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THE CLASSICAL GUITAR BOOK A Complete History by John Morrish LIBRO CHITARRE HAUSER FLETA

THE CLASSICAL GUITAR BOOK, A Complete History. John Morrish.

Serie: Book

Editore: Backbeat Books

Copertina morbida

Autore: John Morrish

The Classical Guitar Book
A Complete History
Series: Book
Publisher: Backbeat Books
Format: Softcover
Author: John Morrish

Inventory #HL 00330989
ISBN: 9780879307257
UPC: 073999309898
Publisher Code: 0879307250
Width: 10.0"
Length: 12.5"
126 pages

Hermann Hauser è considerato il più famoso produttore di chitarre classiche fuori Spagna che ha sviluppato le regole fondamentali della costruzione e design impostate da Torres, applicando a esse “i suoi principi teutonici di ingeneria” come li ha descritto Julian Bream. Ecertamente il fatto che le sue chitarre erano usate da Andres Segovìa più che favorito la reputazione di lutaio tedesco.
Hermann era il figlio di Josef Hauser, un musicista che suonava e faceva le cetre e altri strumenti musicali dall all'età di 18 anni: dal 1905 ha iniziato a produrre le chitarre i liuti. (Herman Hauser è chiamato come Herman I per distinguerlo dal figlio e nipote che anche portano il nome Hermann, anche loro fabricatori di chitarre.) Tutto questo tempo Hauser suonava in un quartetto è oltre a questa attivita, sperimentava nella costruzione delle chitarre alto e chitarre basso. Comunque lui attende il concerto di Miguel Liobet, uno dei più prominenti allievi di Francisco Tárrega, durante il tour del 1913-14. Llobet suonva la chitarra di Torres del 1859 e Hauser ha capito le potenzialità delle chitarre tradizionali di Torres. Così è iniziato il processo della costante ricerca. Secondo la ricerca di Franz Jahnel, pubblicato nel suo “Manuale delle Tecnologie Chitarristiche” del 1981, nel 1920 Hauser ha fatto una serie di conclusioni dopo lo studio degli effetti causate dal posizionamento assimetrico dei listelli. Nello stesso anno Hauser ha brevettato il progetto per il nuovo tipo di cassa armonica. Il top della sua chitarra veniva sostenuto con un listello trasversale e due listelli longitudinali, il listello trasversale sotto il top della corda MI con l'intenzione di rafforzare le note alte. Houser ha incontrato Andrés Segovia nel 1924 durante suo primo tournè in Germania e questo incontro ha aperto le future possibilità per il progresso. Per esempio, Segovia ha invitato il lutaio a esaminare e misurare la sua famosa chitarra di Manuel Ramírez/Santos Hernádez quale il chitarrista ha acuistato nel negozio di Ramírez a Madrid nel 1912 prima del suo debutto. A sua volta Segovia ha seguito il concerto di chitarristi che suonavano le migliori chitarre di Hauser come lui ha ricordato nelle memorie dedicate a Hauser e pubblicate nel 1954 nella revista “Guitar Review”.
“Le chitarre erano costruite dal Hauser”, scrive Segovia del concerto. “Le ho esaminato tutte e ho subito capito il potenziale di questo superbo artigiano, se la sua maestria potess essere applicata alla costruzione delle chitarre sui modelli spagnoli immutabilmente impostati da Torres e Ramírez come per il violino erano stabiliti da Stradivarius e Guarnerius.” Da quel momento Hauser ha iniziato a lavorare per crearequello, che Segovia avrebbe chiamato ”la più grandiosa chitarra dell'epoca”. Questo lavoro ha occupato alcuni anni, ma nel 1937 Hauser ha prodotto uno strumento che Segovia ha accettato con grande piacere. Josè Romanillos ha commentato tutta la complessita dello svilupo di Hauser I durante questi anni e l'influenza dei concetti spagnoli dopo il 1924. “Le chitare di Hauser subendo l'influenza spagnola sono divise in due categorie: una che segue il modello di Ramírez e altra che con un tocco ingenioso e innovativo ritorna al modello basilare di Torres. Nelle sue chitarre basate sul modello di Ramírez, si vede la sua influenza nella scelta del design della testa, largo posizionamento dei listelli e nelle dimensioni,” scrive Romanillos nel suo libro dedicato a Torres. “Houser ha provato diversi combinazioni e forme per i suoi strumenti anche dopo che ha prodotto per la Segovia la chitarra 1937. In alcune di queste chitarre intodotto un'amalgama di due maestri: forma arrotondata e e più armoniosa degli strumenti di Manuel Ramírez e alcune detagli che ricordano le forme delle chitarre di Torres come la testa, la lunghezza della scala e le decorazioni.”
Romanillos prosegue dicendo che prima del 1940 le chitarre di Hauser dimostravano ancor più forte affinità con le chitarre di Torres forse anche perchè proprio in questo periodo Hauser aquistò uno suo strumento creato nel 1960. Romanillos conclude che mentre non c'è alcun dubbio che la chitarra di Ramírez apartenente a Segovia ha avuto il ruolo principale nella crescita di questo grande produttore di chitarre....ma il sistema ortodossale di Torres che ha finalmente dato le basi per la costruzione delle chitarre di Segovia”. In questo modo Hauser ha incorporato i migliori elementi del design delle chitarre sviluppato in Spagna durante il dicianovesimo e al inizio del ventesimo secolo.

Libro di alta qualità da mettere in mostra, che propone testi dei più noti esperti del mondo ; il primo lavoro che racconta la storia completa della chitarra classica e del suo repertorio, degli artisti e produttori - dalle radici europei del 19 secolo alla moderna interpretazione internazionale. Questo bel libro con la copertina morbida è illustrata con le fotografie grandi delle chitarre classiche prodotte dai migliori lutai del mondo. Un'edizione addizionale parla del uso di chitarra classica nella musica pop, delle tecniche diverse di apprendimento e insegnamento; del mercato di collezionisti e la scienza della chitarra. Fa conoscere i profili di artisti famosi come Andrès Segovia, Julian Bream e John Williams; e in più, la, completa discografia, il glossario, l'indice, la biografia, tabella delle misure .

Offering essays by the world's top experts in a full-color, coffee-table quality book, this is the first work to tell the complete story of the classical guitar and its repertoire, players and makers - from its 19th century European roots to modern international interpretations. This handsome softcover volume features lavish photography of classical guitars made by the best luthiers in the world. Additional essays cover use of the classical guitar in pop music, different playing and teaching techniques, the collectors' market, and the science of the guitar. It also features profiles of legendary artists such as Andrés Segovia, Julian Bream and John Williams, plus a full discography, a glossary, an index, a bibliography, and a guitar measurement chart. 126 pages.

