TANGO FOR GUITAR Jorge Polanuer Brian Chambouleyron Centerstream Publications Hal Leonard CD LIBRO


TANGO FOR GUITAR, Jorge Polanuer e Brian Chambouleyron. 13 titoli con base. CD


Tango for Guitar
Series: Guitar
Publisher: Centerstream Publications
Format: Softcover with CD
Author: Brian Chambouleyron
Composer: Jorge Polanuer

At the beginning of the 20th Century, the tango was born in Buenos Aires, and it was a style that spread dramatically all over the world. Tango is a dance, a rhythm and a characteristic musical color. The 13 solos in this book were written especially for guitar by award-winning composers Jorge Polanuer and Brian Chambouleyron, and each tune is performed on the CD by Brian, one of the most popular guitarists in Buenos Aires. The solos are presented in different degrees of complexity – tune up with the tuning notes on the CD and play along with the tangos, milangos, waltzes and even a guitar duet. The songs are also repeated on the CD without the lead for you to play the solo part.

Inventory #HL 00000379
ISBN: 9781574241464
UPC: 073999329162
Width: 9.0"
Length: 12.0"
32 pages

The guitar is a charasteristic musical instrument in Argentine culture. Since the arrival of Spaniards to South America, it has had a key role in our folk music. Its sound has been the composers and interpreters' favorite. At present there is a broad and comprehensive catalog of songs and instrumental pieces, which encompasses early genres of the 19th century as well as the latest pop creations. At the beginning of the 20th century (around the time of the blues), the tango was born in Buenos Aires: a style arising from immigration and the melting pot which was going to spread dramatically all over the world. Tango is a dance, a rhythm and a charasteristic musical color. It is in tango where the guitar reaches a remarkable level of technical and expressive development. Today I propose an approach in the 'tanguero' style of playing the guitar, with some pieces specially composed by Jorge Polanuer, a composer and a friend, and myself. The tangos in this book are accompained by valses-tango and milonga-tango, similar and complementary genres also played in ballrooms. For each piece I suggest fingering based on the criterion of economy of movements. The numbers on the notes indicate the finger with which that note must be played, and the encircled number refers to the string. There can be other ways of fingering which might be more practical for you; that being the case, feel free to modify it accordingly. There's a way to play for every instrumentalist! The pieces present different degrees of complexity; therefore, they could also make an excellent complement in learning how to play the instrument. I hope you find this approach useful and you feel like filling yourselves withtango.

Brian Chambouleyron became a musician studying several disciplines (guitar, singing, composition, musical analysis, arrangements and orchestration). Always fascinated with popular music, he traveled to different Latin American countries to learn their traditions. He began his professional activity as a music teacher in 1990.Teaching led to the creation of children's shows. As a composer of popular songs, he participated in the Buenos Aires' Young Artists biennial exhibition. In 1993he went on his first professional tour to Europe, going all over France and Switzerland for two months and performing as both soloist and together with other musical bands. He also gave courses on Argentine popular music. From then on, his activities in European countries became regular. In 1996 he was in charge of the musical direction of the successful show Recuerdos son recuerdos (which received 5 ACE awards nominations). Brian Chambouleyron was nominated for 'male revelation'. (CD Recuerdos son recuerdos - La Trastienda Records). In 1998 he participated in the show Glorias Portenas (1998ACE award) together with Soledad Villamil, which was given an excellent reception by the critics and the public. The show toured continuously throughout Argentina, Latin America and Europe for two years, and participated in prestigious international festivals (CD Glorias Portenas vol. I and II - Epsa Music). Brian Chambouleyron was given the 1999Trinidad Guevara award for 'male revelation of the year' by the Department of Culture of Buenos Aires City. In 2000 he created the show Patio de Tango with Esteban Morgado, which also had a wonderful reception at a national level, and he started a long international tour (Paris, Rome, Madrid, Barcelona, etc). (CD Patio de Tango - BAM records, Department of Culture). With his last show, Tangos, valses and Milongas, he has performed in several cultural events and toured abroad, being highly acclaimed by audiences and critics. Brian has also composed the music for several theatre plays: "La firecilla domada" , 2004; "Pequena historia del tango", 2002; "Granadina", 2003; ect. In 2004 recorded the CD "Chambouleyron sings GardeI", a selection of the finest compositions by Gardel, arranged by B. Ch. (Random records, Buenos Aires). In 2005 recorded the CD "Voiceand Guitar", Twenty tradicional tango and argentinian popular music pieces, arranged by Chambouleyron. (Random records, Buenos Aires) on Ie canta a Gardel (Chambouleyron sings Gardel). This work is a selection of the finest compositions by Gardel-plus a few jewels from his songbook - recreated in an intimate and romantic atmosphere.


