LIBRO

DE LUCIA PACO LA FABULOSA GUITARRA DE-TABLATURE LIBRO SPARTITI CHITARRA FLAMENCO

DE LUCIA PACO, LA FABULOSA GUITARRA DE. TAB.

Paco de Lucía applied modern harmony to the flamenco guitar, exerting a huge influence on the flamenco world. He also advanced guitar technique and established the cajon, a boxlike Peruvian percussion instrument, as a mainstay in flamenco ensembles, further elaborating and solidifying the rhythmic foundation and influencing all facets of the flamenco art form, be it dance (baile), song (cante) or guitar performance (toque). This volume marks the first in a series of collections of chronologically transcribed recordings by this consummate guitarist; It presents works from his first recording, La fabulosa guitarra de Paco de Lucía including: Barrio la viña -De madruga -Farruca de Lucía -Ímpetu -Jerezana -Llanto a Cádiz -Punta del Faro -Punta Umbría. Every effort was made to accurately render this music in standard notation and tablature ultimately approved by the artist himself. A foreword, explanation of notation symbols, and generous performance notes are included in Spanish, English and French.

Price: €59,99
€59,99

DE LUCIA PACO, FANTASIA FLAMENCA. TABLATURE

DE LUCIA PACO, FANTASIA FLAMENCA. Aires de Linares -Mi inspiración -Guajiras de Lucía -Mantilla de Feria -El tempul -Panaderos flamencos, Generalife bajo la luna -Fiesta en Moguer -Lamento Minero -Celosa. Testo en Español, inglés e francés. TABLATURE

Tested and certificated by Paco de Lucía, in persona.

Product Description:

Second in a series of “official” chronological transcriptions of the recordings of renowned flamenco guitarist Paco de Lucía, this book presents ten pieces from his second album, Fantasía flamenca de Paco de Lucía. Meticulously transcribed in standard notation and tablature, selections include: Aires de Linares, Mi inspiración, Guajiras de Lucía, Mantilla de feria, El Tempul, Panaderos flamencos, Generalife bajo la Luna, Fiesta en Moguer, Lamento minero, and Celosa. A foreword, explanation of notation symbols, helpful tips and generous performance notes are provided in English, Spanish and French.

Product Number: 901310315
Format: Book
ISBN: 9790901310315
UPC: 
ISBN13: 9790901310315
Series: RGB ARTE VISUAL
Publisher: RGB ARTE VISUAL
Date Published: 5/27/2004

 

FOREWORD
These last twelve months have been extraordinary. My work as a guitarist have been very intense. I went to the Persian Gulf representing Spain in a crowded festival as a member of a Flamenco Group from Cadiz. This activity lasted forty days with a temperature of 40 degrees Celsius (122° F) !1. After that, I have been playing along Malaga province and Costa del Sol.... Fortunately, this great invention called "laptop" has permitted me to pass a lot of hours working on these astonishing TEN PIECES from the "Genius of Algeciras", that DE LUCIA GESTION is pleased to present to all of you.
 
"Aires de Linares" (Linares (1) tunes), is a "taranta", a free-rhythm style that belongs to the group of styles born in Levante.(2) This piece is played in the traditonal mode phrygian F sharp. It is very important to study carefully the left hand slurs, (mixing hammer on .lnd pull off techniques), to get a good performance.
 
"Mi Inspiracion" (My Inspiration) is an "alegria". (a joyful style born in Cadiz, (3) played in a twelve beat rhythm, as the
 
"solea" and "bulerias" ,but with a faster rhythm than the "solea" and slower than the "Bulerias". "Alegrias" are mostly composed in major tonalities, although it's frecuent to include in this style some slower parts played in minor mode, and then tum back to a faster rhythm in major mode again. Notice this piece needs to tune the 6th string in D.
 
"Guajiras de Lucia" It is a "guajira"( 4). This style is performed alternating 6/8 and 3/4 rhythm, in the same way
"siguiriya" does, but the mode is major here, mostly A, with a brighter "tempo". This piece is really an inmortal masterpiece, a true flamenco "standard", I, personally, have listened it to several classical guitarists in their concerts.
 
"Mantilla de Feria"(5): This beautiful flamenco piece was composed by Esteban de Sanlucar, a flamenco guitarist of the old times.. It is a true concert work We must tune 6th string in D and 5th string in G to perform it.
 
"El Tempul" is a "buleria" with and ending part in minor tonality where Paco shows his unrivaled virtuosity and his extraordinary rhytmic mastery. Notice the special type of "rasgueo" (strum) used from bar 37, performed with right hand ring and index fingers.
 
