MEL BAY

DJANGO'S RHYTHM, MICHAEL DUNN DVD Reinhardt Pick Picking-Double Whammy-tango-Tremolo-Shuffle

DJANGO'S RHYTHM, MICHAEL DUNN. DVD

Guitar Solos: DON OGILVIE

In the world of Gypsy Jazz, the original Quintette of the Hot Club of France achieved an energy output seldom equaled or surpassed for 7 decades or so. Django wanted to have two rhythm guitars behind him when he soloed to give him a full sound. Then when Grappelli soloed, Django would interject himself between Grappelli and the rhythm guitar section. From this vantage point, he would "push" Grappelli with a series of well placed shots, shuffles, and turnarounds that would have the effect of driving the group to a greater energy output as the song approached its conclusion. In this DVD, the classic 4-to-the-bar rhythm is broken down into four separate unsable styles. After that, Django’s syncopated rhythm shots are analyzed and presented by example from a simple backbeat to 2-bar long syncopated strums. My own philosophy is that the rhythm guitar section is the most important component of the Gypsy Jazz group. The rhythm guitar should be in a position to drive and not follow the group. The information contained in this DVD will give you the rhythmic tools to infuse the sound with the energy that this genre of music deserves. Remember that rhythm guitar is NOT "second fiddle".

Song Title:

Intro
Shuffle Rhythm
The Pick and Picking
Basic Rhythms & Variations
Ballads
Concepts of Rhythm Guitar
Advanced Rhythm: Hiccup
Double Shuffle
Tremolo
Half Whammy
Short Whammy
Double Whammy
Triple Whammy
Tango Rhythm

Prezzo: €21,99
€21,99

THE SALUTATION Collection Christmas Carols from England-Duck Baker CD TABLATURE-FINGERSTYLE GUITAR

THE SALUTATION, A Collection of Christmas Carols from England, Ireland, Scotland, Sweden, Germany, Italy and France, ARRANGED FOR FINGERSTYLE GUITAR, Duck Baker. CD TABLATURE

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


Product Description:
This collection of carols arranged for guitar solo brings together twenty-four melodies that have had broad appeal through the ages. They were a spontaneous expression of musical joy that occurred over much of northern Europe in the fifteenth century, coinciding with the dawning of the modern age and the ending of the long medieval night. The selections include universal favorites, some tunes which are popular in their native lands and reasonably well-known elsewhere, and others which are unfamiliar even in their homelands. Some familiar texts, including "Away in a Manger" and "Angels from the Realms of Glory," have been set to different tunes. Notes on the origin of each tune are included. Written in notation and tablature. The companion CD features performances of all of the tunes, with some grouped into medleys.

Product Number: 99815BCD
Format: Book/CD Set
ISBN: 078662602X
UPC: 796279040402
ISBN13: 9780786626021
Series: Non-Series
Publisher: Mel Bay Publications, Inc.

Contents:
Song Title: Composer/Source:
A Virgin Most Pure arr. Duck Baker
Angelus Ad Virginum arr. Duck Baker
Es Ist Ein' Ros' Entsprungen arr. Duck Baker
Furry Day Carol arr. Duck Baker
Good Christian Men Rejoice arr. Duck Baker
I Saw Three Ships arr. Duck Baker
Il Est Né arr. Duck Baker
In Bethlehem arr. Duck Baker
Let All Earthly Flesh Keep Silent arr. Duck Baker
Noël Nouvelet arr. Duck Baker
O Come, O Come Emmanuel arr. Duck Baker
Patapan arr. Duck Baker
Rorate arr. Duck Baker
The Bagpipers' Carol arr. Duck Baker
The Blessed Virgin's Lullaby arr. Duck Baker
The Boys' Carol arr. Duck Baker
The Holly and the Ivy arr. Duck Baker
The Salutation arr. Duck Baker
The Snow Lay on the Ground arr. Duck Baker
The Wexford Carol arr. Duck Baker
Trettondedagsmarschen arr. Duck Baker
What Is This Fragrance? arr. Duck Baker
While Shepherds Watched Their Flocks arr. Duck Baker

Prezzo: €25,99
€25,99

DADGAD ENCYCLOPEDIA Jim Goodin CD TABLATURE SPARTITI CHITARRA LIBRO ACCORDATURA LIBRO

DADGAD ENCYCLOPEDIA, JIM GOODIN. LIBRO CON CD E TABLATURE

LIBRO DI MUSICA PER CHITARRA IN ACCORDATURA DADGAD, CON CD.
SPARTITI CON ACCORDI, PENTAGRAMMA E TABLATURE.

Product Description:
Whether guitarists are new to open-tunings or already working with them, fingerstyle specialist Jim Goodin offers a progressive look at the popular D-based harp-like tuning. Classical, Celtic, blues, folk, gospel and several original compositions are represented in the 15 notation/tablature arrangements each arranged proportionately to offer beginning, intermediate and advanced fingerstyle players opportunities to grow their technique. Interspersed with the song arrangements are sections featuring major and minor scale studies and popular folk and jazz style chords. Includes a 15-track CD produced at Will Ackerman's Imaginary Road Studio where the book's arrangements were recorded. To round out this robust offering Jim includes thoughts about the origin of DADGAD, the songs, his technique with special how-to features such as one on playing natural and harp style harmonics and recommended listening CD's to expand listening knowledge on this tuning.