Childhood Memories

Don't Kill Me Or I'll Die

If Mamma Says So

It's Raining

My Friend

Nobody Left In Town

Nothing To Lose

Pretty Buenos Aires

Rainy Day Waltz


The Farewell Waltz

Without Realizing It

Price: €26,99


ACOUSTIC HITS VOLUME 3, Guitar Play-Along. Every Rose Has Its Thorn (Poison) -Fly to the Angels (Slaughter) -Iris (Goo Goo Dolls) -More Than Words (Extreme) -Silent Lucidity (Queensryche) -Tears in Heaven (Eric Clapton) -3 AM (Matchbox 20) -To Be with You (Mr. Big). 100 minutes. DVD

Publisher: Hal Leonard

The Guitar Play-Along DVD Series lets you hear and see how to play songs like never before. Just watch, listen and learn! Each song starts with a lesson from a professional guitar teacher. Then, the teacher performs the complete song along with professionally recorded backing tracks. You can choose to turn the guitar off if you want to play along or leave the guitar in the mix to hear how it should sound. You can also choose from three viewing options: fret hand with tab, wide view with tab, pick & fret hands close-up. Each DVD includes great songs that all guitarists will want to know! Volume 3 includes: Every Rose Has Its Thorn (Poison) - Fly to the Angels (Slaughter) - Iris (Goo Goo Dolls) - More Than Words (Extreme) - Silent Lucidity (Queensryche) - Tears in Heaven (Eric Clapton) - 3 AM (Matchbox 20) - To Be with You (Mr. Big). 100 minutes.

Price: €16,00

CONSTRUCTING A 5-STRING BANJO A Complete Technical Guide Roger H. Siminoff. Hal Leonard LIUTERIA

CONSTRUCTING A 5-STRING BANJO A Complete Technical Guide. H. Siminoff. 200 photos.

Series: Reference
Publisher: Hal Leonard
Medium: Softcover
Composer: Roger H. Siminoff

Just as in his other book, Constructing a Bluegrass Mandolin, Roger's simple and concise step-by-step instructions show you the how and the why of it all, leading you on a path that blends discovery with pure joy. Over 200 photos and illustrations provide the kind of valuable reference no other book in the field can offer. Roger has used his technical knowledge on design, sound, and all of the important stages of construction that go into the building of a musical instrument, and has incorporated these ideas into one text. The end result is this valuable book of information that will help you to learn more about the makeup of a 5-string banjo, and more importantly, will give you the satisfaction and pride in being able to accomplish the building of a banjo that you can play and enjoy for years to come. 64 pages.

Price: €29,99


OSBOURNE OZZY, THE RANDY RHOADS YEARS, A Step-by-Step Breakdown of Randy Rhoads' Guitar Styles and Techniques. 2 DVD

Series: DVD
Author: Danny Gill
Artist: Ozzy Osbourne
Artist: Randy Rhoads

Learn the guitar styles and techniques Randy Rhoads made famous with Ozzy Osbourne. Each part is played up to speed, then broken down note-by-note in this 2-DVD set to provide and in-depth analysis of 8 songs.
Disc 1 - Crazy Train - Revelation (Mother Earth) -Mr. Cowley - I Don't Know.
Disc 2 - Diary of a Madman - You Can't Kill Rock and Roll - Flying High Again - Little Dolls. 4 hours, 48 minutes!

Crazy Train
Flying High Again
Mr. Cowley
I Don't Know
Little Dolls
Revelation (Mother Earth)
diary of a madman
You Can't Kill Rock And Roll

Price: €34,99


MASTERING ALTERNATE TUNINGS, A Revolutionary System of Fretboard Navigation for Fingerstyle Guitarists. D. Heines. 96 Pages. CD TAB.

