MEL BAY

NORTHERN ITALIAN & TICINO REGION FOLK SONGS FOR MANDOLIN-Carlo Aonzo-Ponzoni-Borsani CD TABLATURE

NORTHERN ITALIAN & TICINO REGION FOLK SONGS FOR MANDOLIN. Carlo Aonzo, Clara Ponzoni, Giorgio Borsani. CD TABLATURE

Ticino is a small area at the southernmost tip of Switzerland on the border with Italy. The Ticino region was actually part of Italy until a few centuries ago. The mandolin arrived in Ticino through immigrants and their music, and put down important cultural roots there. The mandolin style in Ticino is a link to the old Italian folk music tradition, which has been largely lost in Italy and throughout other parts of the world. This book is a collection of some of the most famous pieces from this vast historical repertoire. The collection includes lots of popular folk songs, virtuosic pieces by original mandolin composers, as well as an original Aonzo composition. The book is presented in English and in Italian while the music is in standard notation and mandolin tablature. 

PREFACE
In a small area in the south of Switzerland, right on the border with Italy, there is the Ticino. This small territor)j until a few centuries ago was part of Italy, has therefore various shades of Italian culture, although part of Switzerland. Ticino (like the remaining part of the nation) had a great economic and industrial development since the end of 19th century. Then it was transformed from a land of emigrants (from Ticino to America) in a land of immigration. It's probably just due to immigration of many Italians that the mandolin arrived in Ticino, and took important roots, and become one of the main elements of the local cultural heritage. In Ticino, in fact there is a high density of musicians and mandolin orchestras. Mandolin music has a great tradition of aggregation and celebration. Even today it grows spontaneously among musicians and fans who are happy to spend some time together enriched with mandolins, guitars, bass, singing, accordion and other instruments. This way of playing that has been lost in Italy and in other parts of the world, but in Ticino still stands. Polkas, songs, waltzes, mazurkas, opera arias, serenades still resound until late in the meeting places. All accompanied by good traditional wine and food. In addition to spontaneous music, there are many mandolin orchestras, playing written repertoire for this kind of ensemble (which is not the aim of this book). The spontaneous repertoire is rather huge, and linked to the ability and knowledge of the individual musicians. It ranges from popular songs (many have unknown authors) to the original mandolin composers, through music handed down by oral tradition (many musicians could not read music) to the repertoire of great virtuosity. Significant sources were the magazines published in Italy by the end of 19th centur)j which were issued every two weeks and that subscribers waited anxiously ("II plettro", "II mandolino", and others ... ). The aim of this book is broadcasting to all the mandolin lovers worldwide the musical culture in Ticino and the joyful and kind liveliness characterizing the Italian Switzerland.

AUTHORS' NOTES
In popular music performer rarely plays with score; composition are learnt, arranged and performed by ear. This is the reason why the written notes are just a trace, and the interpretation is different each time.

CARLO AONZO
He performs regularly in Europe and the United States, where he has established himself as a principal proponent of the classical mandolin. He graduated with honors from the conservatory in Padova. He has played with several musical institutions like the Philharmonic Orchestra of La Scala in Milan and the Nashville Chamber Orchestra. Among his awards are the "Vivaldi" first prize in Venice, and first prize at the Walnut Valley National Mandolin Contest in Winfield Kansas. He has recorded a concert video on the mandolin repertory across the centuries for Mel Bay (Usa). His CDs include "Serenata" (Acoustic Music, Germany), "Traversata" (Acoustic Disc, USA), "Antonio Vivaldi - Concerti per Mandolino e Concerti per Orchestra" (EDT,Torino), in 2007 the acclaimed "Kaze", in 2008 "mandolino italiano nel Settecento", and in 2010 "Fantasia Poetica". He leads the "Manhattan Mandolin Workshop" in New York and in 2006 he began the International Italian Accademy for the Mandolin. As a researcher, he has worked on the origins of his instrument and has collaborated with the New Grove Dictionary of Music and Musicians. He edited several mandolin musical publications and gives presentations on the iconography of the mandolin, in institutions such as Boston University and the National Instrument Museum in Rome.

