LIBRO CON CD

JAMAICA, GUITAR ATLAS. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

Your passport to a new world of music
By Raleigh Green

SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Jamaican music is loved throughout the world for its laid-back feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles, from reggae rhythms in the songs of popular bands like The Police, to ska beats in the music of groups such as The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-inspired style popular in the 1950s) to modern styles like dub (an electronic form of reggae). You’ll learn about the spiritual influence of the Rastafarian religion and explore the work of numerous Jamaican musicians, including Lord Flea, Count Lasher, The Maytals, The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin, and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.

The CD demonstrates all the examples and compositions featured in the book.

Guitar Atlas Jamaica. (Your passport to a new world of music). By Raleigh Green. For Guitar. Guitar Method or Supplement; Method/Instruction. National Guitar Workshop: Guitar Atlas. Multicultural; World. Book & CD. Published by Alfred Music Publishing (AP.33486). ISBN 0739062816. Multicultural; World.

Guitar Atlas:jamaica is an introduction to the rich musical tradition of
jamaica. From a guitarist's perspective, there is much to love in jamaican
music, especially the guitar-centric styles of mento, ska, rocksteady, and
reggae. In this book, the most important jamaican musicians, guitarists, styles,
and techniques are demonstrated through numerous musical examples. Most of these
examples are meant to be played with a pick, although there is some fingerpicking as
well. You will get the most from this book if you have experience reading standard
music notation and/or TAB, as well as some experience with common open chords,
barre chords, and basic guitar technique. The Notation Guide on page 3 should help
you with any unfamiliar notation. Welcome to Guitar Atlas: jamaica, and let's begin our journey!

Jamaican music is loved throughout the world for its laidback feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles-from reggae rhythms in the songs of popular bands like The Police to ska beats in the music of groups like The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-like style popular in the 1950s) to modern styles like dub (an electronic form of reggae).You'll learn about the spiritual influence of the Rastafari religion and explore the work of numerous Jamaican musicians, including Lord Flea,Count Lasher,The Maytals,The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin,and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.
The CD demonstrates all the examples and compositions featured in the book.

JAMAICAN HISTORY
The island of jamaica is located in the Caribbean Sea. It is situated 90 miles south of
Cuba and is a part of the Greater Antilles, a group of islands that also incluJe~ Puerto
Rico and Hispaniola. With a tumultuous history of slavery, war, poverty, and natural
disasters, jamaica is a true melting pot of mixed ethnicities. jamaica is smaller than the
state of Connecticut, however, the global impact that this Caribbean island has had on
the rest of the world is enormous.
When Christopher Columbus first arrived to jamaica in 1494, the native Arawak people
(also known as Taino Indians) had already been there since 650 A.D. Sadly, soon after
Spain's occupation of the country began in 1509, the indigenous population was wiped
out by slavery, disease, and war. By 1655, Britain seized jamaica and soon, through
intense colonization and a booming slave trade, Jamaica became the largest producer
of sugar in the world. After many uprisings, slavery was abolished in 1838. In 1872,
Kingston became the capitol, and in 1962, jamaica became an independent nation.

JAMAICAN MUSIC OVERVIEW
In the early 19th century, when the percussive musical traditions brought over by West
Mrican slaves mixed with the music of the European quadrille (a precursor to the square
dance), the jamaican folk music style called mento was born. Mento was jamaica's most
popular music throughout the 1930s and 1940s; however, during this period, American
jazz also became immensely popular in jamaica. By the 1950s, mento was still alive,
but American R&B had largely taken hold of the jamaican popular music scene. In
the 1960s, all of these various influences came together to create a unique jamaican
musical style called ska.
The quick tempo of ska was a reflection of the upbeat mood in jamaica after gaining
independence in 1962. jamaicans soon observed, however, that serious social problems
remained, and in 1966, the music changed with the mood. A new style called rocksteady
emerged, replacing the upbeat pace of ska with a much slower feel. A short-lived
movement, rocksteady was only around for two years when jamaica's most famous
musical style, reggae,was born. From the late 1960s to the mid-1980s, reggae became
a worldwide sensation. During this time period, the Rastafari (those belonging to
the religious and cultural Rastafari movement covered on page 33) garnered a strong
association with reggae due to the international fame of Bob Marley and others. English
bands like The Clash and The Police started to incorporate reggae sounds into their own
music. By the latter half of the 20th century, a wide array of reggae subgenres developed,
including dancehall, toasting, dub, raggamuffin, reggaeton, 2-tone, and lovers rock, just to
name a few. Despite being a small island, jamaica and its varied musical traditions have
greatly inspired and influenced musicians and music lovers throughout the world.