Series: Guitar Educational
Softcover with CD - TAB
Author: Danny Heines

Open the door to a whole new guitar universe with this one-of-a-kind book/CD pack. You'll discover how to navigate the fretboard in all tunings, how to cultivate new composing and improvising concepts, and how to broaden your fingerstyle skills and techniques. The CD includes 40 tracks for demo and play-along, and the book is fully integrated with an interactive online fretboard. 96 pages.

Price: €29,99

THE BASS HANDBOOK, A Complete Guide for Mastering the Bass Guitar. Adrian Ashton. CD TABLATURE

THE BASS HANDBOOK, A Complete Guide for Mastering the Bass Guitar. Adrian Ashton. CD TAB.

Series: Book
Publisher: Backbeat Books
Medium: Softcover with CD
Author: Adrian Ashton

This indispensable handbook helps players of all levels produce better, more creative, and more varied bass lines. Divided into two sections - Playing Your Bass and Knowing Your Bass - it covers everything from tuning, reading music, scales and chords, and advanced techniques to tips on buying and upgrading a budget bass and troubleshooting. Along with a list of suggested listening and a reference guide, this book provides an unrivaled digest of bass information that might otherwise take an entire career to amass. 256 pages.

Price: €29,00


BEST LATIN SONGS, Finger Style Guitar. TAB.

Composer: Various Composers

17 great songs arranged for fingerstyle guitar: Bésame Mucho - Frenesí - The Girl from Ipanema - Granada - How Insensitive - Inolvidable - Malagueña - Perfidia - Summer Samba (So Nice) - Tico Tico - What a Diff'rence a Day Made - You Belong to My Heart - more. 64 pages

Inolvidable composed by Julio Gutierrez
Always In My Heart (Siempre En Mi Corazon) composed by Ernesto Lecuona
Besame Mucho (Kiss Me Much) composed by Consuelo Velazquez
A Day In The Life Of A Fool (Manha De Carnaval) composed by Luiz Bonfa
El Cumbanchero composed by Raphael Hernandez
Frenesi composed by Alberto Dominguez
The Girl From Ipanema (Garota De Ipanema) composed by Antonio Carlos Jobim
Granada composed by Agustin Lara
How Insensitive (Insensatez) composed by Antonio Carlos Jobim
It's Impossible (Somos Novios) composed by Sid Wayne, Armando Manzanero
Malaguena composed by Ernesto Lecuona
Perfidia composed by Alberto Dominguez
The Gift! (Recado Bossa Nova) composed by Djalma Ferreira
So Nice (Summer Samba) composed by Marcos Valle and Paulo Sergio Valle
You Belong To My Heart (Solamente Una Vez) composed by Agustin Lara
Tico Tico (Tico No Fuba)
What A Diff'rence A Day Made composed by Maria Grever

Price: €49,99

LES PAUL, THE BEAUTY OF THE 'BURST, Iwanade Gibson's magnificent Sunburst Les Pauls made between 1958 and 1960.


THE BEAUTY OF THE 'BURST, Iwanade Gibson's magnificent Sunburst Les Pauls made between 1958 and 1960.



Series: Book
Publisher: Hal Leonard
Medium: Softcover
Author: Yasuhiko Iwanade
Inventory #HL 00330265
ISBN: 9780793573745
UPC: 073999327182
Width: 8.5"
Length: 11.

Finally, the long-awaited English edition of this historic Japanese book is here! The Beauty of the 'Burst pays tribute to Gibson's magnificent Sunburst Les Pauls made between 1958 and 1960, the most highly prized solidbody electric guitars ever. The magnitude of their value is directly related to their look (outrageous wood patterns, or "figured" timber), since non-players are paying top dollar for them. The book features lavish full-color photos of these beautiful instruments throughout; the guitars of famous players; a foreword by Ted McCarty; a bio of the author, world renowned collector Yasuhiko Iwanade; and the "Science of the Burst" section with over 30 pages of detailed reference facts on every facet of the guitar, including colors, wood figure, pick-ups, hardware and qualities of "voice." This may be the closest guitarists will ever be able to get to these incredibly collectible beauties! 216 pages, softcover. 224 pages.

