HAL LEONARD

TOTAL KEYBOARD WIZARDRY, A Technique and Improvisation Workbook. Jordan Rudess. Book & CD Package.

TOTAL KEYBOARD WIZARDRY, A Technique and Improvisation Workbook. Jordan Rudess. Book & CD Package.
Take your playing to the next level with Jordan Rudess, the Juilliard-trained, award-winning keyboardist of Dream Theater! Work at your own pace to improve your skills in physical technique, improvisation, soloing and comping with clear, easy-to-follow directions and exercises that create real results. With beginner, intermediate and advanced exercises that cover everything from classical technique to blazing prog-rock solos and beyond, this book has something for keyboardists of all styles. A CD of the exercises is included - played by the master himself! - as are 12 solo-worthy etudes and a valuable appendix with major and minor arpeggio and scale fingerings. 144 pages.

Price: €25,99
€25,99

QUEEN BEST OF TRANSCRIBED SCORES TABLATURE SPARTITI CHITARRA Crazy Little Thing Called Love

 

QUEEN, BEST OF. TRANSCRIBED SCORES. TABLATURE
 
Series: Transcribed Score TAB
Artist: Queen
 
Play 15 Queen classics note-for-note with these detailed transcriptions that match every instrument used on the original recordings. Songs include: Bohemian Rhapsody - Crazy Little Thing Called Love - I Want It All - I Was Born to Love You - Killer Queen - Somebody to Love - Stone Cold Crazy - Tie Your Mother Down - We Are the Champions - We Will Rock You - and more. 224 pages.
 
Inventory #HL 00672538
ISBN: 9780634087943
UPC: 073999725384
Width: 8.5"
Length: 11.0"
224 pages
 
Songs include:
Bohemian Rhapsody
Crazy Little Thing Called Love
Hammer To Fall
Headlong
I Want It All
I Was Born To Love You
Keep Yourself Alive
Killer Queen
Now I'm Here
Seven Seas Of Rhye
Somebody To Love
Stone Cold Crazy
Tie Your Mother Down
We Are The Champions
We Will Rock You
 
 
 
Songs include:
Bohemian Rhapsody - Words and Music: Freddie Mercury - 1975
Crazy Little Thing Called Love - Words and Music: Freddie Mercury - 1979
Hammer To Fall - Words and Music: Brian May - 1984
Headlong - Words and Music: Freddie Mercury, Brian May, Roger Taylor, John Deacon - 1991
I Want It All - Words and Music: Freddie Mercury, Brian May, Roger Taylor, John Deacon - 1989
I Was Born To Love You - Words and Music: Freddie Mercury - 1995
Keep Yourself Alive - Words and Music: Brian May - 1972
Killer Queen - Words and Music: Freddie Mercury - 1974
Now I'm Here - Words and Music: Brian May - 1974
Seven Seas Of Rhye - Words and Music: Freddie Mercury - 1973
Somebody To Love - Words and Music: Freddie Mercury - 1976
Stone Cold Crazy - Words and Music: Freddie Mercury, Brian May, Roger Taylor, John Deacon - 1974
Tie Your Mother Down - Words and Music: Brian May - 1976
We Are The Champions - Words and Music: Freddie Mercury - 1977
We Will Rock You - Words and Music: Brian May - 1977
Price: €31,99
€31,99

OLD TIME COUNTRY GUITAR BACKUP BASICS, Joseph Weidlich. Hal Leonard TABLATURE

OLD TIME COUNTRY GUITAR BACKUP BASICS, Joseph Weidlich. 
Based on commercial recordings of the 1920's & early 1930's. TABLATURE 

Old Time Country Guitar Backup Basics
Series: Guitar
Publisher: Centerstream Publications
Author: Joseph Weidlich

This instructional book uses commercial recordings from 70 different “sides” from the 1920s and early 1930s as its basis to learn the principal guitar backup techniques commonly used in old-time country music. Topics covered include: boom-chick patterns • bass runs • uses of the pentatonic scale • rhythmic variations • minor chromatic nuances • the use of chromatic passing tones • licks based on chords or chord progressions • and more.