GIORGIO BORSANI
Born in Como (Northern Italy), he began studying classical guitar at the age of 12, graduating at the Conservatory "Giuseppe Nicolini" in Piacenza. Currently has partnerships with several ensembles, also as soloist, and is a member of some plucked orchestras in Switzerland and in Italy. Along with concert activity he supports the didactics, he taught in various music schools and is responsible for instrumental training in mandolin ensembles in Switzerland and works in the organization of national and international music courses. He's also involved the organization of concerts and musical events and degreed in Economics for Arts, Culture and Communication.

CLARA PONZONI BORSANI
Born and grown in Switzerland, she began studying mandolin orchestras when she was a child in the local plucked orchestras and pursued her studied with Carlo Aonzo. She plays in some mandolin orchestras, in duo with classical guitar (Duo Vivace) and as a soloist or chamber orchestras. The repertoire ranges from folk to contemporary music. He regularly gives concerts in Switzerland and abroad. In addition to the musical activity, deals with teaching and organization of national and international music courses as Maestro Aonzo' collaborator.
 

Al Grott del Fin - Remo Giambonini

Carnevale di Venezia - Arr. Carlo Munier
Cesarina - Cesare Pezzolo
Czardas - Vittorio Monti
Graziella - Pino Guerra
L’Alborela - Remo Giambonini
La Sisina - Traditional
Nina Pancha - José Garcia
Ninna nanna - Giuseppe Aonzo
Oh Katia! - Traditional
Polca del Dorin - Traditional
Scugnizza Remo - Giambonini
Speranze perdute - Alessandro Morelli
Tarantella - Raffaele Calace
Tra veglia e sonno - Luigi Canora
Vulcano - Mario Cavallari

Price: €32,99
€32,99

POPULAR GUITAR STYLES REGGAE & MUSIC OF THE ISLANDS Burkhard Buck Wolters CD TABLATURE

 

POPULAR GUITAR STYLES, REGGAE & MUSIC OF THE ISLANDS. Burkhard Buck Wolters. CD TABLATURE

 

Popular Guitar Styles: Reggae and Music of the Islands reflects recent popular styles and transfers them to classical or fingerstyle technique. Guitar players who want to add reggae or Island music to their solo-repertoire will find an original and unique collection of compositions which will give joy to both players and listeners. The playing-level is intermediate to advance. Left-hand difficulties like barres and stretches are minimized as much as possible to make it easy to make the music groove. Written in notation and TABLATURE.

Series: Popular Guitar Styles

Price: €29,99
€29,99

EMMANUEL TOMMY AND FRANK VIGNOLA JUST BETWEEN FRETS LIBRO guitar TABLATURE Reinhardt SWING

 

EMMANUEL TOMMY AND FRANK VIGNOLA, JUST BETWEEN FRETS. TABLATURE

 

by Tommy Emmanuel & Frank Vignola ; transcribed by Vinney Raniolo

Product Description:

Just Betweens Frets is the latest collaboration of Tommy Emmanuel and Frank Vignola. Frank and Tommy turn many a well known tunes inside out with their virtuosity and unique chemistry as a duo, creating a non-stop chain of magical musical moments that were captured in a couple of spontaneous recording sessions. This book is a transcription of the album and features standard notation and tablature for both Frank’s and Tommy’s parts. Tunes include: Paper Moon, How High the Moon, Clouds and many more.