A more attractively presented pictorial book on the classical guitar I cannot imagine. It measures 32cm by 25cm, has 126 pages and is packed with beautiful colour pictures, with a small number in black and white; the main photographs being the work of Miki Slingsby. Selected guitars are presented on foldout pages, which display them to great effect. Unfortunately, it is a rather fiddly job to release the folded leaf out of the spine of the book as it is a close fit, trimming the page back a centimetre would have been most beneficial.

Based on the Russell Cleveland Collection, the book includes a brief history of the guitar starting with references as far back as Ancient Greece, through to the Renaissance, the Baroque and up to the small-bodied guitars as played by Fernando Sor (1778-1839) and Dionisio Aguado (1784-1849). It was these small-bodied guitars that were the predecessors of the modern guitar, upon which this book is mainly focused. There are also sections devoted to the anatomy of the modern guitar, with examples of various strutting, and a guitar, which is broken down into its constituent parts by the English luthier Paul Fischer, who is also an acting consultant on the book. The volume also covers woods favoured by the different makers, the science involved in construction, the future of the instrument - in fact all the aspects connected to the guitar in this form, are dealt with in a logical and informative way. There are biographies of the principal players and their association with certain makers. It is in this area that we are treated to Graham Wade’s insights into John Williams, and in particular Andrès Segovia, on whom Wade must rank as one of the foremost authorities. There is also a discography of recordings by a wide range of players.

One can tell from the foreword to the book, written by Russell Cleveland himself, that he is engaged in something of a love affair with the guitars in his collection. He describes their individual sounds and characters - the obvious joy of his life. This devotion is maintained throughout the book through the writings of the formidable array of scholars. These include Colin Cooper, editor of the Classic Guitar magazine, Brian Jeffery, author of probably the definitive book on Fernando Sor and Dr Bernard Richardson whose work in the field of the acoustics of stringed instruments is highly regarded, as well as the aforementioned Graham Wade. I name but a few, who have collaborated to impart their knowledge and, in many cases, their findings from lifelong study of the subject.

The core of the book concentrates on what is regarded today as the modern instrument as envisaged by the maker Antonio Torres (1817-1892), a guitar of greater power and projection. In doing this he more or less standardised, for subsequent luthiers, the body’s dimensions and string length. For the most part experimentation by the following generations of makers focused on the strutting of the top of the guitar, some improving on Torres’ original concepts, some not.

Starting with Torres, this book maps the progress of the luthier’s craft through its most significant makers from all over the world, including the family dynasty of Ramírez. It was Manuel Ramírez who in 1912 supplied the great Andrès Segovia with his first proper concert guitar. Also featured are the Hauser family, now into their third generation, as are the Fleta family. Both of these makers also produced guitars played not only by Segovia, but also by many of the other finest guitarists in the world.

The roll-call of great guitars and their makers continues down through the years, Simlicio 1925, Santos Hernánez 1933, Bouchet 1955, Rubio 1966, to mention only five of the thirty-four featured, up to a 1996 José Romanillos guitar. Romanillos made the guitar that Julian Bream used on many of his famous recordings and concerts. Each maker’s work is accompanied by a text outlining his life. Additional photos highlight the details of headstocks, labels, machine heads and rosettes. Also listed are the specifications (dimensions, weight and string lengths, etc) of many guitars.

To make a trumpet. said Mahler, you take a hole and you wrap a piece of tin around it. The guitar's construction is scarcely less simple: you take a hole and you build a wooden box around it. Across that box you stretch some strings. under which you attach a strip of wood so that you can press your fingers against the strings and so alter their pitch. Of course the process does not end there. Two highly skilled people are needed before your simple box can give out music. One is the player, who must devote years of study to finding out exactly how to activate those strings so that the sounds the box makes are musical sounds. The other is the builder, the luthier without whose expertise the full potential of the box cannot be realised by the player. The enthusiasm with which the guitar was taken up in the 1960s and 1970s has resulted in a proliferation of mature talent, both in building and playing. Possibly at no time in history have there been so many excellent instruments in existence, with equally excellent musicians to play them. The only drawback- and it is a serious one in economic terms - is that the guitar's audience has largely deserted it. A concert hall that was full for an inelifferent guitarist in 1967 may be. in 1997, only half full to hear a guitarist of acknowledged brilliance. It is possible that this decline in audience numbel's is linked with the gradual trivialisation of music. Music all too easily becomes muzak. a background noise ever present in supermarkets. restaurants and even five-star hotels. We cannot switch it off. but we can at least make no conscious effort to listen to it. That Quickly becomes a habit. and a bad one. so that when occasionally a piece by, say. Mozart comes out of the speakers. it merges almost imperceptibly into the mush that precedes and follows it. If someone should happen to notice the good Stuff among the trivia. the next step could lI'ell be to buy some Mozart and play it at home. But the quantum leap from the hi-fi to the concert hall is something that, given present levels of inertia, seems less and less likely to happen as electronic technology improves. It is ironic tllat the very technology that makes it so easy to listen to music at home should be the same as that which, by making it fully audible in a large hall, could in different circumstances be the guitar'S economic salvation. Without such amplification, the guitar is best suited to the intimate solo recital in a room containing no more listeners than can hear every nuance and every pianissimo, free from the constant fear of losing the musical narrative through a single inconsiderate cough. We call that a small audience. but the uncomfortable truth is that all audiences for classical music are small. When a John WiIIiams plays to 3000 Londoners. where are the other ten million or so? Eren if a Pavarotti sings to 20.000. that is still fewer than two persons in every thousand of the city's population. PR people. alll'ays imaginative. call this a 'mass audience'. All that can be accurately said is that Pararotti's minority audience is bigger than the minority audience of your are rage rirtuoso guitarist. Some have called for a new Segovia, a new Julian Bream, a new figure with the charisma to attract the general musical public. But behind this lie considerations that are more economic than musical. We are given to undrstand that the profile of the guitar will be changed, that people will begin to flock to the concert halls once more, and that all will be well with the guitar for another generation or two. Did not Segovia say: "It is the artist thal the people follow, not the instrument"? There is a lot of truth in that statement. Britten did not compose the Nocturnal for the guitar: he composecl it for Julian Bream. People, by and large, do not go to a guitar recital- if they go at all Jilin order to heal' Britten's Nocturnal: they go to hear Julian Bream play the Nocturnal. Nevertheless. a comparative lack of charismatic figures and the audiences to hear them are not in themselves indicators of terminal decline. The circle of guitar enthusiasts – and it is a very large circle - who keep the guitar going would in any case contradict you with considerable heat over the Question of charisma, pointing to David Russell. Manuel Barrueco, Eliot Fisk. Roberto Aussel and half a dozen other guitarists all capable of holding an informed audience spellbound for a couple of hours. What the critics are perhaps seeking is a guitarist who can hold an uniformed audience spellbound. That, though it would help the guitar's public image, can be termed an accident. Accidents do happen, but they cannot be relied upon. The absence of public charisma is certainly no way to judge the overall health of a musical instrument. Measured by the number of people who buy it and who play it, one would be justified in concluding that the guitar is in a state of mde health. Hundreds of thousands of classical guitars are made and sold erery year: where do they all go? A guitar is not a disposable object: it is not something that you renew every year: The only explanation is that large numbers of people are buying classical guitars - and. though the drop-out rate may be considerable. they surely do not buy them just to hang on the wall. An estimated two to three million people in Japan alone are believeed to play the guitar. They support a monthly magazine of 180 pages.The number of guitarists in China cannot eren be guessed at. The Shanghai guitar society alone is reported to have around 2000 members. In Beijing there is outstaneling guitar talent, with an enviable record of success in international competitions at the very highest level. Russia has a vast reservoir of guitar talent that neeeds only better teaching and better materials. The piano and the violin. with their long traditions. survived the decades of cultural isolation: the modern guitar depended too much on tile visit of Andrés Segovia in 1926. since when the message has become somewhat distorted. As in a game of Chinese whispers. That situation is being remedied. though slowly. In all the Scandinalian countries the guitar enjoys wide popularity. Even Iceland. with a population smaller than that of most cities, has mounted a guitar festival, Central European countries such as Poland, Hungary and the Czech Republic are rich in annual guitar festivals and competitions. Spain and Italy bothhave a number of important international competitions. Germany is particularly well endowed with guitar activity, and so is France. Some brilliant players from the Low Countrie. There is a new moviment to widen the guitar' scope in Turkey, which Venezueta and recently held ...