The Color yellow layer on top of the maple plays a very very important role in the background of the sunburst. Without this layer the radiant effect of the finish could not be obtained. As such, this layer acts as reflective lighting. On the vintage Sunburst Les Pauls, special pigment was chosen for this purpose. Contrary to belief, Gibson did not use dye to color the wood itself. The dye stain is not as reflective as pigment stain. The pigment chosen for this purpose was special. It remained vivid without hiding the grain. Combining this color layer along with the highly reflective qualities of maple created the beautiful sunburst finish of the Les Paul Sunburst. Interestingly enough, this yellow color layer never fades. Sunburst layer. The term sunburst is derived from the beautiful multi color spectrum of colors that occurs during a sunset on the horizon. With respect to guitars, the term sunburst refers to the actual spraying of red paint over the edge of a guitar on top of the yellow base coat. This produces a "sunset" effect. This procedure was done by hand; the painters use of the spray gun, the paint viscosity, the weather, and the humidity all contributed to the final outcome of this arrangement. The role of the sunburst layer differs considerably from the yellow layer. The sunburst layer does not actually shine. Rather the layer should be looked at as a passive color filter from the light coming through from the yellow base coat. For that reason, contrary to the yellow layer the sunburst layer employed a dye colorant. This dye colorant has an ideal characteristic for the sunburst layer because it is translucent. However, it has the disadvantage of being difficult to apply evenly. Also, as widely known, it is prone to fading. The common belief is that the appearance of this burst layer is due to uneven fading. This is partly true. However, it is also the case that some of this unevenness was caused by production procedure. While not so noticeable when it was new, over time it became obvious that the multiple layers of dye had been unevenly applied - only to be revealed later after the top layers had faded. This can be observed at the edge of the top, close to the end pin. On Sunburst Les Pauls, the sunburst layer gets most of the aging affect, resulting in fading or discoloration. This is most common on 1958 models through mid 1960. By late 1960 the paint formula changed, and the finish became more resistant to fading. This section primarily applies to the 1959 models. Henceforth, we have used the term fading to describe a loss of color. Actually, this is a very vague and incorrect expression. Fading does not occur simply to the red color of the sunburst layer. Cherry red is not one color - it is a mixture.

