from the original recordings for bass in standard notation and tablature, with melody line and chord symbols.

Black Night

Highway Star

Maybe I'm A Leo

Never Before

Smoke On The Water

Space Truckin'

Speed King

Strange Kind Of Woman

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CLASSICAL MASTERPIECES FOR ELECTRIC GUITAR TABLATURE LIBRO-Mussorgsky-GRIEG-BACH-SOR

CLASSICAL MASTERPIECES FOR ELECTRIC GUITAR. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE. 

Geared toward performers and students wishing to expand their knowledge of the classical repertoire, this newly engraved collection features famous and popular works. Special arrangements include pieces by Bach, Sor, Clementi, Byrd, Rameau, Grieg, Moussourgsky, and Paganini. Tablature, historical notes, and performance tips appear with each piece

Contents:
Introduction
Glossary
Caprice No.24 [Paganini, Niccolo]

In The Hall Of The Mountain King (Peer Gynt Suite) [Grieg, Edvard]

Invention In D Minor [J.S. Bach, Johann Sebastian]

Le Tambourin [Rameau, Jean-philippe]

Prelude (Partita No.3 For Violin, Bwv 1006) [Bach, Johann Sebastian]

Prelude [Tarrega, Francisco]

Sonatina In C [Clementi, Muzio]

Study In C [Sor, Fernando]

Study In G [Sor, Fernando]

Suite In G (Six Suites For Unaccompanied Cello, Bwv1007) [Bach, Johann Sebastian]

The Flute And The Droome [Byrd, William]

The Old Castle (Pictures At An Exhibition) [Mussorgsky, Modest]

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€13,99

GALLAGHER RORY THE ESSENTIAL GUITAR TABLATURE LIBRO CHITARRA-Edged in Blue-Laundromat-Philby

GALLAGHER RORY, THE ESSENTIAL. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE. 

Fourteen songs from the album arranged for Guitar tab complete with full lyrics.

"As if fated to live the blues he studied so deeply, Rory Gallagher was beautiful, talented and doomed. He was just 47 years old when died after a liver transplant surgery in 1995. But in a career that spanned from 1969 until his death, Gallagher compiled one hell of a legacy. The Irish guitarist was a prolific music maker, recording 17 albums under his own name, and two studio albums with his early blues-rock trio, Taste. He also appeared on two seminal blues recordings: Muddy Waters' The London Sessions in 1972, and Albert King Live in 1977."
- Michael Molenda (Editor, Guitar Player Magazine), 2004.

1975 - Bad Penny - Parole e Musica: Rory Gallagher
1975 - Bought And Sold - Parole e Musica: Rory Gallagher
1971 - Crest Of A Wave - Parole e Musica: Rory Gallagher
1976 - Edged In Blue - Parole e Musica: Rory Gallagher
1979 - Follow Me - Parole e Musica: Rory Gallagher
1972 - I Could've Had Religion (Live) - Traditional arrangiato da Rory Gallagher
1972 - Laundromat - Parole e Musica: Rory Gallagher
1987 - Loanshark Blues - Parole e Musica: Rory Gallagher
1979 - Philby - Parole e Musica: Rory Gallagher
1973 - A Million Miles Away - Parole e Musica: Rory Gallagher
1973 - Tattoo'd Lady (Live) - Parole e Musica: Rory Gallagher
1973 - They Don't Make Them Like You Anymore - Parole e Musica: Rory Gallagher
1973 - Walk On Hot Coals - Parole e Musica: Rory Gallagher
2002 - Wheels Within Wheels - Parole e Musica: Rory Gallagher

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DE LUCIA PACO-FUENTE Y CAUDAL-TABLATURE CHITARRA SPARTITI LIBRO Entre dos aguas FLAMENCO

DE LUCIA PACO, FUENTE Y CAUDAL. TABLATURE

LIBRO DI MUSICA FLAMENCA. 

SPARTITI PER CHITARRA. 

ACCORDI, PENTAGRAMMA E TABLATURE. 
 

Partitura en nota y cifra transcritas por Juan Manuel Cañizares.
Temas:

FOREWORD

This book is the transcription of the work "Fuente y Caudal" of the master Paco
de Lucia, in which the rhythms, harmonies and melodies are gathered of deep
way. Basically it is written for guitar but not for that reason exclusively for
guitarists. Instrumentalist of different instruments and styles they could also use
it, since when containing harmonic coding, the themes songs could be
interpreted by different musicians in formation instrumental.
One of my priorities when transcribing these works has been to be most faithful
possible to the interpretation that the master Paco de Lucia made in the
recording of "Fuente y Caudal". In order to obtain this intention I have used
myself new symbols that at its moment I will explain widely. I believe that these
symbols and the concept that there is behind such, will help the guitarists what
is passing in both hands when making different musical passages. In certain
way this book could be considered a hidden "treaty" of flamenco technique.
At no moment I have tried to reflect in the stave the soul of musical notes (it
would be an impossible work) but I think to have approached myself enough to
the dynamic movement of both hands in its flight by the mast.
Music is a language and as so it is learned by imitation. I firmly recommend
imitating the shades of meaning (not only the notes) of the master Paco de
Lucia in the original recording. To play jointly with the disc is an excellent
method to obtain this intention.
In the "free" touches as taranta "Fuente y Caudal" and the granafna "Reflejo de
la Luna" is advisable to imitate the rhythmical space, to give character and
structure to these touches. There are things that musically cannot be written
and single they are had outside the score, in these cases of listening to the
recording is indispensable.
The education of the musical ear is of a high importance for a musician. A good
exercise which I advise is that before reading the score, to try to remove from
ear one melody or any part that wishes of the original recording, to make their
own transcription and soon they compare it with the transcription of this book.
I want to thank to the teacher Ramon de Algeciras and my friend Juan Estrada
to make this great project and for his patience. Also, thanks to Mariko Ogura to
copy and to order all the manuscripts and to design and to organize all the
material contained in this book.
Special thanks to the master Paco de Lucia for entrusting totally me to
transcribe this work. From very young I began to play its music, soon I had the
honour to share during many tours, scenes and recordings next to him. Thanks
to all those wonderful experiences I have learned many things that have
enriched my musical life for better.
June 2005
Juan Manuel Caiiizares
 

Product Description:
Third in a series of OFFICIAL chronological transcriptions of the recordings of renowned flamenco guitarist Paco de Lucia, this book presents eight pieces from his album, Fuente y Caudal de Paco de Lucia. Meticulously transcribed in standard notation and tablature, selections include: Entre dos agues; Aires choqueros; Reflejo de Luna; Solera; Fuente y caudal; Cepa andaluza; Los Pinares and Plaza de San Juan. A foreword, explanation of notation symbols, helpful tips and generous performance notes are provided in English, Spanish and French.

Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías).

Formato A4
220 Páginas

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PASTORIUS JACO, ULTIMATE MINUS ONE LIBRO TABLATURE CD BASI Black Market-Cannonball-Slang-Teen Town-Three View Of A Secret

PASTORIUS JACO, ULTIMATE MINUS ONE. CD TABLATURE

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

Questo libro vi permetterà di imparare a suonare usando basi musicali di altissima qualità. Ogni canzone è trascritta in notazioni standard e in tablature per basso. Il Cd allegato contiene, per ogni canzone, la base completa, nota per nota, per imparare a suonare il pezzo e la base Minus One per affinare la vostra abilità e provare l'emozione di esibirsi con una band dal vivo.
Birdland - Black Market - Cannonball - Mercy, Mercy, Mercy - Slang - Teen Town - Three View Of A Secret

Prezzo: €23,00
€23,00
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