 

... dances, and for this they used a "Tist-based motion that involved the entire right hand. rather than a knuckle-based movement of the individual fingers. This simple and robust guitar technique is seldom encountered in the more refined repertoires of either the lute or the vihuela. In Spain, the status of the four-course guitar remained humble (its dubious associations with taverns and barbers' shops were already developing), but it soon began to acquire a serious repertoire in other countries, first in Italy, then more notably in France. The French king Henry II (who was held hostage in Spain from 1526 to 1530) developed a fondness for the instrument, and later employed several guitarists at his court. From 1550 onwards, books of music for the four-course guitar were regularly published in France,most of them by specialist guitar composers such as Guillaume Morlaye and Adrien Le Roy,but some by celebrated lutenists such as Alberto da Rippa,which suggeststhat the four-course guitar had come to be regarded in that country as a serious musical instrument. Several volumes of guitar music also appeared in London in the years around 1570, though these were mostly pirated from French publications. The heyday of the four-course guitar was undoubtedly the 16th century, but the instrument continued to be played throughout the 17th and 18th centuries. In Italy, it was mainly used to provide a strummed chordal accompaniment to popular songs and dances (often notated by means of chord charts similar to those used by today's pop and folk guitarists). and four-course guitars were manufactured in that country until at least the mid-seventeenth century. Indeed, small, strummed, four-course guitars persist to the present day as folk instruments in Spanish and PortugueseculLures (especially in South America). And, if the bordon is removed from the temple nuevos tuning suggested above by Bermudo, we are left with the standard pitches of the modern ukulele. Although the five-course guitar did not supersede the foure course version until well into the 17th century, depictions of fivee course instruments can be found in Italy from c.1500 onwards, while the earliest published music appeared in Spain in 1554, in the Libro se musica para I'ihuela by Miguel de Fuenllana. Many splendid fivee course instruments from the 16th and 17th centuries have survived, giving us a good idea of the typical design and dimensions: a flat peg box with ten tuning pegs inserted from the rear; elaborate inlaid designs on the neck, back. and table, often in ebony and ivory; an ornate rose; a string length of about 650-700 mm; and an overall length of about 900-950 mm. It is interesting to note that, although the guitar has generally been regarded as a quintessentially Spanish instrument, most of the finest extant five-course examples come from Italy, including several by Matteo Sellas of Veniceand two by the great violin-maker Antonio Stradivari of Cremona. The most remarkable feature of the five-course guitar was its 're-entrant' tuning, in which the sequence of open-string pitches does not follow a low-to-high pattern across the neck. To modern guitarists this can seem strange and even confusing. According to 16th century sources, a bordon should be used on each of the two lowest courses,giving a tuning recognisablysimilar to the top five strings of today's instruments (A/a - d/d' - g/g - b/b - e'). However, many 17th century guitarists chose instead to double the octave string and dispense with the bordon altogether, which meant that all five courses were devoted to the treble, and none to the bass (A/a - d'/d' - g/g - b/b - e'). So, where today's guitarists use their right thumb to play bass notes on the lmvest strings. many 17th century performers used their thumb and fingers to play interlocking notes of a scaleon the lower and upper courses (somewhatsimilar to the techniqueof a modern finger-style banjoist). The advantage of this was that players could create a striking bell-like effect (campanella) by letting several melody notes ring out simultaneously on different courses. so long as the music was composed with this technique specifically in mind. The use of tablature ensured that players would understand the composer's intentions, but it also explains why music written for the five-course guitar often sounds unconvincing and incoherent when performed on a modern classical instrument. The instrument was played in Italy at every level of society, and dozens of books containing simple strummed accompaniments to well-known songs and dance tunes were published throughout the 17th century. Many used a system known as alfabeto, in which letters of the alphabet were used to represent strummed chord sequences, encouraging players to think of the music solely as a succession of vertical harmonic progressions. But solo pieces by Italian guitar virtuosos like Francesco Corbetta and Lodovico Roncalli were generally performed using a more varied mixture of plucking and strumming, techniques often referred to as punteado and rasgueado respectively.Theinstrument was also widely played in Spain. perhaps the greatest 17th-century exponent being Gaspar Sanz, many of whose pieces (suitably modified) remain firmly in the repertoire of the modern guitar. Musicians in England and France were, however, initially even more sceptical about the artistic merit of the five-course guitar than they had been about the four-course. The lack of a true bass line offended many aesthetic sensibilities, and even Robert de Visee (the greatest French guitarist of the 17th century) lamented the inevitable deficiencies in the part-writing of his guitar music, weaknesses he never permitted in his more sophisticated lute compositions. He confessed that "the instrument itself is the reason".Nevertheless,it becamea favourite instrument of Louis XIV, who employed Corbetta as his court guitarist (and later de Visee). Charles II of England also became a keen player and patron. Although it was most successful playing solo music, or accompanyingsimple songs. the penetrating sound of the strummed guitar led to its widespread use as a continuo instrument. The popularity of the strummed style of alfabeto accompaniment led to the development of an instrument specifically intended for loud and simple rhythmic music: the chitarra battente. This instrument's origins remain somewhat uncertain (indeed, the name seemsnot to havebeen used until the 19th century), but it is thought to have been developed in Naples during the 1740s, at about the same time as the Neapolitan mandolin, with which it shares many characteristics. There are surviving 17th century chitarre battenti, but they seem to have started life as normal five-course guitars and been modified at a later date. The typical chitarra battente had a slightly rounded back, and five pairs of brass or steel strings, which were played with a plectrum. Metal strings had two principal advantages: they were louder than gut, and they held theil' pitch better when played outdoors in hot sun. But the greater strain that they imposed on the instrument demanded important modifications to the traditional guitar design. Bone or metal frets were used (tied gut frets being easily cut by the wire), and the table of the instrument was bent near ...