Inventory #HL 00000389
ISBN: 9781574241488
UPC: 073999501247
Width: 9.0"
Length: 12.0"
84 pages

In the rural setting of the South the singing of old songs was often unaccompanied. When music was played away from the home it tended to be for dancing or some kind of contest. The" core" instruments used were usually the fiddle and banjo, where the banjo "seconded" the fiddle. This style goes back to the early 19th century minstrel show [ca. 1843] whose standard instrumentation were the fiddle, banjo, bones and tambourine.

Fiddle. The principal instrument of the old-time music genre was the fiddle, seemingly always the lead instrument. The fiddle served several functions: to provide dance music, to provide accompaniment to the voice, or solo fiddle music without a particular social function, e.g., for their own enjoyment. The fiddle was particularly important in accompanying vocal music as it could be used to imitate, i.e., "double" the vocal line, thereby reinforcing the primary contours of the melody or to provide ornamentation, based on the melodic line. As the melodies of the songs became simpler, in the sense of using less vocal ornamentation, the fiddle style likewise became simpler. This transition was aided by the addition of the banjo and guitar, which provided additional decorative elements, thus freeing the fiddle to focus primarily on lead melodic functions.

Banjo. Besides the fiddle, the mountain banjo was the most important ensemble instrument, as it was used to reinforce the main notes of the melodies played by the fiddle. The banjo introduced a steady, strong rhythm to maintain the beat, so important when playing for dances. In fact, the clawhammer banjo style, in particular, was, and still is, highly regarded for this role. While the 19th century minstrel banjoists traditionally used two basic tunings (what today would be equivalent to the natural C tuning and open G tuning) an interesting feature of the Southern mountain banjo was the development of several additional tunings to suit the modal character of the traditional melodies being sung and played. Scholars seem to think that these systems of altered tunings HLP 8005 may have been worked out by the turn of the 19th century, perhaps influenced by open guitar tunings needed for playing certain parlor guitar songs (e.g., the Spanish fandango) and the beginning of the African-American blues guitar styles. These modal melodies would then be accompanied on the banjo so that the principal melodic notes could be played without the need to play harmonic chords or shift up and down the fingerboard, whose chord voicings would not be practical most of the time playing in these altered tunings (the newly introduced guitar would now supply this harmonic accompaniment). Occasionally, the banjo was used as a solo instrument on early commercial recordings (e.g., by Charlie Poole using fingerstyle techniques); however, its usual role was to support the fiddler. Guitar. While guitars had been available in the United States for most of the 19th century, principally in urban industrialized areas, e.g., by c.P. Martin, Ashborn, 55. Stewart, and Washburn, by the end of that century guitars were beginning to become available in even greater numbers, aided in part by a much improved mass transportation system, the advent of the industrial revolution, and mail-order houses like Sears Roebuck. In the last decade of that century the guitar was gaining rapidly in mass popularity due to its usage in mandolin bands, glee clubs, and university banjo bands, thus not just for use in its traditional 19th century environment, the parlor.

String Bands. From the 1920s, with the introduction of the guitar into the string band ensemble, the emphasis, at least in terms of recording, shifted from providing music for dances to the accompaniment of vocal songs and fiddle tunes. That necessarily changed the function of the string band instruments, freeing up the ensemble for various duties. The guitar was now used to mark out the...


