MEL BAY

FLATPICKIN' THE GOSPELS, BY STEVE KAUFMAN. Compresa: when the saints go marching in, e sweet by and by. CASSETTA TAB.

DELUXE PEDAL STEEL GUITAR METHOD, DEWITT SCOTT. CD TABLATURE

Product Description:
This is the standard-bearer for pedal steel instruction books. It is extremely comprehensive in scope. Written by DeWitt Scott, founder of the International Pedal Steel Guitar Convention and member of the Pedal Steel Guitar Hall of Fame, this course teaches E9 tuning, Nashville set-up pedal steel with three floor and three knee levers. If you want to learn pedal steel, this book will show you how. The accompanying CD is in split-track format, allowing the student to play with the rhythm accompaniment, the pedal-steel solo parts, or both.

93849BCD
Format: Book/CD Set
200 PAGES

FINGER HARMONICS
Another form of harmonics is the finger harmonic. You use the 3rd
or ring finger of the right hand. You must place the center of the tip
of the finger on the string on which you are to produce the harmonic.
The thumb is tucked under the ring finger, actually anchored on the
ring finger and stays there while the thumb picks the proper string.
The thumb is now playing behind the finger instead of in front of
it, as in the other harmonic positions. On a 15 fret harmonic, the
thumb will be picking the string at about the 18th fret.

KNUCKLE HARMONICS
This is the most difficult style but it is just as beautiful if not more
clear than all the others. With this style, you tuck the 3rd and 4th
fingers of the right hand under and lightly touch the string with the
knuckle. It is a clear harmonic, especially when played close to the bar.
NOTE: With the knuckle and palm harmonic styles it is possible to pick one string with
harmonics and another normally. This produces a very nice effect which we will demonstrate
on the following pages.

TABLE OF CONTENTS
A Note To Teachers. .
The Pedal Steel Guitar
Setting Up The Pedal Steel . . . .
Steel Guitar Equipment
Right and Left Hand Positions . . . . . .
E Ninth Chromatic Pedal Tuning Chart. . . .
Tuning The Pedal Steel Guitar . . . .
The Rudiments Of Music. . . . . . . . .
Gliss or Slides . . . .
Tablature Instructions. . .
Goodnight Ladies. . . . . . . .
Red River Valley . . . . . . . . .
Playing the Intro/Mary's Waltz.
The Vibrato
Notes C,D,E . . . . . . . . .
Exercises. . . . . . . . .
Sidewalks of Nashville . . . . . . .
Notes, F,G,A . . . . . . .
Banks Of The Ohio . . . . . . . . . .
Sandy Ann . . . . . . . . . .
Mexican Dance
Notes B, C, D and E-Precious Memories
Wildwood Flower. .
Notes B, A and G-The Tie. . . . .
Careless Love/Bile Dem Cabbage Down. . ..
Red River Valley
Grandfather's Clock. . ..
Wreck Of The Old 97 . . . . . . . . . . . . . . . . . .
Two Notes-Clock Wise. .
Exercises. .
Harmony In Sixth
Swedish Waltz-Thirds and Sixths
I'm Thinking Tonight Of My Blue Eyes. . .
Volume Pedal . . . . . . . . . . .
Three String Waltz . .
Waltzing With Brenda .
Alternate Picking. . . . . . . ..
Careless Love-In Harmony
Sharps, Flats, (natural sign) . .
Stealin' The Sharps . . . . . . . .
Exercise With Sharps . . . . . . .
Stealin' The Flats .
The Natural
Chromatics . . . . . . . . . . . .
Precious Memories In Harmony
Lovely Maori Girl
The Eighth Note-Bile Dem Cabbage Down. .
Speed Picking Exercise. . . . . . . .
Wildwood Flower . . . . . . . . . . . . .
Little Brown Jug. . . . . . . . . . . . . .
Major Scale. . . . . . . . . . . . .
Exercises. . . . . . . . . . . .
Joy To The World. . . . . . . . . . . . . .
C Scale Harmonized. . . . . . . . . . . . . . . .
Scale Exercises. . . . . . . . . . . .
Three Principal Chords . . . . . . .
Major Chords . . . . . . . . .
Chord Harmony . . . .
Two Position Tune. . . . . . . . . . . . . . . . . . . .
C,F,G, Chords. . . . . . . . . . . . . . . . . . . . .
Chord Theory .
On Top Of Old Smokey. . . . . . . . . . . . . . . . . .
Sweet Hour Of Prayer. . . . . . . . . . . . . . . .
The E Knee Lever. . . . . . . . . . . . . .
The Three Principal Chords . . . . . . . .
V7 to I Chord. . . . . . . . . . . . . . . . . . . .
The Slur
There Is A Tavern In The Town
Country Style Steel . . . . . . . . . . . .
More E Knee Lever. .
B 6th Tuning . .
More About 86 Tuning . . . . . . . . . .
C ~ixth Harmony. .
Byrds . . . . . . . . . . . . . .
Key Of A Minor . . . . . . . .
Studies In A Minor .
Relative Minor Chord .
A Minor Accident -Up from the Minors .
Beneath The Cross Of Jesus .
Use Of The Third Pedal .
Band C Pedal Exercise .
B and C Progressions .
Hawaiian Shores .
Can I Sleep In Your Barn Tonight, Mister? .
Key of G .
Scottish Waltz with Chords .
She'll Be Comin Around The Mountain .
A Denmark Aloha .
Review .
E Minor Chords .
Greensleeves . . .
Scarborough Fair . . . . .
Key Of F . . .
F Scale in Thirds and Sixths .
Triplet Note/Amazing Grace. . . . . . . . . .
D Knee Lever .
F Knee Lever . . . . . . . . . . . . . .
Theory .
My Wild Irish Rose .
C Major, C Minor, C Diminished Positions .
Three Finger Roll . . . . . . . . . .. . . . . . . . . . .
Just An Old Fashioned Song .
Where Do I Go From Here. . . . .
Like Paradise . . . . . . . . . .. .. . .
When You And I Were Young .
Key Of D . . . . . . . . . . . . . . .
D Scale Harmonized-Nashville Waltz
Three Principal Chords in Key Of D . . .
More D-G-A7 Locations .
I'll Be All Smiles Tonight .
Marine's Hymn .
Harmonics .
Palm Harmonics .
Finger Harmonics-Knuckle Harmonics. . .
How to Write Harmonics .
Old Black Joe. . . . . . . . . . . .
Responsive Hallelujah .
Holy, Holy, Holy .
Aloha Oe . . . .
Wild Mountain Thyme .
Four Roses. . . . . . . . . . . . . . . . . .
Aura Lee. . . . .
Key Of A .. . .
Three l'rincipal Chords in A
Wabash Cannonball .
Bringing In The Sheaves . .
BeeCee Swing. . . . . . . . . . . . . .
The Augmented Chord . .
Augmented Progression .
Modulation. . . . .
Substitute Chords
More Examples . .
When The Saints Go Marching In
More About Chords .
Shenandoah.. . . . . . . . .. .
House Of The Rising Sun. . .
Bossa Nova. . .
B Bonnie Bop. . .
Fast Picking. . . .
Triplet and 8th Note Exercise-A Tricky Intro.
Theory . . . . . . . . . . .
Key Signatures.
Major Scales. . . . . . . . . .
The Tetrachord . . . . . . . . . . . . . . . .
Intervals . . . . .
Chord Construction .
Neck Tuning Charts
Chords In One Position. . .
Chord Spelling Chart .
The umber System Explained .
2 Major Scales .
 