 

FOREWORD - RUSSEL CLEVELAND
INTRODUCTION - COLIN COOPER
ANATOMY OF MODERN GUITAR - JOHN MORRISH
THE GUITAR BEFORE TORRES - PAUL SPARKS
GUITAR METHODS - BRIAN JEFFERY
TORRES: LIVE & WORK - JOHN MORRISH
"TORRES" GUITAR
JOSÉ RAMIREZ I GUITAR 1897
ARIAS GUITAR 1906
MANUEL RAMIREZ GUITAR 1912
ANDRÉS SEGOVIAS - GRAHAM WADE
THE RAMIREZ BROTIIERS 1912
GARCIA GUITAR 1912
SIMIPLICIO GUITAR 1925
ESTESO GUITAR 1929
SANTOS HERNANDEZ GUITAR 1933
HAUSER I GUITAR 1935 - GRAHAM WADE
THE TRIUMPH OF THE SEGOVIA TECHNIQUE - GRAHAM WADE
GOMEZ RAMIREZ GUITAR 1936
VELAZQUEZ GUITAR – 1955
JOSE' RAMEREZ II GUITAR 1956
BOUCHET GUITAR 1961
ORIBE GUITAR 1965
RUBIO GUITAR 1966 - GRAHAM WADE
JULIAN BREAM
JOSE' RAMIREZ III GUITAR 1967 & 1969
SEGOVIA AND THE GUITAR MAKERS
WOOD AND THE GUITAR MAKER
HAUSER II GUITAR 1971
PENA FERNANDEZ GUITAR 1973
KOHNO GUITAR 1974
FLETA GUITAR 1975
THE FLETA FRATERNITY
RODRIGUEZ GUITAR 1976
RUCK GUITAR 1978
FRIEDERICH GUITAR 1981
CONTRERAS GUITAR 1983
UNCONVENTIONAL GUITARS
HAUSER III GUITAR 1988
BERNABE' GUITAR 1992
THE FUTURE OF THE INSTRUMENT
FLAMENCO: SETTING THE SCENE - BROOK ZERN
FLAMENCO: EVOLUTION OF AN ART FORM - BROOK ZERN
SMALLMAN GUITAR 1992 - TONY BACON
JOHN WILLIAMS
SCIECE AND THE GUITAR MAKER - BERNARD RICHARDSON
HUMPHREY GUITAR 1993
GILBERT GUITAR 1994 - RICHARD JOHNSTON
ROMANILLOS GUITAR 1996
THE MARKET: VISITING SPAIN
THE MARKET: A DEALER'S VIEW
THE MARKET: AUCTION HOUSES
THE MUSIC: COMPOSERS
THE MUSIC: ON THE RECORD - COLIN COOPER
THE MUSIC: IN THE STUDIO - COLIN COOPER
THE MUSIC: CLASSICAL CROSSOVER - PAUL FOWLES
GLOSSARY / INDEX / BIBLlOGRAPHY / ACKNOWLEDGEMENTS .
MEASUREMENTS / SPECIFICATIONS / CONVERSATIOS  

Price: €99,99
€99,99

POISON BEST OF Recorded Version Guitar TABLATURE CHITARRA LIBRO TABLATURE SPARTITI C.C. DeVille

POISON, BEST OF. TAB.

Series: Recorded Version (Guitar)
Softcover - TAB
14 guitar transcriptions from one of the top hair metal bands of the '80s! Includes the classics:

Cry Tough
Every Rose Has Its Thorn
Fallen Angel
I Want Action
I Won't Forget You
Life Goes On
Look What The Cat Dragged In
Nothin' But A Good Time
Ride The Wind
Something To Believe In
Stand
Talk Dirty To Me
Unskinny Bop
Your Mama Don't Dance

144 pages

Price: €34,99
€34,99

CLAPTON ERIC-BACK HOME-TABLATURE LIBRO CHITARRA SPARTITI REVOLUTION ACCORDI ONE DAY

CLAPTON ERIC, BACK HOME. TABLATURE

The undisputed king of the British blues presents his 2005 album, packed with feel-good tunes, surprising covers and a healthy slice of the sublime guitar-playing that made him a star.

Following in the foot-steps of the much-hyped Cream reunion, as well as an album of beloved Robert Johnson songs, Back Home contains Clapton's first original material in several years. Alongside the stomping blues-boogies and soulful ballads, EC also presents his own re-workings of songs by George Harrison and The Spinners, as well as a nod or two towards reggae.

Every song from the album has been carefully transcribed in accurate Guitar Tab.

Format: Album Songbook
Length: 172 pages
Language: English
Catalogue #: HL00690817
ISBN: 9781423406198

Back Home
I'm Goin' Left
Lost And Found
Love Comes To Everyone
Love Don't Love Nobody
One Day
One Track Mind
Piece Of My Heart
Revolution
Run Home To Me
Say What You Will
So Tired

Price: €27,99
€27,99

'80S METAL Guitar Play-Along Volume 39 CD TABLATURE CHITARRA BASI SPARTITI BOOK LIBRO

'80S METAL Guitar Play-Along Volume 39. Bark At The Moon, OSBOURNE -Big City Nights, SCORPIONS -Breaking The Chains, DOKKEN -Cult Of Personality, LIVING COLOR -Lay It Down, RATT -Livin' On A Prayer, BON JOVI -Panama, VAN HALEN -Smokin' In The Boys Room, MOTLEY CRUE. CD TAB.