"Panaderos flamencos" (Flamenco bakers) is another classical piece by Esteban de Sanlucar played in A major, with a 3/4 rhythm, and a similar "tempo" to "Bulerias" style. The speed in the scales combined with the rasgueo rhythmics are a challenge to test the skills of any guitarist hands
 
"Generalife bajo la luna" (The Generalife (6) under the moon). It is a "granaina", a free rhythm style, whose origin is Granada. (Granaina means -from Granada-). This peace is composed in flamenco phrygian B. I recommend to mind the performance of the long arpeggios which include open and pressed strings in the high parts of the fretboard, producing wonderful chords. The same thing can be said about the scale in bar 57, where you have notes with open and pressed strings in frets VII, VIII, or IX, getting a sonority. (let me say it!!) so "crazy"!!
"Fiesta en Moguer"(7) is a "fandango"; this type is called "free fandango, played in phrygian A. Although all fandango types obey to a ternary rhythm, in this case the "compas" (rhythm) is not as rigurous as in the "fandangos de Huelva", so the player has more freedom to perform it.
 
"Lamento Minero" (Mining Sorrow) is a "minera", another style from the Levante region, composed in phrygian G sharp, where Paco includes new harmonizations with a lot of inverted chords whose different soundings seem Flamenco is being "reinvented.". Both in this piece and in "Aires de Linares", a special flamenco technique is used. It is an up & down complete arpeggio. The way to perform it is as follows: It begins with a thumb stroke on 6th string, another on 5th , another on 4th followed by an indexstroke in 3rd, middle stroke in 2nd ,and then the ring finger strikes on the 1st string going up through the strings playing them in the opposite order: 2nd , 3nd 4th, 5th and 6th . To do it properly, please notice the thumb must rest on 5th and 4th strings but not on 3rd. Both index and middle finger don't rest either on the strings (It is an arpeggio movement) but ring finger rest on the 2nd stringafter playing the first and goes up playing and resting on all the strings until 6th . This same technique is often performed begining with a thumb stroke in 4th string, continuing in the same way.
 
"Celosa" (Jealous woman) is a "solea por medio"(8), that is to say it is performed in phrygian A. This piece style is called "solea por bulerias" (solea performed in bulerias style). In next volumes we will see the differences between the "pure solea" and the "solea por bulerias". This one has a brighter rhythm and a "tempo" similar to "alegrias". In several pieces of thi book, we can recognize "falsetas"(9) used by Paco in recording °th The Genius of San Fernando" the genial ...
Price: €55,99
€55,99

SATRIANI JOE, IS THERE LOVE IN SPACE? Play It Like It Is-Cherry Lane Music GUITAR TABLATURE SPARTITI

Since his guitar skills often sound like they come from another planet, ifs no wonder that Joe Satriani seems the ideai person to ponder Is There Lave in Space? Joining such Satriani classics as Nat af This Earth and Surfing with the Alien, his latest Epic Records endeavor further explores his extra-terrestrial mastery of the instrument-albeit