Product Number: 99934BCD
Format: Book/CD Set
ISBN: 0786676159
UPC: 796279103374
ISBN13: 9780786676156
Series: Encyclopedia
Publisher: Mel Bay Publications, Inc.
Date Published: 1/16/2008
184 PAGES

Contents:

Opening Thoughts
Tuning Techniques - from “standard (EADGBE)” to DADGAD in seconds
Familiar Chords in DADGAD
Evolving the Fretboard I - The Majors
Passage (A Simple Study) – CD track 1
Fairest Lord Jesus – CD track 2
The Pretty Girl Milking the Cow – CD track 3
Who was Turlough O’Carolan?
Si Beag Si Mhor – CD track 4
Planxty Safaigh – CD track 5
Chords of Change, Chords of Growth
Evolving the Fretboard II – The Minors
Quiet Moments – CD track 6
Moroccan Bluz – CD track 7
Thoughts on Music and Seeking Your Voice
(Floating) About the Clouds – CD track 8
For Blues, for Jazz and I-IV-V
Evolving the Fretboard III - The Majors
Playing Harmonics - Natural and Artificial
Quarrel with the Landlady and Standing at the Gate – CD track 9
Arkansas Traveler - CD track 10
Chords of Color
Evolving the Fretboard IV - The Minors
Farewell to Music - CD track 11
Hypnosis - CD track 12
Experience a Jim Goodin Guitar Workshop
Prelude in G Major - CD track 13
The Eagle - CD track 14
Sleep My Wee Child - CD track 15
Suggested Listening
About Jim Goodin
Acknowledgements
The Making of the CD
A Note About the Photographs
Closing Thoughts

Prezzo: €31,99
€31,99

BENSUSAN PIERRE THE INTUITE GUITAR BOOK TABLATURE-Kadourimdou-En Route From Scarborough-

BENSUSAN PIERRE, THE INTUITE GUITAR BOOK. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE. 

Acheter
Livres de Partitions "Intuite":

A la suite de l’album Intuite, Grand Prix de l’AFIM, déscerné par la Fédération Américaine des Producteurs Indépendants pour le meilleur album acoustique instrumental de l’année 2002, Dadgad Music présente l’Intuite Guitar Book de Pierre Bensusan, qui contient, notes pour notes, les onze titres de l’enregistrement, en solfège et tablature.

CONTENU:
Kadourimdou
The Welsh Arrow
So Long Michael
Intuite
Bourrée Voltige
Le Jardin D’adonis
La Hora Española
L'Alchimiste
Agadiramadan
En Route From Scarborough
Silent Passenger.

Prezzo: €99,99
€99,99

SERRANO JUAN & COREY WHITEHEAD FLAMENCO CLASSICAL GUITAR TRADITION 1 Method CD LIBRO SPARTITO

SERRANO JUAN & COREY WHITEHEAD, THE FLAMENCO CLASSICAL GUITAR TRADITION, VOLUME 1,
A Technical Guitar Method and Introduction to Music. 175 Pagine, 4 CD con 235 tracce audio. NO TABLATURE

LIBRO DI MUSICA FLAMENCO - CLASSICA CON 4 CD,
METODO, SPARTITI PER CHITARRA. CON ACCORDI E PENTAGRAMMA.

Product Description:
This beginning guitar method is written for aspiring classical or flamenco guitarists who want to learn how to read music up to the intermediate level. Music from the Spanish tradition such as Romanza, Pica-Pica, El Vito, Café de las Chinitas, Perfidía, La Virgen de la Macarena and flamenco music of Juan Serrano provides a technical and musical foundation that improves facility in playing scales, arpeggios, tremolo, and rasgueado.

Tablature is not included as the one of the primary aims of this book is to improve note reading and the comprehension of the fundamental elements of music. Performances of all musical examples are available online that includes one performance at tempo for each of the more than 230 musical examples. Short repertoire pieces from Gaspar Sanz, Dionisio Aguado, Fernando Sor, Mauro Guiliani, Ferdinando Carulli, and Mateo Carcassi are included at the end of the book and are repertoire studies that will prepare guitarists for further study in classical and/or flamenco guitar.

Product Number: 21029
Format: Book
ISBN: 0786674652
UPC: 796279100489
ISBN13: 9780786674657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/18/2008
176 PAGES

 

A Brief History of THE GUITAR

The guitar is a descendant of two different instruments, the Spanish instrument called the vihuela de mano, and the European lute that descended from the Arabian oud. The Arabic word oud translates in English as "wood." The oud has six courses with the lowest sounding string being a single course. The word course refers to a single string or a pair of strings placed closely together. The European lute and the vihuela had a single high string or single course on top. On the lute this string was called the chanterelle. The vihuela and the European lute appeared in six-course versions. Various configurations of the lute used many tunings and had as many as thirteen courses.

The vihuela had as many as ten courses and was tuned like the modern guitar with the exception of the third string, which was lower by a half-step from the modern guitar tuning. It was tuned, from lowest to highest sounding course: E A D F# B E. The six-course lute was generally tuned, from lowest to highest: G C FAD G. There was no absolute tuning pitch at that time and some treatises instructed the student to rune the 1st string as high as possible without it breaking. The lute is often tuned a whole step higher to (A D G B E A) to take advantage of its more brilliant and shimmering tone quality at that pitch. The earliest guitars date from around the middle of the 13th century in Spain and were mentioned in 1265 by Juan Gil of Zamora in the treatise called Ars Musica. In 1487 Johannes Tinctoris wrote about the four-course guitar being invented by the Catalans. The first music published for the four-course guitar was by Alonso Mudarra (1510-1580) in Treslibros de musica en cifraspara vihuela (1546). Nine books of tablature were published by Adrien Le Roy (1520-1598) between 1551-1555. These publications contain the first music for five-course guitar. Later in the same century Juan Bermudo (1510-15-) and Miguel Fuenllana (1525-1585) wrote music in tablature for the guitar. A treatise from the late 16th century in Spain refers to two techniques of playing the guitar; rasgueado (strumming) or punteado (picking with the fingers). The technique of alternate picking toward the palm of the right hand with two fingers, such as the index and middle fingers, was called dos dedos. There was a further explanation of a technique called dedillo that refers to a rapid up and down movement of the index finger to strike an individual string when playing scale passages.

The baroque guitar had five courses that were tuned to unison at the first, second, and third strings and to an octave at the fourth and fifth strings. The two exceptions are that sometimes the fifth string did not have me bourdon or lower octave string, and sometimes the first string was a single course like the chanterelle of the lute. The former would make the fifth string the highest sounding string on the instrument, many performers preferred the latter, and some performers employed both. The fifth string was the highest sounding string and me fourth was the lowest. On the modern guitar the fifth string is tuned an octave lower than the guitar of Gaspar Sanzo In 1674 in Italy, Francisco Corbetta (1620-1681) published Guitarre Royale, dedicated to King Luis XIV of France. In 1596 in Italy there was a school of guitar playing called the Alpha Beta School. The primary scholars of the school were Juan Carlos y Amat and Palumbi. They developed a system of chord notation that was noted .m letters to describe the chord to be played. They also used the terms "rasgueado" and "punteado" in their rreanse. Between 1770 and 1800, the six single-course guitar was commonplace and following this development composers such as Fernando Sor (1778-1839) Spain/France/England, The famous Mauro Giuliani (1781-1829) Italy, ... 