Softcover with CD - TAB
Artist: Various

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch!

8 songs: Bark at the Moon - Big City Nights - Breaking the Chains - Cult of Personality - Lay It Down - Livin' on a Prayer - Panama - Smokin' in the Boys Room. 70 pages

Bark At The Moon
Big City Nights
Breaking The Chains
Cult Of Personality
Lay It Down
Livin' On A Prayer
Panama
Smokin' In The Boys Room

Price: €19,99
€19,99

50 BAROQUE SOLOS FOR CLASSICAL GUITAR Mark Phillips LIBRO CD TABLATURE CHITARRA SPARTITI

50 BAROQUE SOLOS FOR CLASSICAL GUITAR, Mark Phillips. Bach, Corelli, Couperin, Handel, Purcell, Rameau, Scarlatti, Telemann e altri. CD TAB.

Series: Guitar
Publisher: Cherry Lane Music
Softcover with CD - TAB
Arranger: Mark Phillips

50 fantastic guitar solos in notes and tab from 18 Baroque composers, including Bach, Corelli, Couperin, Handel, Purcell, Rameau, Scarlatti, Telemann and others. 64 pages

Price: €21,99
€21,99

FLATPICKING SOLOS 12 Contest-Winning Arrangements BOOK & CD TABLATURE CHITARRA SPARTITI LIBRO

 

FLATPICKING SOLOS, 12 Contest-Winning Arrangements. CD TABLATURE

Flatpicking Solos
12 Contest-Winning Arrangements
Series: Guitar
Publisher: Cherry Lane Music
Format: Softcover with CD
Artist: Scott Fore
Author: Scott Fore

Here, for the first time in print, are the championship flatpicking arrangements that have won Scott Fore numerous national competitions. The accompanying CD contains full-length recordings of each of Scott's arrangements, played by Scott himself, and full rhythm tracks so you can play, too! Scott Fore's many contest victories include the South Carolina State Flatpicking Championships (2003), the National Flatpicking Championships (2002), the Doc Watson Guitar Championships (2002), the Galax Old Fiddler's Convention (2002), and the Wayne C. Henderson Championships (1999). He teaches flatpicking master classes throughout the United States and has recorded a self-titled solo CD. Songs include: Alabama Jubilee • Angeline the Baker • The Beaumont Rag • Bill Cheatham • Blackberry Blossom • Cluck Old Hen • Ragtime Annie • The Red Haired Boy • St. Anne's Reel • Whiskey Before Breakfast.

Inventory #HL 02500679
ISBN: 9781575607122
UPC: 073999912616
Width: 9.0"
Length: 12.0"
72 pages
 

INTRODUCTION

This book is the result of requests from guitarists who want to learn my contest arrangements. All these tunes and arrangements have been used by me to win various traditional music guitar competitions throughout the United States. Some of the contests I have won with these tunes are the 2003 South Carolina State Flatpicking Championships, the 2002 National Flatpicking Championships (Winfield, Kansas), the 2002 Doc Watson Guitar Championships at Merlefest, the 2002 Galax Old Fiddler's Convention, the 1999 Wayne C. Henderson Guitar Championships (Rugby, Virginia), and many other contests held in Virginia, North Carolina, Tennessee, and South Carolina. In arranging these tunes I tried to maintain the melody and preserve the flow, but at the same time I tried to use as many "guitar tricks" as possible. To this end, when I arrange a tune, I first learn the melody in as many locations on the neck of the guitar as possible. I also find as many versions of the tunes as I can. And I get ideas from other instruments; in fact, I strive to not listen to guitar versions so that I will not sound like any other guitarist. I also look for what I call the "skeleton" of the tune; in other words, how many of the notes in the melody can I leave out and still recognize it? Once I have found the basic skeleton of the melody and the location of those notes, I begin looking for places where I can insert guitar tricks: slides, hammer-ons, pull-offs, bends, open string/fretted note combinations, chromatic ideas, intervallic phrases, harmonics, etc. There is an endless catalog of musical ideas that are specific to the guitar, and you should be familiar with all of them. All these arrangements are within the reach of most intermediate and advanced players, but beginning students, too, should be able gain a lot of valuable experience by studying them. The difficult sections can be mastered if you take them one phrase-or even one note-at a time. The tempos indications are a guide, as these arrangements work well at both slow and fast tempos. The main thing to strive for is musicality. My general rule regarding pick direction is that I use downstrokes on the strong part of the beat and upstrokes on the weak part. With triplets, I sometimes break this rule by starting with an upstroke; in other words, when you have two eighth notes, the first gets the downstroke and the second the upstroke. In a 16th note grouping, the first note gets a downstroke, the second an upstroke, the third a downstroke, and the fourth an upstroke. By following this rule and observing the location of the note within the beat, your pick will always be moving in the correct direction. Syncopations, however, might have you picking consecutive upstrokes or downstrokes. Good luck, and I hope you enjoy learning these arrangemen ts. Scott Fore

 

ACKNOWLEDGMENTS

I'd like to thank: My sons, Carson, Austin, and Alex, for love and encouragement, and for being such great sons. I couldn't ask for finer sons and finer people to be around. My mom and dad for things too numerous to mention. My brother and sister for years of encouragement and for always telling me that I could do it. Cheryl Lunsford for love and support. Thanks also for helping me hone these arrangements and for encouraging me to push beyond normal limits. Carson Cooper for always pushing me to work harder on my right-hand technique and for inadvertently forcing me to keep striving to play with more authority. Rick Krajnyak at Real2Reel for helping me record the tunes on the CD in his incredible studio, and for friendship. Lou Roten, Ellen Tait, and Chris Middaugh at Schertler for the greatest pickup and peakers. They help me to alway sound good when "plugged in." Dana Bourgeois, Bonni Lloyd, John Thigpen. And all of the fine folks at Pantheon/Bourgeois guitars for building some of the best guitars found anywhere. Bourgeois guitars bring out the best in my playing and creativity. Steve McCreary at Collings for supporting the Walnut Valley Festival and for building fine instruments. Mike Lille and Elixer strings for the great Nanowebs. I exclusively use Elixer anow-ebs strings on all my guitars. Great tone and feel from the time they are put on the guitar. No waiting for the strings to break in. Wayne Henderson in Rugby, Virginia, for building some fme instruments, and for some fine guitar picking. I feel incredibly fortunate to have the opportunity to learn from great players and builders like Wayne. All the fine musicians from whom I've had the pleasure to "borrow" guitar techniques. The list is tremendously long. Wayne Dunford at FotoExpo in Christiansburg, Virginia. Wayne's a great friend, photographer, artist, and musician.