A compact disc is included with this book. Using it with the book can make learning Track easier and more enjoyable. The symbol 1 shown at the left appears next to every example that is on the CD. Use the CD to help ensure that you're capturing the feel of the examples and interpreting the rhythms correctly. The track number below the symbol corresponds directly to the example you want to hear. Track 1 will help you tune to this CD. Enjoy!

Raleigh Green, based in the Boston area, is known for his versatility
as a guitarist and his expertise as a music educator. Proficient in
many styles of music, Raleigh is the author of The Versatile Guitarist
(Alfred/National Guitar Workshop #28243). He teaches guitar at
Phillips Academy in Andover, Massachusetts and is a long-time
instructor for the National Guitar Workshop and DayJams. Raleigh
teaches online guitar lessons at WorkshopLive.com and is endorsed
by D'Addario strings. After receiving a B.F.A. from the University
of Missouri with a concentration in art and computer-aided
multimedia, Raleigh attended the Berklee College of Music where
he graduated summa cum laude and was awarded both the Quincy
Jones Award and the Professional Music Achievement Award.
Raleigh lives in Medford, Massachusetts with his wife, Laura, their
son Cole, and an Australian cattle dog named Max.

ACKNOWLEDGEMENTS
Very special thanks to Laura and Cole, Ken and Linda Green, the Breretons, and all of my friends, students, and colleagues at Phillips Andover Academy; David, Barbara, and Jesse Smolover; Burgess Speed, and everyone else in the Workshop family. Also thanks to Kevin "K-Don" Michaels, Wayne Marshall, and Carl Johnson for research assistance; D'Addario & Co.; and Pete Sweeney and Matthew Liston for playing great music on the CD.
This book is dedicated to Cole Leven Brereton-Green.

NOTATION GUIDE
H = Hammer-on.
P = Pull-off.
SL = Ascending slide.
= Descending slide.
P.M. = Palm Mute.
= Fermata. Pause, or hold note longer than its indicated duration.
> = Accent. Emphasize the note or chord.

1,2,3,4,0 = The left-hand fingers starting with the index finger;
0= open string. Thelen-hand fingers are indicated under the TAB.
rit. = Abbreviation for ritardando. Become gradually slower.
Swing 8ths = Eighth notes written like straight eighth notes, but played with a long-short rhythm that produces the shuffie feel.When Swing Bths appears at the beginning of a piece, eighth notes are played like triplets with the first two eighth notes tieden =.en).
= 185 = Tempo marking. In this case, there are 185 quarter nores, or beats, per minute. (If you have a metronome, set it to 185.
4x = Play four times.
D.S. al Fine = Dal Segno al Fine. Go back to the symbol .. and play to the Fine, which is the end of the piece.

= Staccato. Make note shorter than its indicated duration.
= Chuck. Muted, percussive, unpitched nore.
p, i, m, a = The right-hand fingers starting with the thumb.

= Repeat signs. Repeat music between the two symbols When only the end repeat sign is present, repeat music from the beginning.

ABOUT THE AUTHOR
Acknowledgements
otation Guide

INTRODUCTI0N
Jamaican History
Jamaican Music Overview .