Contents:

A Note from the Authors
The Guitar - A Brief History
La Guitarra (poem)
Preface
Parts of the Classical Guitar
Parts of the Flamenco Guitar
Names of the Open Strings
Tuning
Metronome
Note Locations on the Fretboard
Sitting Position and Holding the Guitar
The Fingers of the Right and Left Hand
Fingernail Shape and Maintenance
Picados (Scales) - Apoyando (Rest Stroke) and Tirando (Free Stroke)
Arpeggios (Broken Chords)
Tremolo (Preparatory Exercise)
Rasgueado (Strumming)
Basic Elements of Music Notation
Musical Expression Symbols
The Musical Alphabet
Half Steps and Whole Steps
The Major Scale
The Open Treble Strings
Systematic Arpeggio Exercises
Alternating Index and Middle Fingers...
Sueño
The Open Bass Strings
Playing on the Bass and Treble Strings
Notes on the First String
Soleares
Notes on the Second String
Music in Two Parts
Playing Eighth Notes
Notes on the Third String
Sevillanas
Sevillanas I (Trio)
Sharps and Flats on the 1st, 2nd and 3rd strings
The Fifth Position on the First String
The Natural Sign
Romanza in A Minor
Romanza
Farrucas
Sixteenth Notes
Slurs
Estudio No. 2
Estudio No. 2 (Duet)
The Major Scale
The Natural (Relative) Minor Scale
The A Harmonic Minor Scale
The A Melodic Minor Scale
The Chromatic Scale
Notes on the Fourth String
Chords
Fandango
Fandango Duo
Notes on the Fifth String
Historia de un Amor
The Dotted Quarter Note
Perfidia
Notes on the Sixth String
Farrucas (Bass Line)
Farrucas
El Zorongo (Bass Line)
El Zorongo (Melody)
Playing the F Major Chord
Playing Two Notes Together (Double-Stops)
El Vito
Rasgueado
Sevillanas Intro
The Natural Notes
Sharps and Flats on the Bass Strings
The Chromatic Scale
El Rancho Grande
Alternating Bass and Chord Progression
El Rancho Grande (Duet)
Ascending and Descending Slurs: Ligados
Left Hand Agility Exercise
Chords in C Major and A minor
Las Mañanitas
Greensleeves
Scales and Chord Progressions
Rumba Rhythm
Scales and Chord Progressions cont
The House of the Rising Sun
Variations on a Theme from Asturias
Malagueña
Intervals
Chords
Triads
C Major Arpeggio and Chord Inversion
The A Minor Arpeggio and Chord
The G Major Arpeggio and Chord
The F Major Triad
Barré Chords
Chord Progressions
Petenera
Café de Chinitas
La Virgen de la Macarena
The High D and E on the First String
Pica-Pica Melody (Guitar I)
Pica-Pica Accompaniment (Guitar II)
Pica-Pica Accompaniment (Guitar III)
Pica-Pica Accompaniment (Guitar IV)
Pica-Pica (quartet)
Key
Chord Substitution
Key Signatures
The Circle of Fifths
Major and Minor Scales in the First Position
More Chords in the Circle of Fifths...
Allegro by Ferdinand Carulli
Allegretto by Carulli
Andante by Carulli
Allegro in E minor by Carulli
Etude in G Major by Carulli
Andantino by Carulli
Larghetto by Carulli
Romanza
Menuet by Robert de Visée
Lección 38 by Dionisio Aguado
Clarines de los mosqueteros del rey de Francia by Sanz
Allegro by Mauro Guiliani
Andante by Ferdinand Carulli
Conclusion
About the Authors

Prezzo: €27,99
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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

BACH JOHANN SEBASTIAN TRANSCRIPTIONS CLASSIC GUITAR Javier Calderon CD LIBRO SPARTITI

BACH JOHANN SEBASTIAN, TRANSCRIPTIONS FOR CLASSIC GUITAR, transcribed arranged Javier Calderon. LIBRO E CD

LIBRO DI MUSICA CLASSICA, CON CD,

SPARTITI PER CHITARRA CON PENTAGRAMMA.

CONTIENE LA FAMOSA  ''Chaconne in D Minor BWV 1004'' DI BACH. TRASCRITTA PER LA PRIMA VOLTA PER CHITARRA DA SEGOVIA.  


Product Description:
Absolute, universal, and harmonious - Bach's music is as profoundly satisfying and uplifting today as it was in his era. One of the most eloquent and expressive guitarists of our time, Javier Calderon, presents these timeless pieces, expertly arranged and transcribed for the classic guitar. Selections include: Sonata BWV 1001 (Adagio, Fugue, Siciliano, and Presto); Chaconne in D Minor BWV 1004; Prelude in D Minor, Prelude, Fugue, and Allegro BWV 998; Suite for Lute BWV 996 (Prelude, Allemande, Courante, Sarabande, Bourree, and Gigue); Prelude for Lute BWV 999; and Jesu, Joy of Man's Desiring. Written in standard notation only with minimal, unobtrusive left-hand fingering. The attached performance CD presents the author's exquisite rendition of every selection in the book.

