SPARTITI PER CHITARRA DI MUSICA ACUSTICA

FAVORITE CELTIC MELODIES, SO INCLINED, JOHN SHERMAN. 28 melodie celtiche. CD TAB.

FINGERSTYLE COLLECTION, Bennett. CD TAB.

Product Description:
This book features twelve of Stephen Bennett’s favorite fingerstyle solos for the six-string acoustic guitar. Perhaps best known for his work with the harp guitar, Stephen shows the same relaxed, sharp-witted spirit he exudes on stage in his insightful performance notes for these inspired guitar solos. Written in standard notation and tablature with a few altered tunings and partial capo indications, this book is recommended for the intermediate to advanced player. The companion performance CD includes all of the selections in the book.

Song Title: Composer/Source:
A Walk on Winkfield Row Stephen Bennett
Adirondack Lullaby Stephen Bennett
Emerald City Stephen Bennet
Funeral March of a Marionette Charles Gounod; Arranged by Stephen Bennett
Good Dog Stephen Bennet
I Knew It Was You Stephen Bennett
Kristina Stephen Bennett
Lady Bird Stephen Bennett
Life's Too Short (To be in a bad mood) Stephen Bennett
My Backyard Stephen Bennett
The Most Beautiful Sky Stephen Bennet and Bill Gurley
Tuesday Blues Stephen Bennett
Wheelbarrow Boogie Stephen Bennett

EMMANUEL TOMMY, FINGERSTYLE GUITAR METHOD. CD TABLATURE

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The incomparable Australian guitarist Tommy Emmanuel presents four fingerstyle exercises plus an arrangement of the classic tune Freight Train and two signature compositions- Mister Guitar and Dixie McGuire. This book would serve either as a reference text for one of Tommy's workshops or as a helpful guide to developing fingerstyle guitarists working on their own. All selections are written in notation and tablature for the guitar in standard tuning. A convenient chord chart is provided in the appendix. All of the selections in the book appear on the companion CD.

Intermediate to advanced in difficulty, playing these tunes literally involves the thumbs of both hands! Gaining flexibility and control of your left thumb, you too can play like TE!

Dictation Notes with Tommy Emmanuel Getting Started on Fingerstyle ...

GETTING PREPARED

EMMANUEL TOMMY, SOLO GUITAR STYLE. Paul Hedman, transcriptions by Peter Pik. Tommy Emmanuel may simply be the greatest guitarist alive. A child prodigy, and possibly Australia's best-kept secret, Tommy is rapidly receiving the worldwide recognition he deserves. A monstrous jazz, rock and blues guitarist, Tommy has a special affinity for solo acoustic guitar in the great tradition of Chet Atkins. So much so, in fact, that Chet Atkins himself has bestowed upon Tommy the coveted title C.G.P. (Certified Guitar Player).

In this book you will receive intensive, up-close lessons in solo guitar: "boom-chic" style, cascading harmonica (a la Lenny Breau), moving bass lines (check out "Lady Madonna"), Travis picking and much more. And for the first time a CD has been included so you can hear Tommy play all of these breathtaking arrangements. Titles include: Amy; Blue Moon; Cascading Harmonics; Countrywide; Day Tripper; Dixie McGuire; Freight Train; Lady Madonna; Limehouse Blues; Since We Met; A Taste of Honey; Tom's Thumb; Trambone; Up From Down Under; Windy and Warm. 204 pages. CD TABLATURE

LIBRO FUORI CATALOGO, ULTIMA COPIA DISPONIBILE !

LIBRO DI MUSICA ACUSTICA PER CHITARRA, CON CD. 