CHAPTER I-Mento
History of Mento
Mento Strumming
Lord of the Fleas
Mento Mama
Men to Lead Melodies
Facing Forward
Check YtJurPockets
Papaya Paradise
Mento-Calypso
Color Me Calypso

CHAPTER 2-Ska
The Beginnings of Ska
Jamaican Lady
The Skank
Straight Ahead
Fountain ofYtJuth
Ska Horn Lines
Strum It Up
Tie the Knot
The Skatalites
Skanks for the Memories

CHAPTER 3-Rocksteady
History of Rocksteady
Slow It Down
Rude Boyfriend
Slow Skank
Keep It Muted
Chill Out Rude Boy
Steady Sixteenths
Stay Steady
Alphabet Soup

CHAPTER 4-Reggae
Early Reggae
Jamaican Peach
Roll with the Punches
All Aboard
The Rastafari Movement and Roots Reggae
The "Bubble"
Never Forget
African Riddim
Reggae Rhythm Embellishment
Back Alley Dreadlock
Dub-Style Effects
The Question

CHAPTER 5-Bob Marley
In the Style of "Stir It Up"
Natty Dreadlock
In the Style of "Rasta Man Chant" .
Nyabinghi Beat
In the Style of "I Shot the Sheriff" .
Dread Man "Walking
In the Style of "Exodus"
On the Run
In the Style of "Redemption Song" .
Rasta Farewell

CHAPTER 6-Ernest Ranglin .
The Journey Begins .
Conclusion
 

ASAP CLASSICAL GUITAR, Learn How to Play the Classical Way, James Douglas Esmond. CD TABLATURE.

LIBRO PER CHITARRA CON CD E TABLATURE

Per chi incomincia a suonare la chitarra classica, ASAP, As Soon As Possible, con il significato di: "al più presto possibile".

Serie: Guitar
Editore: Centerstream Publications
Copertina morbida con CD - TAB
Autore: James Douglas Esmond

Teacher-friendly or for self-study, this book/CD pack for beginning to intermediate guitarists features classical pieces and exercises presented progressively in notes and tab, with each explained thoroughly and performed on the accompanying CD. A great way to learn to play ASAP! 36 pages.

List of piece playing tips and explanations of exercises

R.H.Exercise Group #1
An easy introduction to the most basic finger patterns used in these pieces as well as good reading for the open strings.

R.H.Exercise Group #2
Moreindex and middle combinations. Start slowly and work for balance in the hand and an even tone.

L.H.Exercise #1
Stay on one string for as long as necessary to get perfect. Moving each finger deliberately and independent of others.

L.H.Exercise #2
Work to keep fingers down until they absolutely need to move.

Spanish Theme
Use this as a reinforcing piece for first position reading by saying notes out loud while playing. Index and Middle throughout for the top line. Work this line separately for awhile before adding the Bassline.

Ode to Joy
This piece, like the last is introduced in two parts and the Bassline will require a bit more attention.

Minuet in C
This piece should be approached like the last two but the parts require even more attention. Follow the left hand fingerings very closely. Get the left hand and the Bassline very good before adding together.

R.H.Exercise Group #3
These arpeggiations will be useful and comprehensive in regards to learning the next pieces in the book. Take one at at a time and practice very slowly.

L.H.Exercise #3
The L.H. and RH. should be practiced equally in this exercise. Practice the right hand alone and don't go too fast.

Pastoral Theme
Feel the left hand being free even thought the 3rd finger is rooted to the low G. Practice the top line by itself as well.

Gymnopedie #1
This is the first Chordal piece and therefore working on it by "Blocking" the left hand and just practicing the motions that the left hand uses from ms. to ms. will be beneficial. Also practice the Bassline and right hand motions alone.

New World Theme
Approach this piece the same way as the first three "Break-Down" pieces.