 

Javier Calderon

J.S.BACH Transcriptions for Guitar

It is difficult to imagine how a composer of the stature of Johann Sebastian Bach (1685-1750) could have lived for 65 years, having written some of the world's most universally accessible and beautifully original compositions in every manner and for practically every instrument of the late Baroque period, in relative obscurity. Trained initially by his father and later by his elder brother, Johann Sebastian is now considered the greatest in a long line of noteworthy musicians and composers of the Bach family. Neither tormented by the specter of financial ruin nor obscured by less competent musical pedagogues, Bach was nevertheless no more well known than a host of other reasonably successful musical functionaries of his time. He was often influenced in his composing career more by external circumstances than by any driving internal impulse to create. And yet, the element of genius is indisputable evident in his music, a fact which elevates his work above that of his equally dedicated contemporaries. His music is as profoundly satisfying and uplifting today as it was in his own time, yet he fit in to his world as comfortably and as unremarkably as the average citizen of any era, he was no brooding outcast seeking to shatter the foundations of his own creative medium, an image that so often accompanies the notions of genius and artistry Indeed, what makes Bach's greatness especially recognizable is the extent to which it celebrates and improves upon the very spirit of his age. Absolute, universal, and harmonious, Bach's music reflects back the sum total of its essential parts, devoid of their imperfections. It is as though he had refined or purified the very elements that made up his world and, by doing so, crystallized them into their immortal expression. It is no wonder that, upon listening to his music, one is transported back to an age largely unfamiliar to him and yet simultaneously immersed in an intangible musical realm whose existence is everlasting. Bach, in this way, was not the artistic antithesis of his age but rather its ultimate revelation. If his music still recalls the religiosity of his day, it is no less as the sanctification of itself as the structure of musical perfection.

The Music

The Sonata, (BWV 1001) originally intended for solo violin was composed in 1720 in Coethen . It is well known that this piece was influenced by Bach's experience in composing for the lute, an instrument which, by Bach's time, had already seen its prime. Wistful, even reminiscent of early music, the Adagio begins with a slowness that is, at the same time, resolute - not yet echoing the multi-voiced scenarios that in large part define and punctuate Bach's vast musical repertoire. The Adagio is much more self-contained, without the obvious symmetry so pervasive in other pieces, suggesting a simpler composition.

The Fugue which follows begins the standard cascade of evenly patterned voices, livelier and yet balanced even as it breaks into centrally placed, almost rhapsodic variations that come into blossom throughout the movement. In the Siciliano we are met with an almost folksy, song-like melody, simple without yet being simplistic, sitting in the work itself like an island away from the more serious themes that dominate the prior and proceeding movements. In the final Presto, we encounter once again the lively exuberance of the Fugue. Full of energy and continuing the merriment of the Siciliano with a wilder, less introverted pacing, it is nevertheless neither hurried nor lacking in the synchronization that brings full circle the three prior episodes.

The Chaconne (BWV 1004) from Bach's solo violin Partita in D minor written in Coethen around 1720 and arranged for Lute, is one of the most famous works in this series. According to Donald Grout in A History of Western Music, Bach here "demonstrated his ability to create the illusion of a harmonic and contrapuntal texture by means of multiple stops or single melodic lines which outline or suggest an interplay of independent voices, a technique going back to the Lute composers of the Renaissance and related to the style of the French Lutenists and Clavecinists ofthe middle and late Baroque". The stillness of the full chords which announce this composition suggest the discipline and control which only mastery over this technique could produce. The Chaconne is neither morose nor worldly. In places practically devoid of emotion, removed from either joy or sorrow, it nevertheless breaks again and again into a beauty, haunting in its appeal. While both dramatic and outspoken, the repetition of movement to overtake the ...

 

Format: Book/CD Set

Contents:

SONATA BWV 1001 - ADAGIO -- J. S. BACH
SONATA BWV 1001 - FUGUE -- J. S. BACH
SONATA BWV 1001 - SICILIANO -- J. S. BACH
SONATA BWV 1001 - PRESTO -- J. S. BACH
CHACONNE IN D MINOR BWV 1004 -- J. S. BACH
PRELUDE IN D MINOR -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - PRELUDE -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - FUGUE -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - ALLEGRO -- J. S. BACH
SUITE FOR LUTE BWV 996 - PRELUDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - ALLEMANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - PRELUDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - ALLEMANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - COURANTE -- J. S. BACH
SUITE FOR LUTE BWV 996 - SARABANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - BOURREE -- J. S. BACH
SUITE FOR LUTE BWV 996 - GIGUE -- J. S. BACH
PRELUDE FOR LUTE BWV 999 -- J. S. BACH
JESU, JOY OF MAN'S DESIRING -- J. S. BACH

Prezzo: €27,99
€27,99

MONTGOMERY WES Essential Jazz Lines in the Style of LIBRO CD GUITAR TABLATURE Chord Substitution-Mixolydian Bebop

MONTGOMERY WES, Essential Jazz Lines in the Style of. CD TABLATURE

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

Product Description:
Wes Montgomery took jazz guitar to a new level when he came to the public's attention in the late 1950's. Known for his fluid lines and his big jazz guitar sound, Wes influenced thousands of guitarists in the styles of jazz, blues, and rock. This book will present some of the soloing techniques that Wes used as well has present many melodic ideas (lines) similar to the way he played over the chord progression in many jazz standards. Because the major and minor ii-V-I progression are the most widely used chord progression in jazz standards, the lines in this text will work over these progressions. The accompanying CD contains many play-along tracks (vamps of one chord and vamps around the circle of fourths) that the student should use to practice the material in one key and then master it in all twelve keys. By learning the techniques used by Wes Montgomery, guitarists will add to their own improvising arsenal. As improvising musicians add to their collection of musical ideas, their ability to express themselves completely increases. Have fun studying these ideas and applying them in improvised solos.

Contents:

Wes Montgomery Introduction
Wes Montgomery and Charlie Parker
Guide Tones
Bebop Scales

Mixolydian Bebop
Dorian Bebop
Major Bebop
3 to 9
Fingering Charts
Playing the Upper Structure of Chords
Targeting
Arpeggios

Transposed Arpeggio Examples
Playing Octaves
Block Chords
Chord Substitution
Solo Development
Minor Ideas
Dominant Seventh Ideas
Short ii-V Ideas
Long ii-V Ideas
Major Ideas
Minor ii-V Ideas
Short ii-V-I Progressions
Long ii-V-I Progressions
Minor ii-V-I Progressions
Turnarounds
Chord Progression...