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Table of Contents
Introduction: What is all this nonsense 9 (14)
about; Author/transcriber/notesetter/layout;
Acknowledgments; Learning the guitar; Aims of
this book; A note from the transcriber Pete
Speak; TE instructional videos: Guitar Talk
and Up Close; How to use this book
Who Is Tommy Emmanuel: The Picker From Down 23 (6)
Under?
A Lesson With Tommy: The Undefeated Boom Chic 29 (12)
Champion 1959
Merle Travis: There's Something In The Coal 41 (10)
Django Reinhardt: The Greatest Jazz Guitar 51 (10)
Player
Chet Atkins, C. G. P: Certified Guitar 61 (18)
Player---references for: open string runs;
hammer-ons; pull-offs; the superlick;
three-finger rolls; harmonics
Boom Chic Fingerstyle Guitar; 79 (18)
Tom's Thumb 84 (2)
Freight Train 86 (1)
Trambone 87 (1)
Windy and Warm 88 (5)
Limehouse Blues 93 (4)
Jerry Reed: The Kid/Songwriter 97 (8)
Lenny Breau: The Genius Of Our Time/Flirting 105(6)
With The Impossible
Tommy Songs 111(26)
Countrywide 115(5)
Dixie McGuire 120(6)
Amy 126(4)
Since We Met 130(7)
Cascading (Artificial) Harmonics 137(16)
Up From Down Under 145(8)
Moving Bass Lines 153(20)
A Taste of Honey 158(1)
Blue Moon 159(5)
Day Tripper/Lady Madonna 164(9)
TE Unplugged: Sources For Tommy's Live 173(4)
Acoustic Set
Tommy Emmanuel Website (including fan Club). 177(6)
Tommy Emmanuel Note-For-Note Website. Chet
Atkins Appreciation Society (C.A.A.S.)
Reference Section: How to play like books, 183
articles, LP/CD list, and videos on Tommy
Emmanuel, Merle Travis, Django Reinhardt,
Chet Atkins, Jerry Reed and Lenny Breau;
Howling Hedman's Suggested Further Reading
and Listening; distributors and publishers:
photo credits; quotations featured in this
Book. Notation and Tablature explanation

FAHEY JOHN, AMERICAN PRIMITIVE GUITAR. In Christ There Is No East Or West -Take A Look At That Baby -Some Summer Day -Indian Pacific Railroad Blues -The Last Steam Engine Train -When The Springtime Comes Again -The Approaching Of The Disco Void. SHEET MUSIC BOOK WITH 3CD & GUITAR TABLATURE. 

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... in roots music as a living, breathing thing rather than a museum piece. Industrial guitar grind dominates City Of Refuge, bathyspherelike booms echo through Womblife. White gamelan sounds reverberate through The Epiphany Of Glenn Jones. Such experimentation might have isolated him from his peers through most of the last 30 years, but in the 90s he has discovered an affinity with the ever expanding global underground communitY. "I didn't know there was an alternative movement going," Fahey admits, "so I just kept trying to create similar things to the old. I was aware that there had been an experimental movement in the 60s with John Cage and his followers, but thought they had all gone. Then some friends introduced me to Sonic Youth. Until then I didn't know what was going on.
"As defined by Sonic Youth's Thurston Moore, this "alternative movement" was out of a desire for music resistant to "commodification", be it noise, lo-fi, 20th century experimental music and improv, or global and rediscovered American roots musics like bluegrass, folk and blues.
John Fahey's work feeds the new underground spirit on a number of counts, while Revenant - the label Fahey co-owns with his manager, the Nashville-based attorney Dean Blackwood - alerts new audiences to a hidden history of American music, retrieved from the tiny regional labels scattered across its rural hinterlands.
The surprising success of the six CD box set reissue of rogue archivist Harry Smith's Anthology Of American Folk Music (for which Fahey supplied award-winning sleevenotes) attests to a desire for music that emerges from and addresses real experiences rather than a marketing man's business plan. The Revenant archive releases, meanwhile, vividly recast the past not as nostalgia but as American Primitive or Raw Music. "It was Dean's idea to do that," Fahey modestly states, "but I provided most of the information, together with this collector called Gayle Dean Wardlow. Now that the American Primitive thing is catching on we'll do more. People love the title" The range of his enthusiasms combined with the breadth of his own music make Fahey a vital link connecting today's underground with a century of raw and experimental musics. For his part, he is only too pleased to be working within his newly adopted alternative music 'community'. His instant conversion has already produced one of its finest works in The Epiphany Of Glenn Jones, which teamed John with the Massachusetts post-rockers Cui De Sac, led by Glenn Jones. The title refers obliquely to the project's unpromising start as a "retro lounge music" session - quickly aborted - which Jones's sleeve notes describe as being akin to taking part In some "hellish sensory deprivation experiment". Was working with Fahey really that bad?
The guitarist chuckles mischievously: "Glenn told me after the Epiphany that he had got on a power trip. It had happened to him before, only he hadn't realized it. He did things like not letting me meet the other members of the band until the recording sessions, all kinds of tricks, so that he could remain ultimate dictator of Cui De Sac and the project. But that's an old battle, Glenn's a friend of mine and it came out OK."