Etude in C
For this piece just looking at the tablature and practicing the arpeggio patterns by themselves with no left hand is a good way to start. Then incorporate blocking the left hand motions as well before putting together slowly.

Etude in A minor
Approach this piece the same way as the Etude in C.

Musette
Approach this piece by breaking up the two lines, but pay very close attention to the top line. De-emphasize the
Bass notes as much as possible. A light touch when holding down the repeated C and G is good for the other fingers.

Academic Festival Overture
Practice the chords that happen on every other beat to start. Try to de-emphasize the middle voices as well.

A Dance
Get familiar with the repeating Bassline in this piece so it can be put into the background while the top voice and middle voices can focused on more. Follow the fingering strictly.

Simple Lamentation
Practice the Bassline a lot by itself, being careful to shape it and work on having a good volume and even tone.

Soldier's March
Practice the chords without worrying about the rhythm at first and then after working the RH. motions, combine.

Sunrise
Approach this piece in the same way as Musette, being careful to have a light left hand, especially when moving up
the neck.

Reflections
Practice the RH. arpeggio pattern by itself before learning the L.H. Focus on some of the harder chord changes.

Adagio
Practice the melody by itself a lot to get a very good, even sound. Make sure to de-emphasize the middle voices.

Musetta's Waltz
Use the same approach as with Adagio, take your time to plant the L.H./ RH. fingers on the ending 8th note run

Cannon
Practice the repeating Bassline first to get it very solid, then work on each 4 measure piece before connecting them.

Eine Kleine Nachtmusic
Special care on the opening octaves should be taken. Be careful not to tense up the right hand on repeated fingerings throughout.

Foreword - How to use the Book
This book, while organized progressively, is constituted of all pieces that are developmental in nature for a beginner's technique. It is therefore recommended but not necessary to go through the book in a stepwise fashion. In addition the pieces can be broken in to several technique categories( i,m studies, arpeggio studies, chordal, etc.) and some pieces fall in to several of these categories. To ease the student into reading on the guitar the pieces have been arrange in very manageable keys, no more than 1# used.
I strongly suggest following all the fingerings that are suggested, however, if there are places in the book where a teacher or student wishes to change a fingering then that should be fine as long as the student adheres to it. There are many options for fingerings on the guitar and the important thing to remember is that the student is building what I like to call a "Technique Memory" and that each piece, or section of a piece can be seen as a set of directions that will, if practiced carefully, be absorbed and adhered readily to the next similar piece. As Guitarists, we are always building towards more difficult pieces but in a way always dealing with some of the same as well so it makes sense to stick closely to fingerings for some time.
Write in even more if necessary.
The exercises and 1st section of Broken-Down pieces are meant to really help the student ease into the book. The exercises do not have to be mastered before studying the pieces, especially due to the reading aspect, but should be incorporated into a daily practice routine.
I hope you enjoy the pieces and find this to be fun and helpful on your journey as a Classical guitarist.

Biography
James Douglas Esmond started playing the guitar
seriously in his teens. He received his Bachelor's
of Music Theory and Classical Guitar performance
from Ithaca College, Ithaca, N.Y.Upon graduating
he became involved in church music. He has held
positions in various churches, as a guitarist, organist,
singer and conductor. In addition to his church
work, he also teaches Guitar and Piano at Blue Sky
Studios in Delmar, N.Y., and writes and arranges
compositions in various genres and styles. He currently
serves as the Organist/Music Coordinator at
Newtonville Methodist Church in Loudonville, N.Y.
He resides in Albany N.Y.with his wife Meighan.