Etude
Similar to "Misty"
B 12 Bar Blues

CD CONTENTS:
Tuning
Minor Chord Vamp
Minor Moving in Fourths
Dominant Seventh Vamp
Dominant Seventh Moving in Fourths
Short ii-V Vamp
Short ii-V Moving in Fourths
Long ii-V
Long ii-V Moving in Fourths
Major Chord Vamp
Major Chords Moving in Fourths
Minor ii-V Vamp
Minor ii-V Moving in Fourths
Short ii-V-I Vamp
Short ii-V-I Moving in Fourths
Long ii-V-I Vamp
Long ii-V-I Moving in Fourths
Minor ii-V-I Vamp
Minor ii-V-I Moving in Fourths
Turnaround Vamp
Turnaround Moving in Fourths
Etude
Progression similar to "Misty"
Blues

Prezzo: €20,99
€20,99

COMPLETE DOBRO PLAYER Stacy Phillips LIBRO 2CD TABLATURE LIBRO METODO SPARTITI CHITARRA

COMPLETE DOBRO PLAYER, Phillips. 245 Pagine. 2CD TABLATURE

LIBRO METODO DI MUSICA PER DOBRO CON 2 CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA, 

Product Description:
Stacy Phillips is an internationally acclaimed soloist and author on Resonator Guitar. This comprehensive book took years to produce and is the culmination of Stacy's many years of playing the instrument, studying new Resonator techniques and interviewing other Resonator greats. This book achieves the following objectives: 1. To present an in-depth survey of the styles in which well-rounded lap guitarist should be competent. 2. To examine the playing styles and techniques of some of the world's greatest Resonator guitarists. 3. To catalog many of the licks that are lingua franca in the world of Resonator guitarists. 4. To indicate some of the underlying relationships between notes, keys, and chords by introducing some basic music theory as it relates specifically to the six-string guitar in G tuning. 5. To gain insights into the world of Resophonic guitar stylings and performance through interviews with some of the top players. 6. To demonstrate unconventional concepts in order to stimulate fresh approaches to playing the instrument. Tablature included.

The double-CD set presents more than 90 minutes of stereo recording featuring Stacy Phillips on Dobro and Paul Howard on guitar. Play-along tracks are included for several of the tunes.

Format: Book/2-CD Set

Acknowledgments
Introduction
Reading the Tablature
A Survey of Techniques for Resonator Guitarists (String Damping; Hammering On; Pulling Off; Forward Slants; Reverse Slants; Harmonics; Pulling the Strings; Some Bar Control Exercises; Vibrato; Fingering)

Elements of Variation and Improvisation for Resonator Guitarists (Position Playing; Playing in First Position; Nuances of Sliding and Approaching a Note; Thinking Chordally; A Sampling of 3 Note Chords; The Problem of Major Second Intervals and Chromatic Licks in G Tuning; Rhythmic Phrasing; Some General Thoughts about Improvising)

The Sweet and the Simple/Scalar Manipulation and the Melodic Line( Go Tell Aunt Rhodie; I Never Will Marry; Tennessee Waltz; Mike Auldridge Style House of the Rising Sun)

Blues, Boogie and Acoustic Rock (Frankie and Johnnie; Blues Pentatonic Solos; Albert King Style Solos; Bottleneck Guitar Style Solo; Backing Up a Vocalist; Rhythm Grooves; Eric Clapton Style Blues Solo)


Bluegrass and Open String Licks (Aunt Rhodie Bluegrass Style; Bluegrass Breakdown Licks; Roll in My Sweet Baby's Arms; Dark Hollow; Over the Waterfall; Buck Graves Style Solos; Don't Let Your Deal Go Down)

A Resonator Guitar Approaches Jazz (Aunt Rhodie Swing Style; Corrine, Corrina Swing Blues; Bring It on Down to My House; II-V-I Jazz Licks; Modern Jazz Blues; Leon McAuliffe Style Swing Blues; Bob Dunn Style Solos; Shine on Harvest Moon; Deep Elm Swing; Comping)

Hawaiian Roots, Retunings and the Pedal Prodigal Grandchild( A Primer of Hawaiian Style Licks; B Minor Tuning; Modal Tuning; G add 2 or G9 Tuning; G6 Tuning; Mike Auldridge's Eight String Swing; Pedal Steel Licks Transferred to Resonator Guitar.

Playing in Minor Keys (The Dorian, Aeolian and Harmonic Minor Scales; Saint James Infirmary; G Minor Tuning; David Grisman's Opus 57 in G Minor and G Modal Tunings)

A Garland of Tunes and Resonator Guitarists (Shot Jackson Style Fort Worth Drag; Gene Wooten Style Rainbow; Rob Ickes' Style Deep Elm Blues; Stacy Phillips' Style Leather Britches; Stacy Phillips' Style Panhandle Rag; Jerry Douglas' Style Panhandle Rag; Jerry Douglas' Style John Henry; Jerry Douglas' Style Sally Ann; Jerry Douglas' Style Saint Anne's Reel; Jerry Douglas' Style Swing Blues; Genial Hawaiians' Style Saint Louis Blues)

The Interviews (Mike Auldridge; Bob Brozman; Cindy Cashdollar; Gene Wooten; Buck Graves; Archduke of the DOBRO®; Jim Bennett; Jerry Douglas)

Resonator Guitar Shopping Mall

Discography and Bibliography

Basic Music Theory for Resonator Guitarists

Fade Out

Acknowledgments

Sean Coane, Jeff DeMayo and Peter Menta for access to their record collections
Chris Davis for his fanatic proofreading
Paul Howard and Dave Hamburger for ideas for rock riffs
Some examples of rock riffs were loosely adapted from Andy Aldort's columns in Guitar Magazine
Dick Blattenberger for helping to track down photos
Mike Auldridge for tabbing his solo on "Eight String Swing"
Rob Ickes for help with tabbing Jerry Douglas' and his own solos
Jeff DeMayo for help with interpreting pedal steel licks
Johnny" Angry Red" Weltz for invaluable assistance with the Archduke of the Dobro interview
Jerry Douglas, Mike Auldridge, Jim Bennett, and Rob Ickes for allowing short excerpts of their
playing on the accompanying recording
Paul Howard for his guitar and vocal work on the accompanying recording
Georgia Sheron for the cover photo
All the musicians who took the time to be interviewed and the resonator-guitar fans
who contributed photos