 

 

Tenderly

Clouds

How High the Moon

I've Got A Crush On You

Young At Heart

Swing 39/Swing 42

Sweet Dreams

Paper Moon

Django's Castle

Swing 09

Nature Boy

Just Us 4 All

Price: €32,99
€32,99

ANDERSON MURIEL-HOMETOWN LIVE! CD TABLATURE SPARTITI LIBRO CHITARRA ACUSTICA WATER WIDE

ANDERSON MURIEL, HOMETOWN LIVE! CD TABLATURE

Sheet music: 72 pages

Publisher: John August Music, Mel Bay Publications (1995)
Language: English
ISBN-10: 0786614471
ISBN-13: 978-0786614479

 

HOMETOWN LIVE!
by Muriel Anderson
This was originally a song I wrote about one of my favorite hangouts in Nashville (my second home), the Ultra Violet Cafe. Anne Sullivan recorded it as the title track for her CD, Ultra Violet Cafe. Renamed "Hometown/' ·this solo guitar arrangement incorporates the melody into the accompaniment. The basic concept of the composition is an arpeggio - feel with a gentle melody floating over the top. The right hand fingering is crucial to getting the fluid yet rhythmic character, especially in the introduction.
Note where the thumb (p) drops down to play the notes on the third string. Think of the notes played by the thumb as a separate rhythmic figure. Beginning in measure five, bring out the melody notes louder than the accompaniment. In general, the right hand fingering stays to the one-finger-per-string concept; the ring finger (a) plays the first string, the middle finger (m) plays the second string, and the index finger (i) plays the third string, although often the thumb takes the index finger's job and plays the third string. This adds to the cascading feel of the arpeggio. Exceptions: Where there are several consecutive melody notes on the same string, alternate fingers. Two consecutive notes on the third string (measure 24) are played index (i) - thumb (p). As is true of many of the compositions in this collection, some of the accompaniment notes are played so quietly that they are meant to be felt more than heard, These" ghost notes" help to subtly keep the rhythm moving along. After you've been playing the piece for a while, you may vary the accompaniment a little while keeping the chordal structure and feel of the piece intact. Play with dynamic swells and fades. Start by getting louder as the melody goes up and getting softer as the melody goes down. Then vary the dynamics as you feel the melody leads you. Also, sing the melody as you play it, and even make up lyrics to help phrase the melody. The piece ends with right hand harmonics an octave higher than the fretted note. With the right hand, touch the point on the string exactly twelve frets higher than the fretted note with the index finger, and pluck with the ring finger. This leaves the thumb free to play the bass notes.


NOLA by felix Arndt
I discovered Nola when I was experimenting with bluegrass banjo techniques on the guitar; using as many open strings as possible in scale passages and fingerjrg the succeeding notes on different strings. This technique is often called "cross-string fingerings," used extensively by Chet Atkins and others. The notes ring into each other with a harp-like or "cascading" sound. Cross-string fingering also allows the notes to be played more quickly than would be possible otherwise. Some of the left hand fingerings in this transcription are a bit difficult, but necessary in order to keep the notes ringing on as many different strings as possible. When I first started arranging Nola, I played it at a music store for my friend and mandolin teacher Jethro Burns while he played a descending line on the mandolin. With the new line in my ears, I went home to work on incorporating it as an inner voice into my solo arrangement. From measures 21-26, the new line fits into the solo arrangement on beats two and four of the measure (instead of beats one and three where it was originally played). Pay close attention to the fingerings in this section. The descending line is indicated with accents in the arrangement. When Nola is played in the key of G with the 6th string dropped down to D and the 5th string down to G, it is possible to play all the notes of the piano transcription on the guitar (although sometimes in a different octave). In addition, this tuning allows for a great number of open strings in both the melody and bass. As the arrangement evolved, some phrases were modified from the original to maintain the momentum of the piece in a more guitaristic way. The piano version of the long run beginning in measure 54 goes below the range of the guitar.
To change the octave register of these notes would disrupt the shape of the run. Because of the cascading nature of the run, the most graceful resolution to the problem (however nonstandard) was to shorten the run by three eight notes (one beat). This is the reason for the 9/8 bar in measure 55. Another option, to keep consistent 12/8 measures (if you're playing with a drummer, for instance), is to repeat the first three eighth notes at the beginning of measure 56. (These are the notes that are an octave lower in the piano arrangement.) Sometimes the same note functions as a bass note and a melody note. This is indicated in the music by a double note with the stems going in either direction, as in measure four, fourth note. In this case, the double note head indicates the note's (double) musical functions, not to play the same note on two different strings. The notes with x's marked "muffle" are played with a down-stroke with the backs of the nails, bringing the palm down to muffle the strings quickly after they are struck. This creates a percussive effect with just a hint of the harmony. For some right hand fingering suggestions for Nola, refer to Fingerstyle Guitar Magazine, NO.5. If you are comfortable with using the pinkie finger, there are a couple of places in the theme where it would be handy to use it (in addition to the ring, middle, and index fingers.) I originally wrote this arrangement to be played on a Martin 00-21 strung with nylon strings in the bass and steel strings in the treble. Then I came to prefer the sound played on all nylon strings, on my Paul McGill classical guitar.