 

PERFORMANCE NOTES

ALABAMA JUBILEE

This tune, along with "Ragtime Annie," is one that I can always count on to place me in competitions. I use every technique except harmonics in this arrangement. I also normally play this tune at a tempo of 140+ when I compete. This is probably the most challenging arrangement in the book. It requires you to have a highly developed righthand technique, especially when playing at the faster tempos, but it also works well at slower tempos. The song kicks off with the turnaround and goes straight to the melody. The first section is straightforward, and it is not until you get to the second break that things get harder. The second break is crosspicked and there is a lot of string skippin-let the strings ring as long as possible to give a fuller sound. The lick at measure 28 is an intervallic type oflick. I borrowed the idea from jazz saxophonists. The main thing to remember, as for all these arrange4ments, is to play from chord positions. The third section begins at measure 38 and is straightforward. Pay attention to the recording to get the feel of the double stops at measures 42, 49, 50, 51, and 52. Listen to the recording to get the accents.

ANGELINE THE BAKER

The Intro is something I came up with while sitting at a friend's house-I thought it sounded like a fragment of the melody. It is also a way of starting the tune without resorting to the standard "breakdown" type of Intro. The arrangement is fairly straightforward. Try to maintain the flow of the melody since this is a solo. You will note that there is not a rhythm track for this tune. The first tricky licks come in measures 35 and 39. After the initial bend, rake your pick back across the strings fretted at the 7th fret. This lick is derived from piano players and guitarists like Jerry Reed and Jim Hurst, and I used it a lot when I played electric guitar in country bands in the '80s and '90s. The section beginning with measure 41 is reminiscent of Chuck Berry's licks or those of R&B guitarists of the '60s. Measure 49 makes me think of a loose Steven Stills-type groove. Play this section loosely and don't pay too much attention to the open strings; your focus should be on the fretted notes. Try to keep the dropped D ringing as much as possible to fill out the sound. There is a lot of crosspicking in this arrangement, and it will reveal any weaknesses in your right-hand technique. The song finishes the way it begins, with the opening chordal structure. You should try to imitate the sound of a slide guitar in the final chord of the song. As in all the songs, listen to the recording to get the accents. In all these transcriptions, the accents set the notes apart from just a steady string of 16th notes. Don't let the tab scare you, because this arrangement is really one of the easier ones. The secret to this tune is to keep the open D and A strings ringing in a "drone-like" fashion. This helps fill out the single-note melody line. As with all of the arrangements in this book, play out of the chord positions-this will make the arrangements finger more easily.

BEAUMONT RAG

This is another arrangement that is fairly simple to play. The thing to keep in mind is to keep the flow going. There is a lot of crosspicking in this arrangement. As with all crosspicking, you need to find the chord shape and hold down all the notes of the chord. In other words, don't read the tab one note at a time, but in groupings of notes. For example, in the G7 chord in measure 18, you hold down the F note at the 3rd fret for the full measure while the other notes move around it. Listen to the recording for the accents in the cross picked sections. Accents help bring out a melody when crosspicking. Be careful to let all the notes ring as long as possible for the "floating notes" section beginning at measure 34. "Floating notes" are combinations of open strings and fretted notes; the ringing open strings produce a harp-like sound. One of the toughest parts of the song is the diminished run in measure 38; you can look for other fingerings to make this run easier, but I've tabbed it the way I play it. Measures 50 through 53 should be crosspicked. Look at the finger groupings in each measure, and just slide them down the neck; then play measure 54 as a tremolo. It's fairly tough to go from the crosspicking in measure 53 to the tremolo in 54 and maintain timing. As with all the songs, work with a metronome set to a slow tempo, and work up to a fast tempo. The ending tag in the last three measures can be played without accompaniment. Again, as with all the songs, listen to the recording to get an idea of the accents.

 

BILL CHEATHAM
This arrangement is fairly straightforward and shouldn't pose many problems. It opens with a statement of the basic melody. In measure 19 I begin a break using "floating" notes-you should strive to keep the strings ringing as long as possible to achieve the "floating" sound. In measures 31, 63, and 65 the slashes indicate that that section is to be played using tremolo or very fast strumming. Giving the notes their full values will help with the flow of this and all arrangements in this book. The thing to keep in mind is that, in all the sections, you should maintain chord shapes wherever possible; doing so will help keep notes ringing and help fill out the song. The trickiest part of the song occurs in measures 51-58, where I play the tune using harmonics. Harmonics are represented by diamond-shaped notes and are played by lightly touching a string directly over top of the fret indicated in the tab. Trying to make these harmonics loud and clear is difficult at the faster tempos at which this piece is normally played. The song is fairly straightforward after this point. Again, listen to the recording to get an idea of the accents.

BLACKBERRY BLOSSOM
This arrangement begins with the basic melody, which is augmented only slightly in measures 6 and 7. Pay attention to the recording to get the feel of the "B" section beginning at measure 10. In measure 18, the open G string allows you to move up the neck without breaking the flow of the tune. This is a trick used by lots of guitarists. The open string rings while the hand is changing positions. The "floating" section, which begins at measure 34, is played by holding the chord shape and sliding it down the neck while allowing the open strings to ring. Measures 44 and 45 should be played as one long run to maintain the flow. Let the notes ring into each other to achieve that "floating" sound. The ending, which begins with the last measure of the "B" section, is played as one long grouping. This is one of the most often-played tunes in the fiddle tune repertoire, and the first tune I learned many years ago.

CLUCK OLD HEN
"Cluck Old Hen" is an old-time modal tune with both a major and minor feel. It's good for learning to use the pentatonic scale to improvise. It's similar to such tunes as "Big Mon," "Wheel Hoss," and others that use a flat-7th chord. The bends can be played, alternatively, using slides or "hammer-oDS." As in all the tunes in this book, let the notes ring for their full values. Listen to the recording to get an idea of the exact rhythms. Guitarists familiar with pentatonic and blues scales will find this arrangement very "finger friendly." Improvising over this progression is easy when using the G blues scale in its various positions.