Joseph Weidlich [b. 1945] began his formal musical studies on the classic guitar. He moved to Washington, D.C. in 1972, from his native St. Louis, to teach classic guitar. He performed in several classic guitar master classes conducted by notable students of Andres Segovia (i.e., Sr. Jose Tomas [Spain], Oscar Ghiglia [Italy] and Michael Lorimer [U.s.]). He has also played renaissance guitar, renaissance lute, and baroque guitar.
In 1978,he completed research on and writing of an article on Battuto Performance Practice in Early
Italian Guitar Music (1606-1637), for the Journal of the Lute Society of America, 1978 (Volume XI). This
article outlines the various strumming practices, with numerous examples, found in early guitar
methods published in Italy and Spain in the early 17th century. In the late 1970she published a series
of renaissance lute transcriptions for classic guitar, published by DeCamera Publishing Company,
Washington, D.C., which were distributed by G. Schirmer, New York/London. The American Banjo
Fraternity published an article Joe wrote on James Buckley's New Banjo Book [1860]in their newsletter,
the Five-Stringer, #185, Double Issue, Fall-Winter 2000-01.
The banjo has also been no stranger in Joe's musical life. He began learning folk styles in the early
1960s during the folk music boom, later playing plectrum and classic banjo styles as well. His extensive
research in the history of minstrel banjo demonstrates how that style formed the foundation of
clawhammer banjo. Alan Jabbour, noted old-time fiddler, musicologist and former long-time director
of the Library of Congress' American Folklife Center, has said of Joe's book, The Early Minstrel Banjo:
Its Technique and Repertoire, that "our understanding of the minstrel banjo in the 19th century is greatly enhanced by the long labors you have devoted to the subject and the fine understanding you have brought to it."
Joe has collaborated with banjo builder Mike Ramsey (Chanterelle Workshop, Appomattox,
Virginia) in designing two prototype minstrel banjos based on the dimensions described in Phil Rice's
Correct Method [1858], as well as similar instruments made by William Boucher in Baltimore in the 1840s.
Also published by Centerstream Publishing are Joe's editions of a flatpicking guitar edition of
George Knauff's Virginia Reels [1839],believed to be the only substantial extant compilation of nineteenth-
century Southern fiddle tunes published prior to the Civil War (which includes songs later featured
in the early minstrel shows), Minstrel Banjo-Brigg's Banjo Instructor [1855],More Minstrel Banjo-
Frank Converse's Banjo Instructor, Without A Master [1865], Guitar Backup Styles of Southern String
Bands from the Golden Age of Phonograph Recordings, which features the guitar backup styles of Ernest
Stoneman's Dixie Mountaineers, the Carter Family, Charlie Poole and the North Carolina Ramblers,
Gid Tanner and the Skillet Lickers, and Jimmie Rodgers, often acknowledged as lithe father of country
music" and Painless Arranging for Old-Time Country Guitar.

 

TABLE OF CONTENTS
Biography .
A Brief Introduction To "Old-Time Music" .
Introduction to Old-Time Country Guitar Backup Basics .
 
PART ONE: BACKUP BASICS .
Lesson 1 Boom-Chick Patterns .
Lesson 2 Alternating Between Root and Fifth of a Chord .
Lesson 3 6-7-8 Bass Run Connectors .
Lesson 4 Golden Age Lick ,
Lesson 5 Third of the Chord in Back-Ups .
Lesson 6 3-2-1 Bass Run Connector .
Lesson 7 Pentatonic Scale .
Lesson 8 Ascending and Descending Triad Usage .
Lesson 9 Reinforce Melodic Line .
Lesson 10 Scales .
Lesson 11 Chord Progression Lick .
Lesson 12 5-6-7-8Bass Run Connector .
Lesson 13 Varied Golden Age Lick .
Lesson 14 Leading Tone Usage .
Lesson 15 Concluding Thoughts .
 
PART TWO: .
Variations On Backup Basics
Transcribed from Commercial Recordings of the 1920s and Early 1930s
Epilogue.
Song Reference List 
Price: €16,99
€16,99

METHENY PAT GROUP, THE WAY UP GUITAR Transcribed score LYLE MAYS

METHENY PAT GROUP, THE WAY UP. Transcribed score.

Artist: Pat Metheny
This is the complete score for the four-part composition from this new release by the Pat Metheny Group. NPR says the album has an ambitious compositional style that amounts to an epic journey. 256 pages, NO TAB.

Songlist:
Opening
Part One
Part Three
Part Two

Price: €21,00
€21,00

VAI STEVE DAVID LEE ROTH EAT 'EM AND SMILE Guitar Recorded Version TABLATURE LIBRO SPARTITI

VAI STEVE, DAVID LEE ROTH, EAT 'EM AND SMILE. TAB.

This songbook matches Diamond Dave's first full-length album featuring Steve Vai, Billy Sheehan, and Gregg Bissonette as his back-up band. 10 songs. 104 pages.