Introduction
It's 12:00 midnight as Saturday shades into Sunday in an apartment in the South Bronx in New York City, across the street from Yankee Stadium. If I sit in a particular position on the floor and hold my pocket transistor radio just so,
I can hear the final strains of the WWV A; Wheeling, West Virginia "World's Original" Jamboree. Then it's on to "Live from Campbell's General Store in Oxford, Pennsylvania!" for an hour of musical heaven with Alex, ala Belle and the New River Gang. Amid pitches for ten-pound sacks of pinto beans, navy beans, snap beans, kidney beans, and other of life's necessities there is raw, unadulterated, old-time bluegrass featuring Sonny Miller on fiddle, Ted Lundy on banjo and occasional wailing solos and backup by Deacon Brumfield on resonator guitar. Whenever Deacon steps up to the microphone ala Belle Reed lets go with a whoop of glee. Outside the Flatt and Scruggs Foggy Mountain jamboree album that has a few cuts with Buck Graves, this is my resonator guitar input. I still have no idea of what it looks like or how it is played but the instrument has captured my imagination.
A few years later I am playing resonator guitar at a workshop at the Smithsonian Folk Festival in Washington, D.C. In the middle of "Wabash Cannonball" there is a pounding on the side of the wooden stage, followed in close order by a familiar wail. On the way from her own performance, ala Belle hears my imitation of the Deacon and cannot resist.
Such is the stuff of musical fantasy realized.
In the mid-1970s I wrote The Dobro® Book, that has become the standard teaching text for
resonator slide guitar. Complete Dobro® Player is designed to be a continuation of and supplement to that
effort. Acoustic steel guitar is currently experiencing something of a popularity boom, so it seems an
opportune moment to share some of the things I have learned about this instrument over the past 20
years. This book is aimed at six-string steel guitarists, and both acoustic and electric players should be
able to learn a great deal. However, it is slanted towards acoustic resonator guitars as exemplified by
DOBRO® brand resonator guitars. DOBRO® is a registered trademark owned by the Original Musical
Instrument Co. division of Gibson Guitar Corp. Because of their obsessive proprietary interest in this
copyright, I will be substituting various euphemisms which, for our purposes, can be thought of as
synonymous. They include resonator guitars, resophonic guitars, ampliphonic guitars, steel guitars, lap steels
(though the latter usually implies electric, non-pedal steels), and Hawaiian guitars. When I do use
DOBRO®, I am specifically referring to an instrument manufactured by the O.M.l. Company.
This book endeavors to achieve several objectives:
1. To present an in-depth survey of the styles in which well-rounded lap guitarists should be
competent. Ways of creating and varying authentic-sounding solos in country-folk, blues, bluegrass,
jazz, and Hawaiian Islands styles are illustrated and analyzed. There are also surveys on playing in minor
keys, the use of retunings and the application of pedal-steel licks to non-pedal guitars.
2. To examine the playing of some of the top lap steelers. Tablatures of solos by Jerry Douglas,
Buck Graves, Mike Auldridge, Bob Dunn, Leon McAuliffe, Bob Kaii, David Lindley, Shot Jackson, Gene
Wooten and others are featured.

 


Contents
Acknowledgments .
Introduction .
Reading the Tablature .
A Survey of Techniques for Resonator Guitarists.
String Damping Hammering On Pulling Off Forward Slants Reverse Slants .
Harmonics Pulling the Strings Some Bar Control Exercises Vibrato Fingering
Elements of Variation and Improvisation for Resonator Guitarists.
Position Playing Playing in First Position Nuances of Sliding and Approaching a Note .
Thinking Chordally "Moonglow" A Sampling of Three-Note Chords The Problem of Major
Second Intervals and Chromatic Licks in G Tuning Rhythmic Phrasing Some General Thoughts
about Improvising
The Sweet and the Simple (Scalar Manipulation and the Melodic Line)
"Go Tell Aunt Rhodie" "I Never Will Marry" "Tennessee Waltz" .
Mike Auldridge-Style "House of the Rising Sun"
Blues, Boogie and Acoustic Rock .
"Frankie and Johnnie" Blues Pentatonic Solos Albert King-Style Solos Bottleneck Guitar
Style Solo Backing Up a Vocalist Rhythm Grooves Eric Clapton-Style Blues Solo
Bluegrass and Open String Licks 10:
"Go Tell Aunt Rhodie" (Bluegrass Style) Bluegrass Breakdown Licks "Roll in My Sweet Baby's
Arms" "Dark Hollow" "Over the Waterfall" Buck Graves-Style Solos .
"Don't Let Your Deal Go Down"
A Resonator Guitar Approaches Jazz (Gingerly)
"Go Tell Aunt Rhodie" (Swing Style) "Corrine, Corrina" Swing Blues "Bring It on Down to My
House" II-V-I Jazz Licks Modem Jazz Blues...... Leon McAuliffe-Style Swing Blues .
Bob Dunn-Style Solos "Shine on Harvest Moon" "Deep Elm Swing" Comping
Hawaiian Roots, Retunings and the Pedal Prodigal Grandchild.
A Primer of Hawaiian-Style Licks B Minor Tuning Modal Tuning G add 2 (G9) tuning .
G6 Tuning Mike Auldridge's "Eight String Swing" Pedal-Steel Licks Transferred to Resonator Guitar
Playing in Minor Keys.
The Dorian, Aeolian and Harmonic Minor Scales "Saint James Infirmary" G Minor Tuning .
David Grisman's "Opus 57" in G Minor and G Modal Tunings
A Garland of Tunes and Resonator Guitarists 17,
Shot Jackson-Style "Fort Worth Drag" Gene Wooten-Style "Rainbow" Rob Ickes-Style "Deep
Elm Blues" Stacy Phillips-Style "Leather Britches" Stacy Phillips-Style "Panhandle Rag" .
Jerry Douglas-Style "Panhandle Rag" Jerry Douglas-Style "John Henry" Jerry Douglas-Style
"Sally Ann" Jerry Douglas-Style "Saint Anne's Reel" Jerry Douglas-Style Swing Blues .
Genial Hawaiians-Style "Saint Louis Blues"
The Interviews .
Mike Auldridge Bob Brozman Cindy Cashdollar Gene Wooten. ..... Buck Graves .
Archduke of the Dobro Jim Bennett Jerry Douglas
The Resonator Guitar Shopping Mall .
Discography and Bibliography .
Basic Music Theory for Resonator Guitarists.
Fade Out .  