Table of Contents and C.D. Track List

Exercises and Pieces in graded order, with playing Tips

Foreword and Biography

Track 1. -R.H.Exercise Group #1
Track 2. - R.H.Exercise Group #2 .
Track 3. -L.H.Exercise #1 .
Track 4. -L.H.Exercise #2 .
Track 5. -Spanish Theme (Melody and Bassline) .
Track 6. -Spanish Theme .
Track 7. - Ode to Joy (Melody and Bassline) .
Track 8. - Ode to Joy .
Track 9. - Minuet in C (Melody and Bassline) .
Track 10. - Minuet in C .
Track 11. -R.H.Exercise Group #3 .
Track 12. -L.H.Exercise #3 .
Track 13. - Pastoral Theme .
Track 14. - Gymnopedie #1 .
Track 15. - New World Theme .
Track 16. -Etude in C .
Track 17. -Etude in A minor .
Track 18. -Musette .
Track 19. - Academic Festival Overture .
Track 20. - A Dance .
Track 21. - Simple Lamentation .
Track 22. - Soldier's March .
Track 23. - Sunrise .
Track 24. - Reflections .
Track 25. - Adagio .
Track 26. - Musetta's Waltz .
Track 27. - Cannon .
Track 28. - Eine Kleine Nachtmusic .

BUSTER B. JONESJUST US: 14 Complete Notation & Tab Transcriptions. CD TABLATURE

Product Description:
Although his scorching fingerpicking was most impressive at first glance, a closer look at "Just Us" reveals that he is equally adept at what many musicians consider as a more difficult task: playing fewer notes... ones that mean more, and say more with less, as he does on album opener "A Simple Gift", title cut "Just Us", and "One Sad Clown".

"Just Us" is an album consisting largely of his own compositions inspired by his two main guitars "Merle" and "Pearl". Along the way we are treated to a barn-storming version of "Alabama Jubilee" (it must be tunes like this that caused Chet Atkins to say of Jones "He plays like he's double-parked"), "Collage-a-Reed" and "Clawin'" (each inspired by mentor Jerry Reed), while "Let the Sun Shine In" sounds like an instant fingerpicking classic that you could swear you have heard before, but haven't. Including detailed notation on 15 of Buster’s songs from "Just Us", this Book/CD lesson will challenge even the best players. Presented in standard notation and tablature.

Song Title: Composer/Source:

A Second Glance
A Simple Gift
Alabama Jubilee
Be Like Dad
Collage-A-Reed
Flight Path
Just Us
Last Request
Let the Sun Shine In
One Sad Clown
Pierpaolo
Still Live Five
The Thoughts of One
Thom's Thumb

BLUES DELUXE. D. Rubin. All the King's Horses (Luther Allison) -Are You Losing Your Mind? (Buddy Guy) -Don't Take Advantage of Me (Johnny Winter) -Give Me Back My Wig (Hound Dog Taylor) -Gravel Road (Magic Slim) -Look Now, Baby (Son Seals) -Master Charge (Albert Collins) -The Moon Is Full (Albert Collins & Robert Cray) -Somebody Loan Me a Dime (Fenton Robinson) -Two-Headed Man (Lonnie Brooks). CD TAB.

Series: Guitar Masters Series
Format: Softcover with CD - TAB
Author : Dave Rubin
Artist : Various

Learning authentic blues has never been more fun! Not only does this deluxe edition provide accurate transcriptions of ten blues classics plus performance notes and artist bios, it also includes a CD with the original Alligator Records recordings of every song!
120 pages

MOCK'S DON, JAZZ GUITAR MASTERCLASS. CD TAB.

Category: Guitar Method or Supplement
Format: Book & CD
This amazing three-section set of personal lessons with jazz guitar guru Don Mock features hours of personal audio instruction, play-along tracks, and demonstrations, with a complete accompanying book of music examples, exercises, and transcriptions in notation and TAB. Section 1 covers the all-important, Wes Montgomery-inspired Octave Technique. Section 2 is devoted to the target tone concept, which simplifies the improvising process, enabling you to play sophisticated lines that resolve beautifully into the correct chord tones. Section 3 is devoted to turnarounds: short four-chord progressions often found at the end of tunes to setup and return to the beginning.