Original 1959 Cherry-Red

It is commonly known that the dye colorant red is most prone to fading. Undoubtedly that is the primary reason that the Sunburst Les Paul finish "ill fade. However, that does not explain everything about that subtle hue of the finish. The mixture of colors goes a long way toward understanding the aging and fading processes. A 1959 cherry-red color was comprised primarily of dye colorant red. To add depth to the color, a small amount of blue was added. Since 1959 cherry-red is in actuality a slightly blueish deep red, sunburst is created as the light bounces back from the yellow base coat through the cherry-red layer. So what happens then when this mixture of colors fade? As already mentioned, red fades fastest. The real issue is the ratio that each of the two colors that comprise the sunburst fade at. When the finish is new, the gloving yellow light from the base coat comes up through sunburst shading. The small amount of blue in cherry-red, together with this yellow creates green, which is a complementary color to red. In the beginning stage of fading, this green is such a low ratio that it is suppressed by red. However, as time goes by, red begins to fade more. Yellow stays unchanged. Blue fades but far slower than red. So the ratio of green against red becomes higher and higher. At a certain point of this red versus green sequence, the top starts to take a hue of brown. And this reddishbrown color is the most often seen teaburst. From there it could become green burst but usually by this time blue also starts to fade, so usually it turns into honeyburst. When all red and blue are gone from cherry-red shading, then there is no shading. It becomes a 'Lemon drop.' To further understand the topic, let us look at the process of fading in sequence and consider it with other factors. As stated, the speed of fading differs from color to color. In other words each color has its own pace of fading. If only one color is concerned, the pattern of fading remains constant. However, when fading of certain mixtures of colors are observed, each color needs to be examined independently. The way each color fades will impact the total look of the finish. So as far as Sunburst Les Pauls are concerned, fading does not mean just a loss of color. In actuality, of all the colors involved, the yellow from the base coat does not fade. Red, which is the main ingredient of cherry-red, is added with blue to make cherry-red. Both the red and the blue fade independently of each other. The change of balance among these three colors at a given time is fading. To understand the "fading sunburst" phenomenon, it is important to know the cause of it. The primary cause of fading is widely known. It is an exposure to ultraviolet light from various light sources. This makes a dramatic difference between a guitar kept and stored away for years and the one always out of the case being played. The second cause would be a chemical reaction. We often see a discoloration of the top where the elbow hits during playing. Since the film of clear lacquer has microscopic holes, acid and ammonia ridden sweat from the guitar players arm can reach through the clear lacquer, penetrating the color layer and affecting it. Also, moisture in the air can have a similar effect on the entire surface of the finish. Since the ultraviolet fading and the chemical reaction fading are mutually exclusive they may not happen simultaneously. [n different ways, both of these processes are affected by the climate, temperature and other factors. Hence, the many variations of the Sunburst's color are a result of multiple factors, influences ranging from the slight variations in the painting on each individual instrument, to the chemical and the ultraviolet fading that we have just discussed. 3. Clear Coat We have learned that the lighl which bounces back from the wood's surface through the yellow base coat goes through sunburst shading to create the glowing sunburst finish effect. However, there is one more layer the light needs to go through before it reaches our eves. That layer is a clear lacquer top coat. The film of clear lacquer is there to protect the color layer from being rubbed off and also to protect the wood from moisture and contaminants. This film of clear coat is usuallv comprised of several layers of lacquer applied successively. As we know, lacquer ages or 'burns' to a pleasant hue of amber. This means there is one more film of color laid on lap of the sunburst. The aging or anlbering effect of this film is a primal)' concern here but first 11'1' must understand amber as a color. How does it affect the way a finish looks' Examined carefully, amber is a mixture of black and orange. The black comes from the decomposition of lacquer through its deterioration. This black pigment acts as a subtle obstruction to the light bouncing back from the wood's surface. The color saturation and luminosity is suppressed by this black pigment. On Sunbursl Les Pauls, the subtle balance of bright yellow and this obstructive black pigment create a distinctive "vintage" look. The orange element of the amber, on lhe other hand, gives warmth and depth 10 the color. This is also a part of the “vintage" look. There is one more character to tllis film. It is 11rtually a frosted glass. When new, tllis film of clear lacquer is buffed and polished to a high gloss. The more flat the surface, the more radiant it becomes. However, as lacquer ages, losing small amounts of leftover solvents and plasticizers, it shrinks and becomes brittle. The film may hal'e numerous small cracks and checks. Decreased finish would expose the wood texture underneatll. All of these factors together, the surface of the clear film is given the slight satin look which complements the soft defused light effect of the overall look of the guitar. in antique jargon, this is called patina. As a conclusion, let us layout the sequence of this phenomenon of the 11ntage Les Paul Sunburst effect we just learned about. Light first reaches the top of the guitar going through the amberI'd top clear lal'er, then the cherry-red shading, the yellow base coat and finally the reflective surface of maple. Then, it bounces back OUI going through the yellow base coat again, cherry-red shading and amberI'd clear coat. It finally reaches our eyes after being mixed together Wilh the small amount of defused light that was reflecled by the surface of the top coat film of clear lacquer. Again, tllis is the oplical process which makes the Sunburst Les Paul guitar so attractive. 































Price: €35,99


BLUES BASS, A GUIDE TO THE ESSENTIAL STYLES AND TECHNIQUES, Ed Friedland. B.B. King, Stevie Ray Vaughan (Tommy Lee Shannon), Muddy Waters, Freddie King, Albert King, The Allman Brothers, Otis Rush, T-Bone Walker, Louis Jordan, e molti altri: Born Under a Bad Sign - Hideaway - Hoochie Coochie Man - Killing Floor - Pride and Joy - Sweet Home Chicago - The Thrill Is Gone e molte altre. CD TAB.

Hal Leonard Bass Method Stylistic Supplement
Series: Bass Method
Softcover with CD - TAB
Author: Ed Friedland

The Hal Leonard Blues Bass Method is your complete guide to learning blues bass. This book and CD package uses classic blues songs and standards to teach you how to lay down your own solid blues bass lines. Learn to play by studying the songs of famous bluesmen such as B.B. King, Stevie Ray Vaughan (Tommy Lee Shannon), Muddy Waters, Freddie King, Albert King, The Allman Brothers, Otis Rush, T-Bone Walker, Louis Jordan, and many more. Learn actual riffs from blues classics including: Born Under a Bad Sign - Hideaway - Hoochie Coochie Man - Killing Floor - Pride and Joy - Sweet Home Chicago - The Thrill Is Gone , and more. 80 pages