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SOR IN TABLATURE BEN BOLT Libro 2CD TABLATURE allegro allegretto andantino andante moderato FERDINANDO

SOR IN TABLATURE, BEN BOLT. 2CD TABLATURE

LIBRO CON 2 CD E TABLATURE

Fernando Sor (1778-1839) è stato il più importante chitarrista-compositore spagnolo della prima metà dell’Ottocento. Si cimentò anche in altri generi come l’opera, il balletto, la musica corale, orchestrale e per pianoforte. ... essenzialmente nelle composizioni per chitarra sola e per due chitarre, il genere nel quale riuscì a esprimersi più congenialmente. La sua biografia – scritta dal musicologo britannico Brian Jeffery e validamente integrata dagli apporti di altri musicologi quali Josep María Mangado, Richard Long, Emili olcina, Matanya ophee – ci rivela un uomo dal carattere difficile e finanche conflittuale, affetto – almeno per quanto riguarda la sua presenza nel mondo della chitarra, allora fittamente popolato – dal complesso del primo della classe e acribiosamente impegnato nel dimostrare al mondo la propria superiorità. Questa era di per sé evidente nelle pagine per chitarra che egli andava scrivendo e non avrebbe avuto bisogno di alcun sostegno polemico: l’osservazione si rende necessaria di fronte al fatto che una considerevole parte della Méthode pour la Guitare, pubblicata a Parigi nel 1830, è spesa da sor nel difendersi dalle sciocche insinuazioni di chitarristi suoi coevi, dei quali non sapremmo nulla, se non fosse lui stesso a informarci della loro insignificante esistenza. sor era figlio di una famiglia della borghesia catalana ed era perciò destinato alla carriera nella pubblica amministrazione o nell’esercito. il padre, un impiegato, non incoraggiò, ma tollerò il suo spontaneo avvicinamento alla musica e, fin dall’infanzia, lo portò ad assistere alle rappresentazioni operistiche, quasi tutte di autori italiani. Alla prematura morte del genitore, il fanciullo, che cantava spontaneamente arie da opera, aveva ricevuto qualche lezione di violino e suonava la chitarra di suo, fu portato all’Abbazia di Montserrat, dove prosperava una famosa schola cantorum. L’istruzione musicale di sor ebbe quindi anche un’impronta polifonica, che più tardi si rivelerà chiaramente nella sua musica per chitarra.  

 

FOREWORD
The dream of Andres Segovia was to take the guitar out of the hands of the Spanish folklore guitarists, who
performed mostly in taverns and place it on the concert stage. He decided that in order to have the guitar
receive the respect that he felt it deserved, it would need to be taught in the colleges, universities, and conservatories. Because of this intense concert career and his mature years, for his dream to be fulfilled he had to
train teachers, who he called his disciples. Segovia accomplished his dream. Today the guitar has respect and
credibility because of his vision and work. Bravo to the maestro!
While my performing career began in Miami nightclubs, much like the Spanish folklore guitarist, I went on to
study with Segovia, who personally awarded me scholarships that he paid for. I have performed on the concert
stage with symphonic orchestras, and I am now a college professor. I have come to understand the significance
of his dream.
Ironically, my dream is the complete opposite to that of Segovia. I believe that for the acoustic classical style to
flourish, it must be put back into the hands of the people. My vision includes all guitarists, regardless of style
or background, becoming familiar with the classical guitar technique and repertoire. Tosee my dream fulfilled,
I have had to make learning fun and simple, without sacrificing the integrity of the information. By the mid
1980s my vision came to life in the form of a book entitled A Rock Player's Guide to Classical Guitar. It was the
first classical guitar book that included the notation / tablature / tape format. I chose the rock market because
at that time they were the only guitarists who were genuinely interested and eager to learn "classical" from me.
This, of course, didn't surprise me, since I too began as a rock guitarist. It was obvious that when classical
guitar was accessible to all guitarists, more people would hear and enjoy the beauty of the pure guitar style.
Since my first publication, thousands of new classical guitarists have surfaced.
All of my books come in notation / tablature / CD format. The recordings prove that all of my arrangements
have been tested and do sound guitaristic. All of the great late composers were fine musicians, as well as
composers. They could play the music they composed. You can also play the great classics! With the tablature
and the recording, great music is closer to your fingertips than you might imagine.
Ben Bolt

 


STROKES
Third String - p m a
The rest stroke using the thumb: Place a on the first string, m on the second string, and i on the third
string. Play the sixth string slowly.As you glide over the string, followthrough until you reach the fifth string.
You should end up resting on the string number 5. Practice on all bass strings (6, 5, and 4).
The rest stroke using the fingers: Place the thumb (p) on the sixth string. Play the third string slowly
with your index(i) finger. As your finger glides slowly over the string, follow through until you rest on string number 4. Practice using your middle finger (m) on the second string and your ring finger (a) on the first string. Also, practice alternating i m, i a, and m a on the treble strings (1, 2, and 3). I use i and a because they are similar in length on my hand. You should collapse the joint closest to the tip of the finger during the follow-through.
Free stroke: In using free stroke, the finger does not rest. The joint closest to the tip of the finger does not collapse. Youmust be careful not to get under the string and pull up with the finger. As an experiment, you can try pulling the string straight up and releasing it. This will cause a slap against the fingerboard and should be avoided. However, rock bass players use this technique as an effect that sounds good!
Regardless of which stroke is used, the flesh and fingernail should touch the string at the same time when you're preparing to play. This technique produces the best tone.