AMERICAN PSYCHO
When Fahey was venting his disgust for his 60s recordings earlier on, he went at them with a ferocity out of all proportion to the quality of music. His negative attitude hinted that something deeper was going down than a mature reappraisal of his youthful endeavours. Eventually, his hostility relents, and the negativity lets up long enough to reveal the pain at its source.
"Mainly it's a parental situation:' Fahey explains, washing down more popcorn with gulps of sweet iced tea. "I was writing these things as an escape, as a possible way to make money. The sentiments expressed come out of a messed up situation. I was creating for myself an imaginary, beautiful world and pretending that I lived there, but I didn't feel beautiful. I was mad but I wasn't aware of it. I was also very sad, afraid and lonely. By presenting this so-called beautiful facade I looked good to myself and my audience.
"This went on for years," he continues. "I always tried to put a peaceful element into the music, but it was false because I was not at peace. I didn't know what 1was doing and felt pretty phony. I didn't understand any of this until I had psychoanalysis."
Entering psychoanalysis in the mid-80s helped him exorcise the past. "Before psychoanalysis:' Fahey recalls, "I used to accidentally get so high on prescription drugs and booze that, sometimes, I wouldn't show up for a show. Or I'd be there and not know it. For a while I thought 1was going insane. People would tell me I did these crazy things, but I didn't attribute it to the Quaaludes I was taking so that the memories of my father abusing me as a child wouldn't come back."
In taking Fahey back to the source of his traumas psychoanalysis invested the innocent symbols he had carried over from his childhood with sinister new meanings. Out of a boy's fascination with turtles and tortoises, he had elaborated a personal mythology based on the reptiles, using them as a repeat motif anchoring his art and discography in his childhood.
Under analysis he recalled how he burst out screaming when he first saw a turtle. "When I was about four or five years old I saw what I thought was a penis walking across the front lawn:' he shudders. "It was just a box turtle, but it kind of upset me ..."
Analysis related the encounter to the memory of being sexually molested by his father. "The obsession comes from the psychic meaning of turtles, reptiles and amphibians. In dreams they symbolize genitalia. That's why I went to a psychoanalyst because I had all these repressed memories." The unifying visual motif of his personal mythology and extensive discography turned out to be the corrupting agent of their potential destruction all alone. Remarkably, coming to terms with the full horror of such a revelation marked the beginning of Fahey's 90s regeneration.

AMERICAN PRIMITIVE
John Fahey was born on 28 February 1939 and spent most of his childhood in Takoma Park, Maryland, a small town on the outskirts of Washington DC. His early musical training was at once formal and frustrating. His parents occasionally took him to see 50s bluegrass stars like The Stanley Brothers, whose early recordings Fahey would later reissue on Revenant. But though he grew up with Country & Western and bluegrass, his first instrument was a clarinet. He abandoned it at 14 when he bought his first guitar, a $17 Sears And Roebuck special, with money earned from his newspaper round. After teaching himself to pick his way through the Eddy Arnold songbook, the young, lonely and slightly crazy guitar player decided it was time to start writing his own material. The year was 1954, and Elvis Presley was just beginning to make waves in America. If the young Fahey readily embraced the ...