Big Trouble
Bump And Grind
Elephant Gun
Goin' Crazy
I'm Easy
Ladies' Nite In Buffalo?
Shy Boy
That's Life
Tobacco Road
Yankee Rose

Price: €26,99
€26,99

CROCE JIM, THE VERY BEST OF. Guitar Recorded Version TABLATURE

CROCE JIM, THE VERY BEST OF. TAB.

104 pages.
Bad, Bad Leroy Brown
Careful Man
I Got A Name
I'll Have To Say I Love You In A Song
It Doesn't Have To Be That Way
One Less Set Of Footsteps
Operator (That's Not The Way It Feels)
Photographs And Memories
These Dreams
Time In A Bottle
Workin' At The Car Wash Blues
You Don't Mess Around With Jim

Series: Guitar Recorded Version
Softcover - TAB
Artist: Jim Croce

12 timeless classics from the late Jim Croce: 104 pages

Price: €19,95
€19,95

CROSBY, STILLS & NASH, BEST OF Guitar Recorded Version Hal Leonard LIBRO TABLATURE CHITARRA

CROSBY, STILLS & NASH, BEST OF. Carry Me -Carry On -Change Partners -Chicago -Dark Star -Deja Vu -Got It Made -Guinnevere -Helplessly Hoping -Just A Song Before I Go -Long Time Gone -Love The One You're With -Marrakesh Express -Our House -Shadow Captain -Southern Cross -Suite: Judy Blue Eyes -Teach Your Children -Wasted On The Way. 160 pages. TAB.

Series: Guitar Recorded Version TAB
Artist: Crosby, Stills & Nash

19 of CSN's best in note-for-note guitar notation with tablature. 160 pages

Price: €29,99
€29,99

KING ALBERT-THE ESSENTIAL-A Step-by-Step the Styles and Techniques of a Blues and Soul Legend CD TABLATURE

KING ALBERT, THE ESSENTIAL. A Step-by-Step Breakdown of the Styles and Techniques of a Blues and Soul Legend. CD TABLATURE

The Essential Albert King
A Step-by-Step Breakdown of the Styles and Techniques of a Blues and Soul Legend
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: Albert King
Author: Wolf Marshall

Learn the trademark riffs and solos of this blues King! Provides in-depth analysis of 12 songs: Angel of Mercy • Answer to the Laundromat Blues • Blues Power • Born Under a Bad Sign • Crosscut Saw • Don't Throw Your Love on Me So Strong • The Hunter • I Wanna Get Funky • I'll Play the Blues for You • Laundromat Blues • Oh Pretty Woman • Personal Manager. CD features full demonstrations.

Inventory #HL 00695713
ISBN: 9780634049064
UPC: 073999957136
Width: 9.0"
Length: 12.0"
88 pages

A highly revered member of the King blues guitar triumvirate (B.B., Freddie, and
Albert), Albert King differed significantly from his musical brethren. Though he named his
guitar Lucy (after Lucille Ball, not B.B.'s Lucille), that was where any similarities to B.B.
ended. In contrast with B.B. and Freddie, who preferred the more traditional look, feel, and
sound of semi-hollow Gibson ES-355s and ES-345s, Albert favored a modernistic solidbody
Flying V-which eminently suited his unconventional style. Where B.B. and Freddie
played right-handed in standard tuning, Albert was a southpaw who played his Flying V
upside-down without reversing the strings. Unlike his blues brothers-in-arms, he employed
an unusual open E minor tuning, usually dropped down three half steps, sometimes with
the low E (sixth) string dropped down to a low C note.
Albert's most famous Lucy was a 1958 Gibson Flying V. This is the instrument
heard on his classic Stax recordings. Announced in 1957 and phased out by 1959, the
original Flying V is one of the rarest and most collectable guitars in history. It features a
two-piece solid Korina hardwood body in a natural finish, gold-plated hardware, and a
twenty-two-fret unbound rosewood fingerboard with dot inlays and a 24 3/4-inch scale.
The unique visual aspects of the Flying V include its symmetrical V body shape, arrowlike
headstock with a raised gold-painted Gibson logo, four-ply angular pickguard and
round jack plate, and a V-shaped tailpiece with through-the-body stringing. The guitar was
equipped with two humbucking pickups, two individual volume controls, a master tone
control, and a three-way pickup selector switch. Albert acquired other Lucys, based on his
Gibson Flying V, including a custom-made 1974 model by Dan Erlewine and a 1980
model by Radley Prokopow.
Albert usually played Lucy with both pickups engaged. He generally turned the
bridge pickup volume all the way up and adjusted the neck pickup volume during his performance
for tonal variations. (He set the tone control on full.) Albert used a mixed set of
Black Diamond strings: light-gauge (with a wound G) on the first three strings, and medium-
gauge on the lower three strings.
Albert cultivated a unique blues guitar sound based almost exclusively on a
streamlined, largely pentatonic single-note conception and distinguished by his sharp,
percussive attack and bright, twangy tone. He plucked and pulled the strings with his bare
fingers, usually his thumb, and employed a strikingly economic approach emphasizing
vocalesque string bends, dramatic use of space, and short rhythmic phrases with few
notes. In Albert's hands, these ingredients produced an immediately recognizable and
highly influential style.