PERFORMARNCE NOTES
A Roman numeral means to bar all (or part) of that fret. 1/2[Roman numeral] means to bar specifically half way across.
[SQUIGGLY LINE] means to strum down or arpeggiate. In Fantasia de Fuego and In Memory of a Friend, a squiggly line indicates a rasqueado: a down strum with the backs of the finger nails, one finger after another in quick succession starting with the pinkie finger, then ring, middle, index.
Measures are numbered from [!]as the first full measure.
Right hand fingerings are indicated by p = thumb, i = index, m = middle, and a = ring.
Thanks to all my students at Wheaton college who helped me carefully proofread this music. Special thanks to Kathy Tyers. Music typography by Paul Kurtz.

To order Muriel Anderson's recordings:
MURIEL ANDERSON, Elmhurst, IL 60126
Note: Anderson's CD Hometown Live! contains three additional selections not included on the book edition CD.

 

Titles - AUTHOR - YEAR
- Hometown - MURIEL ANDERSON - 1995
- It Never Gets Easier - MURIEL ANDERSON - 1995
- All Thumbs - MARK CASSTEVENS - 1995
- The Three Sisters - MURIEL ANDERSON - 1995
- Arioso - MURIEL ANDERSON - 1995
- Fantasia De Fuego - MURIEL ANDERSON - 1995
- In Memory of a Friend - MURIEL ANDERSON - 1995
- Mister Chester - MURIEL ANDERSON - 1995
- After Tonight - MURIEL ANDERSON - 1995
- Nola - FELIX ARNDT - 1995
- The Water Is Wide - AMERICAN FOLK SONG - 
- Andante From Symphony For a Country Gentleman – JEAN-FELIX LALANNE - 1995

Price: €39,99
€39,99

DYKES DOYLE DYKESOLOGY LIBRO CD GUITAR TABLATURE LIBRO Jazz In the Box-Zaccheus-Amazing Grace

 

DYKES DOYLE, DYKESOLOGY. CD TABLATURE

- Jazz In the Box

- Zaccheus

- Twin Six Shooters

- The Lord's Prayer 

- Laguna Sand

- Mission of St. Holli

- Loving Rita

- Gitarre 2000 

- Amazing Grace

- And Can It Be?

 

Paperback: 79 pages
Publisher: Mel Bay; MB98626BCD edition (1999)
Language: English
ISBN-10: 078665063X
ISBN-13: 978-0786650637

Price: €149,99
€149,99

EMMANUEL TOMMY FINGERSTYLE GUITAR METHOD CD TABLATURE LIBRO METODO CHITARRA FINGERPICKING

 

EMMANUEL TOMMY, FINGERSTYLE GUITAR METHOD. CD TABLATURE

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

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

 