Price: €21,99

CHORD FACTORY-Build Your Own Guitar Dictionary-Berklee pagine-TABLATURE-LIBRO-ARMONIA

THE CHORD FACTORY, Build Your Own Guitar Chord Dictionary. Berklee guide 238 pagine. TABLATURE

Series: Berklee Guide
Publisher: Berklee Press
Medium: Softcover
Author: Jon Damian

The Chord Factory is for all levels and styles of chord explorers, from professional-level guitarists in need of harmonic stimulation and to fill in some "gray areas," to the early-level guitarist just embarking on that fascinating and fun aspect of exploring chords and harmony. This added chord vocabulary and understanding will strengthen all areas of your musical world as a performer and composer. 238 pages



The Chord Factory is for all levels and styles of chord explorers, from professional-level guitarists in need of harmonic stimulation and to fill in some "gray areas," to the early guitarist just embarking on that fascinating and fun aspect of exploring chords and harmony. This added chord vocabulary and understanding will strengthen all areas of your musical world as a performer and composer.

  • Learn thousands of chords
  • Build your own creative harmonic toolbox
  • Use harmony more effectively
  • Expand your fingerboard facility
  • Play more creative comping parts

Author Jon Damian is an active international performer, composer, arranger, lecturer, clinician, and author. His varied career has included performances with performers ranging from Howard McGhee to Bill Frisell, Linda Ronstadt to Johnny Cash, Luciano Pavarotti to Leonard Bernstein and the Boston Symphony Orchestra, and many others. He is considered among the world's foremost thinkers about guitar theory and pedagogy, and is author of The Guitarist's Guide to Composing and Improvising (Berklee Press: 2000). Many of his students have become guitar luminaries, such as Bill Frisell, Wayne Krantz, Kurt Rosenwinkel, Leni Stern, James Valentine, and Mark Whitfield.

"What an amazing book! Incredibly detailed and thorough. presenting everything in a clear, sometimes humorous way. Jon Damian has done all of us guitar players a huge favor: He's taken us by the hand to some brand new, exotic places musically. Thanks Jon! I'm happy to work at The Chord Factory."

—Jim Hall, Legendary Guitarist and NEA Jazz Masters Fellow

"Jon Damian blows my mind! In The Chord Factory, he goes deeper and deeper, daring to go where few, if any, have traveled, He looks around every corner, leaving no stone unturned, and continues to unlock the mystery, wonder, magic, and FUN in music. Jon gives us the keys. I look forward to this next adventure."

—Bill Frisell, Grammy-Winning Guitarist

"This fresh look at chords and their construction inspired new ideas for me right away. Jon's unique perspective reveals the rich language inherent in great chord progressions. He never loses sight of the fact that it's not how many chords you know, but how well you use them. Try taking a look at the unique ways that Jon and his imaginary friend Chester see chords. It will open up an expansive new world of expression for you."

—James Valentine, Grammy-Winning Guitarist (Maroon 5)

"Jon Damian always manages to relate in an emotional, visceral way to the study of music, making even the most theoretical aspects of that study easier to connect with, artistically, for anybody who's lucky enough to be studying with him. Plus, as this new book clearly illustrates, he knows some really good grips."

—Wayne Krantz, Guitarist (Steely Dan, Michael Brecker, Billy Cobham)

"The Chord Factory shows why Jon Damian is such a popular and influential teacher. The book is systematic and thorough, yet at the same time it is creative and open-ended, giving the reader tools and concepts for a lifetime of exploration and learning. Everything is explained clearly—from single-note "harmony" to altered 13th chords and beyond. The focus is always on sound, music, and creativity, and it's fun to read. I plan to recommend this book to all our guitarists and also to non-guitarists, who can apply its principles to improvisation and arranging."

—Allan Chase, Chair of Contemporary Improvisation at New England Conservatory

"Author Jon Damian has created a masterful work in his latest book, The Chord Factory. ... Damian has created a book that not only shows various chord shapes, but also teaches the guitarist the theory behind each voicing. Guitarists of all levels can benefit from reading through this book.... The book is very easy to read and has a lot of humor throughout.... a book that would benefit every guitarist. Highly recommended!"

—Brandon Bernstein, for Just Jazz Guitar magazine

Price: €31,99
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