RAGTIME ANNIE
Pay attention to the rhythmic groupings and listen to the recording to get the rhythmic nuances. This is a dance tune and, as such, should be played with dancers in mind. It needs a strong right-hand technique because of the crosspicking involved. As with all the tunes in this book, you should let the notes ring for their full values, if not longer, to give the song a full sound. This arrangement is a crosspicking tour de force and requires right-hand precision. The piece can be cross picked using strict alternate picking or the "DDU" pattern used by crosspicking legends George Shuffler and James Allen Shelton. This pattern creates a slightly different sound but also makes it more difficult to achieve the same speed that can be obtained with alternate picking. Depending on the sound I want to achieve, I use both picking patterns.

RED HAIRED BOY
This version is rather basic and should be accessible to all beginning and intermediate guitarists-there are no difficult techniques used. The last section is played mostly with hammer-oDS and pulloffs and serves as a good exercise for those techniques. The second break is played mainly around the 7th fret. For the Chorus in the second section, try to think like a mandolinist to get the feel of the chordal section and play it loosely. Listen to the recording to get the accents. The section beginning at measure 65 may be challenging for some guitarists, as it contains numerous hammer-oDS and pull-offs. The challenge is to maintain the volume of the slurred notes. With pull-offs this can be achieved only through proper technique; that is, pull and lift rather than simply lift.  

ST. ANNE'S REEL
This tune is very accessible to beginning students. The first section is played slowly. Listen to the recording to get an idea of the feel. Pay particular attention to pitch when bending the 1st string at measure 5. At measure 10, the song begins at the indicated tempo, and the rhythm track begins here. This arrangement is fairly basic until you get to the second section beginning at measure 43. The triplets are played using the hammer-on, pull-off technique. The triplet in measure 58 is played using pull-offs. The "B" section is played using the "floating" chord shapes approach. These chords move around a lot; practice slowly to get the notes to ring out clearly. For all crosspicked tunes, pay attention to the accents to bring out the melody. This tune is played out of chord shapes, some of which may be unfamiliar. The key to making this arrangement sound smooth is to find those shapes and hold them down. Listen to the recording to get an idea of where the accents fall.

WHISKEY BEFORE BREAKFAST
Your guitar should be in drop-D tuning for this arrangement. Normally this song begins with a pickup (one or more notes immediately before a bar line that begin a melody or phrase). But I have not used one here. The first two bars of the song and most of the melody are scalar in structure. The first break is played mainly from first position open chord scale forms. I've stayed with the melody, and any deviations are diatonic in nature (all the notes are contained within the key). The slide in measure 21 does not originate from any particular note, although I normally slide from the D at the 3rd fret. I've inserted two endings for the first break to demonstrate two possible ways to end one break and lead into another. The first takes you back to the first note of measure 1, while the second leads into the second break-you can use either ending, depending on the arrangement you want to use. The 32nd note figure at the end of ending 1 would be considered a pickup figure. Most fiddle tunes end on the first note of the final measure or the third note of the final measure of the break, which leaves one or two beats for the pickup. If you are in ajam situation and want to use one of these breaks, you can use a pickup or just begin on beat 1 of the break. The second break begins at measure 35. Its first section, which runs to measure 50, is played in 7th position. The econd section of this break, which tarts at measure 52. begins in 10th position. Measures 54 and 55 are played using harmonics. Measure 56 begins a sequence of descending 6th intervals-they move diatonically down the fretboard. The section then repeats. The third break begins at measure 68 and is based on the open string sound called "floating." I've indicated that you should let the strings ring into one another. This section is easier if you notice the note groupings and playas if you are holding chords or chord fragments. The "B" section of this break should be played in a similar fashion. Let all the notes ring for their full values. Note that measures 100-104 are a Tag to provide an ending for the song. I've stayed close to the melody in this arrangement and used predominately notes contained within the D major scale. I've done this to show the enormous possibilities that are contained within a scale. You can use rhythmic variety to add interest, as well as such guitar tricks as harmonics, "floating" notes, and slurs (hammer-ons, pull-offs, and slides), but there are many other possibilities as well. You can use pedal tones and play the melody against these. You can even play the melody using harmonic intervals such as 3rds, 4ths, 5ths, octaves, etc. An interesting and challenging exercise is to take every other note and raise or lower it an octave.

 

Alabama Jubilee
Angeline The Baker
The Beaumont Rag
Bill Cheatham
Blackberry Blossom
Cluck Old Hen
Ragtime Annie
The Red Haired Boy
St. Anne's Reel
Whiskey Before Breakfast

 

Alabama Jubilee
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

 
Angeline the Baker
Solo Performance
 
Beaumont Rag
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
 
Bill Cheatham
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
 
Blackberry Blossom
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
 
Cluck Old Hen
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
 
Ragtime Annie
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
 
Red Haired Boy
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
 
St. Anne's Reel
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
 
Whiskey Before Breakfast
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along
Price: €20,99
€20,99

FINGERPICKING ACOUSTIC ROCK 14 Songs Arranged for Solo Guitar TABLATURE LIBRO SPARTITI CHITARRA

FINGERPICKING ACOUSTIC ROCK, 14 Songs Arranged for Solo Guitar. Angie -Babe, I'm Gonna Leave You -Band on the Run -Bridge over Troubled Water -Every Rose Has Its Thorn -I'd Love to Change the World -Knockin' on Heaven's Door -Landslide -Layla -More Than Words -Norwegian Wood -Seven Bridges Road -Suite: Judy Blue Eyes -Wanted Dead or Alive. TABLATURE

Standard Notation & Tab
Series: Guitar Solo
Softcover - TAB
Artist: Various

The arrangements in this book are carefully written for intermediate-level guitarists. Each solo combines melody and harmony in one superb fingerpicking arrangement. Also includes an easy introduction to basic fingerstyle guitar. 14 songs:

1973 - Angie - Mick Jagger, Keith Richards - ROLLING STONES
1969 - Babe, I'm Gonna Leave You - Anne Bredon, Jimmy Page, Robert Plant - LED ZEPPELIN
1974 - Band On The Run - Paul McCartney, Linda McCartney  
1969 - Bridge Over Troubled Water -Paul Simon - SIMON & GARFUNKEL
1988 - Every Rose Has Its Thorn - Bobby Dall, Brett Michaels, Bruce Johannesson, Rikki Rockett - POISON
1971 - I'd Love To Change The World - Alvin Lee
1973 - Knockin' On Heaven's Door - Bob Dylan
1975 - Landslide - Stevie Nicks - FLEETWOOD MAC
1970 - Layla - Eric Clapton, Jim Gordon
1990 - More Than Words - Nuno Bettencourt, Gary Cherone - EXTREME
1965 - Norwegian Wood (This Bird Has Flown) - John Lennon, Paul McCartney
1969 - Seven Bridges Road - Stephen T. Young - STEVE YOUNG
1970 - Suite: Judy Blue Eyes - Stephen Stills - CROSBY, STILLS AND NASH
1986 - Wanted Dead Or Alive - Jon Bon Jovi, Richie Sambora - BON JOVI

64 pages

Price: €16,99
€16,99

FINGERSTYLE GUITAR STANDARDS, 15 Classic Songs Arranged for Solo Guitar. Bill Piburn. CD TABLATURE

FINGERSTYLE GUITAR STANDARDS, 15 Classic Songs Arranged for Solo Guitar. CD TAB.