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

GETTING PREPARED

• Make sure your guitar is set up so it is comfortable for you to play.
• Choose a good set of strings
• Get in tune ...
TUNING
• If you have an electronic tuner and you just tune acoustically, that is fine.
• If you plug into a tuner, make sure you turn the microphone off.
• When you have a pick up in your guitar and you plug into the tuner, put the midrange flat out or on the lever,
whichever you understand. That gives the tuner, a real accurate tuner, a sparky signal and you will be able
to get your guitar really and truly in tune.
• It is always a good idea to practice tuning up as well as playing the guitar so you can get use to your guitar
sounding in tune. After a while you will find that you will end up training your own ear into what the sound
of being in tune really is.
NAILS ... ACRYLIC NAILS, NO NAILS OR FINGERPICKS
• What works for you?
• What sound are you going for?
CHOICE OF THUMBPICK
• I use Dunlop medium thumb pick ... not too big, small, thin, or thick ... it is right in the middle, like a
plectrum, but it is wrapped around your thumb.
• Some people use the slick picks, which are thinner.
• It depends on what kind of dynamic or strength you play with. Personally, if I use a slick pick, it would
probably fly across the room after the first bass note.
• I like something that hangs on to my thumb, doesn't make it turn blue on the end and it sticks on your thumb
properly.
• The thumb pick ~hould be pushed back so when you look at your thumb it is covering the end of your nail,
where it meets the flesh, first knuckle joint. When I look down at my thumb, it looks like there is 1/2 inch
of thumb sticking out.
• The thumb has to be independent to the fingers. It is important that you develop the thumb first before you
do anything with the fingers. You have to start training it. This takes time and dedication.
• In the key C. pick C, F, and G to play. Put your fingers down on the place of the guitar where the fret guard
is, down at the mouth. I rest the heal of my palm, the corner of the heal down and I take a little bit of
resonance out of the string to give it that music sound. Leave your fingers down and start with the A string
on the 3rd fret of the C chord. When you can get this slow and steady and use to it, go to C, G, and C.
• It is very important that with each chord change, I start the bass note on the root note. When I am playing
in C, the first note you play is C. Whatever chord you are playing, the first bass note should be the root note,
the note of that chord.
• Practice slowly. Keep the fingers down. Do in any key, E, A, G, B, A ...
• Practice until you can get a good feel, groove going and playing the thumb without the fingers coming up.
Get the thumb going first.
• It is important for you to become good at tapping your foot when you play. Chet use to say, pat your foot. It
will help you with your groove and your time. It will put a bit of bounce and confidence into your playing
and timing. You need to have a good time.
• I always tap my foot on 1 and 3. The only time I don't tap on 1 and 3 is in an extreme situation where I
would playa song where for me to get the right feel on it I would tap on the other beat or where I would tap
like a bass drummer. 
(CONTITUA)
 

Contents

Holding Position

Fingerstyle Notation

Learning to Read Tablature

Dictation Notes with Tommy Emmanuel

Getting Started On Fingerstyle Guitar

Tom's Thumb

Freight Train (simple version)

Freight Train

Mr. Guitar

Dixie McGuire

Thumbpickers Chord Chart  

Price: €24,99
€24,99

EMMANUEL TOMMY ONLY Biskie-DriveTime-Luttrell-Mombasa-padre-Questions-robin-GUITAR TABLATURE LIBRO

EMMANUEL TOMMY, ONLY. Biskie -DriveTime -I've Always Thought Of You -Luttrell -Mombasa -Ol Brother Hubbard -Padre -Questions -Sonce We Met -Stay Close to Me -The Robin -Those Who Wait -Timberlake Road -Train to Dusseldorf. TAB.

Tommy Emmanuel has electrified audiences across the globe. This book contains note-for-note transcriptions of solos from Emmanuel's album Only in standard notation and tablature. Transcribed by Mark Pritcher.