HILAND JOHNNY, LICKS & TRICKS VOL.1. CD TAB.

Product Description:
Recorded lessons from one of America's greatest guitarists Johnny Hiland teaches essential Licks and Tricks every great Blues and Rock player should know. Lessons in standard notation and TAB with complete audio instruction.

Song Title: Composer/Source:
Bending Blues Licks Johnny Hiland
Blues Rhythm Pattern Johnny Hiland
Classic Blues Licks Johnny Hiland
Heavy Metal Style Harmonics Johnny Hiland
Pick-Hand Finger Tapping Johnny Hiland
Slide Licks in Standard Tuning Johnny Hiland
Slide/Rhythm Licks in Open G Tuning Johnny Hiland

BOSSA NOVA AND SAMBA FOR GUITAR, M. Christiansen. CD TAB.

Product Description:
This book contains the elements necessary to learn to play authentic bossa nova and samba accompaniment patterns. The material is presented in a sequential easy-to-follow format. As well as accompaniment techniques, the book contains sections on chord voicings, common progressions, and playing bossa nova and samba solos. The student is taught how to apply the techniques to sheet music and lead sheets. All of the examples are demonstrated on the accompanying CD.

Song Title: Composer/Source:
Accompaniment Patterns
Altered Chords
Chord Embellishment
Chromatic Bass Line
Combining Accompaniment Patterns with Arpeggios
Common Chord Progressions
Four-String Chords
Movement
Notation
Pickstyle
Playing Bossa Nova and Samba Solo Guitar
Samba
Slash Chords
Stop-Time Patterns
Syncopation
Two-Measure Patterns

SOR IN TABLATURE, BEN BOLT. 2CD TABLATURE

LIBRO CON 2 CD E TABLATURE

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

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

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

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

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

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