 

Ben Bolt is credited with being the first classic guitar instructor to introduce the classic style of pIaing
to the masses. Because of his worldwide success, his work has been mimicked throughout the
publishing world. Several Ben Bolt books have consistently appeared on Mel Bay's "Best Seller" list.
He also appears on Mel Bay's DVDs of the complete volumes of "The Modern Guitar Method", a huge
commercial success, selling in the millions of copies. His publications are distributed internationail
and have been featured at all the major conventions and music shows, including the National Association
of Music Merchants in Germany. His DVD "Anyone Can Play the Classic Guitar" has become a
reference for college students as the authority on the fundamentals ofclassic technique. He is endorsed
by D'Addario Strings and Takamine Guitars. He has recorded the classic guitar work for HGTV and
can be heard in the background of programs such as "America's Castles".
Ben Bolt first met Andres Segovia in the American Embassy in Madrid, Spain on his 18th birthday.
Bolt was registering for the draft as Maestro Segovia was getting his Visa together to tour the U.S.
This fortuitous meeting was the beginning of their relationship. Andres Segovia, the Father of the
classic guitar, was quoted saying "Ben Bolt is an excellent guitarist with fine tone." After studying
with Segovia, the Maestro personally paid for scholarships so that Bolt could continJue his studies
abroad, as well as setting up lessons with his assistants while he was on tour.
Ben Bolt first met Abel Carlevaro in Paris. Carlevaro then invited the 20 year old to study with him
under full scholarship at the yearly Master Classes held in Brazil. After Brazil, Bolt moved to Montevideo,
Uruguay. He won first place in the "Concurso Internacional Aemus" by unanimous decision.
Carlevaro awarded him the coveted "Premio de Merito" at the National Library of Montevideo for his
outstanding efforts in music. In 1978, Bolt assisted maestro Carlevaro in his first master's class in
the states held at the San Francisco Conservatory of music. Bolt completed his music studies under
the direction of Maestro Guido Santorsola, who bestowed him with an original composition for guitar
entitled "Seis Bagatelas" as a graduation gift. After returning to the States he became the first guitarist
inducted as a National Patron of Delta Omicron's International Music Fraternity.

 

Product Description:
This text includes fifty-eight pieces of music as well as a recorded CD of the entire book. Ben Bolt believes these pieces are the "best of the best" for developing technique, musicianship, and exposing the guitarist to the ingenious musical world of Fernando Sor. Regardless of your current level of expertise, this music will be a joy to learn and listen to. Titles include: Napoleon's Theme; E Minor at Midnight; Rhapsody in D; March of the Wooden Soldier; and Easter Hymn are sure to please any audience. Ben Bolt's digital recordings of his arrangements are superb. His warm tone and singing vibrato bring Sor's music to life. All interpretations are classically correct. He plays on his Fleta and Sons concert guitar made in Barcelona, Spain (1976). Fernando Sor was born in Barcelona, Spain (1778).

Song Title: Composer/Source:
A Minor March (Andante) F. Sor and Ben Bolt
Allegretto F. Sor and Ben Bolt
Allegretto in C F. Sor and Ben Bolt
Allegro in D F. Sor and Ben Bolt
Allegro Moderato F. Sor and Ben Bolt
Andantino in A F. Sor and Ben Bolt
Basso Profundo F. Sor and Ben Bolt
Best of Show F. Sor and Ben Bolt
Changing Tides F. Sor and Ben Bolt
Chord March F. Sor and Ben Bolt
D Minor Double-stop (Moderato) F. Sor and Ben Bolt
Diez (a Study in Tenths) F. Sor and Ben Bolt
Double Trouble F. Sor and Ben Bolt
E Minor at Midnight F. Sor and Ben Bolt
E Minor Etude (Allegro Moderato) F. Sor and Ben Bolt
Easter Hymn F. Sor and Ben Bolt
Easy Study in 3/8 F. Sor and Ben Bolt
Easy Study in C F. Sor and Ben Bolt
El Maestro F. Sor and Ben Bolt
Elegant Desire F. Sor and Ben Bolt
Estudio in Two (Andante) F. Sor and Ben Bolt
Etude in Six Eight F. Sor and Ben Bolt
Etude in Three Eight F. Sor and Ben Bolt
Forward Roll Arpeggio Study (Andante) F. Sor and Ben Bolt
Funeral March F. Sor and Ben Bolt
Harmony in G F. Sor and Ben Bolt
Hermosa F. Sor and Ben Bolt
Imitations F. Sor and Ben Bolt
Jig in G F. Sor and Ben Bolt
Lament of the Giant F. Sor and Ben Bolt
Lesson in A (Andante) F. Sor and Ben Bolt
Lesson in A Minor (Andante) F. Sor and Ben Bolt
Lesson in B Minor (Andante) F. Sor and Ben Bolt
Lesson in C (Andante) F. Sor and Ben Bolt
Lesson in Cut Time (Andante) F. Sor and Ben Bolt
Lesson in D (Allegro Moderato) F. Sor and Ben Bolt
Lesson in E (Allegretto) F. Sor and Ben Bolt
Lesson in E Minor (Movido) F. Sor and Ben Bolt
Lesson in F (Moderato) F. Sor and Ben Bolt
Lesson in G (Moderato) F. Sor and Ben Bolt
Lesson in Serenade F. Sor and Ben Bolt
Lullaby in Two Four F. Sor and Ben Bolt
March of the Wooden Soldier F. Sor and Ben Bolt
Melody on an E String F. Sor and Ben Bolt
Moderato F. Sor and Ben Bolt
Napoleon's Theme F. Sor and Ben Bolt
Rhapsody in D F. Sor and Ben Bolt
Romance F. Sor and Ben Bolt
Simpatico en Sol F. Sor and Ben Bolt
Singing Violins F. Sor and Ben Bolt
Song in D Major F. Sor and Ben Bolt
Song in D Minor F. Sor and Ben Bolt
The Happy Woodpecker F. Sor and Ben Bolt
The Precocious Pupil F. Sor and Ben Bolt
Three's a Charm (a Study in Thirds) F. Sor and Ben Bolt
Valse F. Sor and Ben Bolt
Victory Dance F. Sor and Ben Bolt
Waltz of the Robins F. Sor and Ben Bolt
When Guardsmen Sleep F. Sor and Ben Bolt

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