Price: €36,99
€36,99

MUSIC FROM THE BRITISH ISLES FOR ACOUSTIC GUITAR. CD TABLATURE

MUSIC FROM THE BRITISH ISLES. CD TABLATURE

 

Irish Tunes

 

It's by chance or luck that I've written this section of Irish tunes, I was visiting Galway, Ireland, in 1979 and I stepped into a music store and purchased two small books of Irish fiddle tunes by Ted Furey, As I sat in my hotel room, I harmonized the melodies in simple settings. I really enjoyed the music. I heard a knock on the door, and it was another traveller who had heard my playing. She said she had been trying to hear some authentic Irish music. I had to laugh, but that was the start of this section. Most of the tunes presented here were originally for the Irish harp - melodies composed by the blind harper Turlough O'Carolan, who lived ·around 1725. All that has come down to us are just the melodies. I have no doubt that O'Carolan harmonized them; I've tried to arrange these tunes in an authentic style. Another great Irish harper, Roy D'All O'Cahan from 1650, wrote the air "O'Moore's Fair Daughter." The remaining tunes are jigs, reels, and hornpipes. These are popular country dances. The source of most of these tunes is the famous O'Neil Collection published at the turn of the century by Chicago Chief of Police Francis O'Neil. The "Irish Suite" by O'Carolan works very well in concert and is sure to please! The music in this section abounds with originality and the spirit of the Irish Land.

Price: €14,99
€14,99

MASTER ANTHOLOGY OF FINGERSTYLE GUITAR SOLOS VOLUME 2 CD TABLATURE SPARTITI CHITARRA

MASTER ANTHOLOGY OF FINGERSTYLE GUITAR SOLOS, VOLUME 2. Accufuse, Preston Reed -Amico Mio, Andrea Benzoni -Celtic Overs, Jim Goodin -Clover, Colin Reid -Karla's Song, Larry Pattis -Only My Heart, Bill Piburn -Son Of A Gun, Tommy Emmanuel -Spirit Of Brother Marcel, Michael O'dorn -Stringin' The Blues, Michael Fix -Temptation Rag, Henry Lodge; arr. by Lars (Lasse) Johansson -The End Of The Beginning, Jody Fisher -The Return Of The Flute, Rick Ruskin. CD TAB.

Product Description:
This collection of twelve challenging fingerstyle guitar solos in notation and tablature presents works by both relative newcomers and seasoned world-class performers. This eclectic group of compositions should appeal to players and listeners alike, be it country, blues, ragtime, jazz, Celtic, or gorgeous ballads that suit your fancy. It will require serious practice for most guitarists to master these tunes, but the rewards should be commensurate whether you play strictly for your own enjoyment or make your living in whole or in part as a guitarist.

Featured artists include: Andrea Benzoni, Tommy Emmanuel, Jody Fisher, Michael Fix, Jim Goodin, Lars Johansson, Michael O'Dorn, Larry Pattis, Bill Piburn, Preston Reed, Colin Reid, and Rick Ruskin.

Song Title: Composer/Source:

Accufuse Preston Reed
Amico Mio Andrea Benzoni
Celtic Overs Jim Goodin
Clover Colin Reid
Karla's Song Larry Pattis
Only My Heart Bill Piburn
Son Of A Gun Tommy Emmanuel
Spirit Of Brother Marcel Michael O'dorn
Stringin' The Blues Michael Fix
Temptation Rag Henry Lodge; arr. by Lars (Lasse) Johansson
The End Of The Beginning Jody Fisher
The Return Of The Flute Rick Ruskin

Price: €22,99
€22,99

PROCTOR CHRIS ONLY NOW CD GUITAR TABLATURE SPARTITI CHITARRA ACUSTICA LIBRO

PROCTOR CHRIS, ONLY NOW. CD TAB.

Adrenaline
Tap Room
Dialogues
Three Jigs: The Rambler/Kitty's Wedding/Langstrom's Pony
Slickrock Lament
Hotspot
Only Now
October's Window
Anymore

Price: €82,99
€82,99
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