while working in a more comfortably grounded environment. -People have heard my bluesy side, my metal side, and my techno side: he says. "I guess this is my rockin' side."
The 11 diverse cuts on Is There Lave in Space? range from the
pulsating, brash opener, "Gnaahh," to the seven-string menace of
-Hands in the Air," to the poignant ballad "Just Look Up." Yet ali the
tracks are unified by Satriani's love of old-school hard rock.
-l've ta"-en a lot of my cues recently from live performance more than
anything else," he says of solo tours and those shared with fellow
virtuosos in the evolving project G3. "Standing on stage has made me
feel freer to explore some places l've been before and to look for
some avenues I haven't."
Dne of those avenues that is rather novel to Satriani is vocal
duties. Is There Lave in Space? includes two
compositions that feature the instrumentalist taking
command of the mie. "I usually try to find a character to
sing through as a method of creating a vibe on the
song," he explains.
Overthe hammering riff of "Lifestyle," Satriani
summons the same style he adopted when covering
Neil Young during the G3tour, while on the swamprocker"
1 Like the Rain," he dons a ZZ Top hat "Iike a
junior Billy Gibbons."
-My fans know l'm just using the vocals as an effe et to
create an interesting song," he says. "Just like if l'm
playing slide guitar, they know l'm not a dedicated
slide player. l'm not going to make it part of
my signature. What we arrive at is
somewhat cathartic for someone
who doesn't sing."
-I L.i"-e the Rain" also
reatures the album's most
eccenrnc moment, when
!he engine rewing of a
Harley Davidson
becomes an integrai part
af!he song. rtt's a little
synchronicity combined
wiìh serendipity," Satriani
says afIDe circumstances
mat spawned the
recording.) Apparent!y,
while waiting for a guitar
tech lo retum to the studio
wiih a piece or gear, the
band could hear his
momrcycle's rumble
signaling the arrivaI. The crew ran some cables out the control room
doors and into the street to pop the sound onto tape. "It was perfect
because it went with the attitude of the vocals," Satriani says.
Another notable guest appearance involves the musician's young son,
who turns up on the moody-and downright spacey-closer,
"Bamboo." "I coaxed him into Iying on the floor with an electric bass
and playing a couple notes with his violin bow," he remembers. "It
turned out to be great. It was the first thing that we had really done
together that I knew would wind up on a record, so it was exciting for
me. Obviously, he couldn't care less."
Is There Lave in Space? is produced by Satriani, recorded by longtime
collaborator John Cuniberti, and mixed by Mike Fraser. The album
features the performer's core trio of Matt Bissonette on bass and Jeff
Campitelli behind the drums.
With this release, the New York native now boasts 11 solo albums to
his credit-and a staggering 13 Grammy nominations to go along with
them. His records have sold over 10 million cop;es worldwide. In fact,
his sophomore effort, Surfing With the Alien, became the first
instrumental guitar album to crack the Top 40. His Uve in San
Francisca DVD hit the gold rnark, and the first G3 Uve in
Cancert DVD went platinum.
. In addition to his own material, Satriani has recorded
and toured with such artists as Mick Jagger, Deep
Purple, Alice Cooper, and even Spinal Tap. Even
before his 1986 debut Nat of This Earth, Satriani had
become sornething of a cult legend as the guitar
teacher to such future stars as Steve Vai,
Metallica's Kirk Harnmett, Counting Crows' David
Bryson, and jazz artist Charlie Hunter.
Satriani has also becorne a hornetown hero in the
Bay Area, where he resides. He has been recruited
to render the national anthem before San
Francisco 4gers and Giants
games, a;; well as far acrossthe-
bridge neighbors, the
Oakland A's.
It's no wonder he is listed
at NO.8 in Guitar Plaver
rnagazine's "Top 50
Greatest Guitarists PolI."
"My ultimate goal is to
continue playing forever,"
Satriani says. "I hope to
never be tired of it and to
always be searching to
express the life I lead by
taking those experiences
and turning them into
music. Hopefully, the guitar
will be my ongoing
instrument of expression."

 

 


Matching Folio with Note for Note Transcriptions and Tablature for Joe Satriani's Is There Love in Space. Includes the songs: Gnaahh -Up in Flames -Hands in the Air -Lifestyle -Is There Love in Space? -If I Could Fly -The Souls of Distortion -Just Look Up -I Like the Rain -Searching -Bamboo. TAB.

Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Joe Satriani
PHOTOGRAPHY by Greg Watermann

The All Music Guide says that Satriani has "explored many directions, mashing together rock, blues, jazz, and pure technical proficiency in a dizzying blend that bears his unique signature." This matching folio to his 9th album, released in 2004, includes 11 tracks, 112 pages.

Price: €24,99
€24,99

TROWER ROBIN, BRIDGE OF SIGHS. Guitar Recorded Version TABLATURE

 

TROWER ROBIN, BRIDGE OF SIGHS. TABLATURE
 
Robin Trower - Bridge of Sighs
 
Series: Guitar Recorded Version TAB
Artist: Robin Trower
 
All 8 songs from the 1974 recording by this bluesy psychedelic British guitarist. Includes: About to Begin - Bridge of Sighs - Day of the Eagle - The Fool and Me - In This Place - Lady Love - Little Bit of Sympathy - Too Rolling Stoned. The first Robin Trower songbook ever!
 