Series: Guitar Solo
Softcover with CD - TAB
Author: Bill Piburn

15 more tunes for your fingerpicking repertoire, including:

Autumn Leaves
Cast Your Fate To The Wind
Cheek To Cheek
A Day In The Life Of A Fool (Manha De Carnaval)
Georgia On My Mind
It's Only A Paper Moon
Moon River
My Romance
The Nearness Of You
Route 66
Sentimental Journey
Stompin' At The Savoy
This Can't Be Love
When Sunny Gets Blue
You Are My Sunshine

54 pages.

Price: €18,99
€18,99

50 GREAT CLASSICAL GUITAR SOLOS Howard Wallach-Carcassi-Dowland-Giuliani-Handel-Sor-Tárrega

50 GREAT CLASSICAL GUITAR SOLOS, Howard Wallach. Bach, Carcassi, Dowland, Giuliani, Handel, Sor, Tárrega, e altri. 114 pagine. TABLATURE

Series: Guitar
Publisher: Cherry Lane Music
Softcover - TAB
Arranger: Howard Wallach

Covering music from the Renaissance, Baroque, Classic and Romantic eras, this fabulous collection includes 50 solos in notes and tab from Bach, Carcassi, Dowland, Giuliani, Handel, Sor, Tárrega and other acclaimed composers. 114 pages

 

Types of Dances and Pieces

Pavan = A dance of Italian origin popular in the 16 th and 17 th centuries. It was in simple duple time and of stately character.

Villanella = Street song popular in the 16 th Century, also a type of part-song less complex than the madrigal.

Finale = The last movement of a work in several movements.

Chaconna = Originally a dance of 3-in-a-measure rhythms, with the music built on (over) a ground bass. Sometimes there is no actual ground bass, but the music falls into a number of short sections similar to those written over a ground bass.

Bouree = A lively dance in quadruple time beginning with an up beat.

Allemanda = A dance usually in 4/4, but sometimes in duple meter. Often found as the
first dance of a suite. It is serious in character and of moderate speed.

Romanesca = 1) A kind of galliard from Romagna.
2) A certain melody popular in the 17 th Century as a ground bass.

Volta = A quick dance in triple meter; also known as "Lavolta" or ILaVolta,"
similar to the galliard.

Courante = A French dance popular in the 17 th and 18 th centuries and commonly found in the baroque suite. There are two types:
1) The Italian variety: rapid tempo in simple triple time.
2) The French variety: similar to the Italian, but with a different character and in quadruple meter.

Menuet = - A stately court dance of the 17 th and 18 th centuries in triple time. It was an optional movement of the suite and is found later in the classical symphonies of Haydn and Mozart.

Passepied = A lively dance in 3/8 or 6/8 time, which originated amongst French sailors, and later became popular at court.

Sarabande = A slow and stately dance form in triple time. It was a standard movement
of the baroque suite. There had existed an earlier, lively version.

Waltz = A dance in 3/4 time which came into prominence in the last quarter of the 18 th
Century. It rose to tremendous popularity in the 19 th Century, especially in Vienna.

Caprice = A light, quick composition with an improvisational feel, often including
striking or original effects.

Bagatelle = A short unpretentious instrumental composition; a trifle.

Landler = A type of slow waltz originating in northern Austria.

Prelude = A piece of music which precedes something else. In the 19 th and 20 th centuries, a self-contained short instrumental piece which sets a mood.

Mazurka = A traditional Polish country dance in triple time with an accentuation of the second beat of each measure and an ending of the phrases on that beat.

 

Table of Contents
Signs, Symbols, and Terms .
Found in this Book
Music of the Renaissance
Pavan V Milan .
Pavan VI Milan .
Polish Dance I Anonymous .
Polish Dance II Anonymous .
Villa nella Dlugoraj .
Finale Dlugoraj .
Pa van Byr d .
Mr. Dowland's Midnight Dowland .
My Lord Willoughby's Dowland .
Welcome Home
Music of the Baroque Era
La Chaconna Vallet .
B0urre e Va IIe t .
Allemanda Calvi .
Romanesca Calvi .
Volta Galilei .
Courante Sweelinck .
Menuet de Visee .
B0urre e de Vise e .
Passepied I Le Cocq .
Passepied II Le Cocq .
Menuet Handel '
Oh Sacred Head Now Wounded Bach .
Sarabande Bach .
Bourre e Bach .

Music of the Classic Era
Study in G Major Aguado '
Wa Itz Aguado ,
Andantino Carulli .
Waltz Caru Iii .
Andante Carulli .
Study in A Major Carcassi .
Study in E Minor Carcassi .
Ca price Carcassi .
Allegretto Giuliani .
Andantino Giuliani .
Study in A Minor Giuliani .
Andante Sor .
Study in A Major Sor .
Study in D Major Sor .
Minuet Sor .
Music of the Romantic Era
Bagatelle Schumann .
LandIer I Mertz .
Landler II Mertz .
Study in C Major Coste .
Study in A Minor Coste .
Prelude Coste .
Russian Song Tchaikovsky .
Prelude in D Major Tarrega .
Prelude (Endecha) Tarrega .
Prelude in D Minor Tarrega .
Prelude in E Major Tarrega .
Mazurka Tarrega.
 

Price: €19,99
€19,99

FOO FIGHTERS Guitar Play-Along Volume 56 CD TABLATURE BASI CHITARRA SPARTITI LIBRO

FOO FIGHTERS, Guitar Play-Along Volume 56. CD TAB.

Series: Guitar Play-Along
Softcover with CD - TAB
Artist: Foo Fighters

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch!
72 pages

SONGS:
Table of contents
All My Life
Best Of You
DOA
I'll Stick Around
Learn To Fly
Monkey Wrench
My Hero
This Is A Call

Price: €22,99
€22,99
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