 

Songlist:

- Angel Of Mercy

- Answer To The Laundromat Blues

- Blues Power

- Born Under A Bad Sign

- Crosscut Saw

- Don't Throw Your Love On Me So Strong

- I Wanna Get Funky

- I'll Play The Blues For You

- Laundromat Blues

- Oh Pretty Woman

- Personal Manager

- The Hunter

Price: €29,99
€29,99

ROLLING STONES GUITAR ANTHOLOGY TABLATURE Angie-It's Only Rock 'N' Roll-Start Me Up-HAPPY-LIBRO

ROLLING STONES, GUITAR ANTHOLOGY. TAB.

Series: Guitar Recorded Version TAB
Note-for-note transcriptions with tab for more than two dozen hits from the Stones, who had the audacity to deem themselves The World's Greatest Rock & Roll Band and the raw, intense talent to back up the claim, plus a special 8-page color photo section! 304 Pages.

All The Way Down
Angie
Beast Of Burden
Black Limousine
Doo Doo Doo Doo Doo (Heartbreaker)
Emotional Rescue
Fool To Cry
Hang Fire
Happy
It's Only Rock 'N' Roll (But I Like It)
Miss You
Not Fade Away
Respectable
Rocks Off
Shattered
She Was Hot
She's So Cold
Start Me Up
The Harlem Shuffle
Time Is On My Side
Tumbling Dice
Undercover (Of The Night)
Waiting On A Friend
When The Whip Comes Down
Worried About You

Price: €30,99
€30,99

Magazine, ESSENTIAL ACOUSTIC GUITAR LESSONS CD TABLATURE CELTIC- RHYTHM-BASICS-LEAD-HAWAIIAN

acoustic guitar magazine, ESSENTIAL ACOUSTIC GUITAR LESSONS. CD TABLATURE

LIBRO CON CD, IN NOTAZIONE E TABLATURE

Essential Acoustic Guitar Lessons
14 In-Depth Lessons for Players of All Levels
Series: String Letter Publishing
Publisher: String Letter Publishing
Format: Softcover with CD - TAB
Author: Various Authors

Inventory #HL 00695802
ISBN: 9780634068355
UPC: 073999958027
Width: 9.0"
Length: 12.0"
66 pages

This book/CD pack offers a superb selection of lessons and songs for the acoustic guitar, expertly played by teachers on the accompanying CD. It includes exercises, licks and 8 full songs to play, in standard notation and tablature with chord diagrams. The CD includes two versions of each song: one played slowly and the other, up to tempo. The book is divided into four main sections: Basics - covering the fretboard, barre chords and flatpicking; Rhythm - bluegrass in dropped D, bass lines, classic pop changes; Lead - Celtic jigs, melodic improvisation, soloing with arpeggios; and Exploration - capo use, Hawaiian slack key, classical etude variations; and modal harmony. Players of all levels will find lessons to benefit them. 66 pages

Price: €20,99
€20,99
Syndicate content