Inventory #HL 00690683
ISBN: 9780634078491
UPC: 073999172058
Width: 9.0"
Length: 12.0"
80 pages
 
Song List:
About To Begin
Bridge Of Sighs
Day Of The Eagle
The Fool And Me
In This Place
Lady Love
Little Bit Of Sympathy
Too Rolling Stoned
 
 
 
ROBIN TROWER
 
BRIDGE OF SIGHS
(CHRYSALIS, 1974)
PRODUCED BY MATTHEW FISHER
 
ROBIN TROWER KNOWS that Twice Removed from Yesterday,
the 1973 solo debut he made after leaving Procol
Harum, painted the picture of a guitarist very
much obsessed with Jimi Hendrix. "I think I had to
really go through the Jimi Hendrix sort of thing,"
Trower says of the Jimi tones that screamed from the
strings of his Stratocaster on that album. The homage
was a good one, establishing Trower as a guitar force
to be reckoned with after four years of his wallowing
in the keyboard-heavy arrangements of Procol Harum.
But Trower knew that he needed to make more of
an original statement with his sophomore effort. "I
had to develop my own thing for Bridge of Sighs, in
terms of writing and coming up with ideas," he says.
"I'm not saying Bridge of Sighs is not Hendrix-influenced,
but 1think I took it a lot further."
Indeed, the album remains Trower's defining moment,
the quintessential statement of a 25-year career in which
he's played rock, funk, jazz and blues. The Hendrixisms
are still part of his repertoire, but Bridge of Sighs shows
Trower finding a distinctive voice, mixing lightning riffs
with aching, bent-note solos and bluesy vamps-all
within the context of solid, memorable songs.
"I was trying to do what I would call a modern
blueslr&blrock album," Trower explains. '" felt like
I wanted to write a modern blues song, a song that
was like a Bobby Bland, B.B. King kind of thing combined
with some really modern sounds."
Some of the songs on Bridge of Sighs were already
in the works before Trower and his band-singerbassist
James Dewar and drummer Reg Isadorebegan
recording the album. Two of the songs, "Lady
Love" and "Little Bit of Sympathy," were leftovers
from the Twice Removed from Yesterday sessions,
and the trio had been playing them in their live S'et.
The title track, meanwhile, was written on the
road. "The first time we played it was in San Francisco,
at Winterland," Trower remembers. "I only had
one verse, so Jimmy had to sing the same verse twice.
"We got a standing ovation in the middle of the set
that first time, so we knew we had something there."
"Too Rolling Stoned" was another road song, and
Trower fesses up to copping one of the song's trademark
licks from a James Brown tune. "It was called
'Down and Out in New York City,' and it was from the
movie Black Caesar," Trower says. "I lifted the chord
changes of what I call the 'kind of bridge part' •.. the
turnaround in the song. It's not an uncommon chord
sequence; it's just that I heard it there and thought,
'Well, that's nice. That would work really nice.' It's
a bit naughty to do that, but .. ."
He credits another soul singer, Donny Hathaway,
along with the group War as the inspirations for "In
This Place." "I was really into 'The World is a Ghetto'
at that time," he says. "I used to play it all the time."
And "Day of the Eagle," the album's lead-off track
and single, was simply "one of those songs where
you come up with a giant riff, basically," Trower
says. "I remember coming up with it and thinking,
'Yes, please .. : and came up with the lyric pretty
quickly. It's an anti-war song, obviously, isn't it?"
With the trio already tight from months of touring,
and with many of the songs road-tested--including the
two already in the can-Trower says the Bridge of
Sighs sessions went "swimmingly easy." By his recollection,
the group blew into Air London Studios with
producer Matthew Fisher and engineer Geoff Emerick,
and blew out 17 days later with a finished product
Released in early 1974, Bridge of Sighs hit Number
7 on the Billboard charts. Its follow-up, For Earth
Below, actually peaked two places higher, but Bridge
remains the seminal work. Trower freely acknowledges
its stature, still playing four or five of the
album's songs at his shows.
"It's very powerful," says the guitarist. "You listen
to it, and it sounds very complete-just the
strength of the writing, more than any other thing.
That's what sets it apart from perhaps all my other
albums. I just think the writing was very strong."
But, he adds with a laugh, "I can't listen to the
guitar playing on it, not now. I hear it and I just say,
'Oh no, no no. That's no good.' But overall, it just really
works, and I'm glad for that:'
Price: €20,99
€20,99

VAI STEVE SELECTIONS FROM THE ELUSIVE LIGHT AND SOUND VOL. 1 Guitar Recorded Version TABLATURE

VAI STEVE, SELECTIONS FROM THE ELUSIVE LIGHT AND SOUND, VOL. 1. TAB.

32 lavori che Vai ha preparato per film e TV, con la trascrizione della famosa scena del "duello" tra Vai e Ry Cooder, ispirato al capriccio n.5 di Paganini, dal film Crossroads. 256 pagine. Air Guitar Hell -Amazing Grace -Fried Chicken (da Crossroads) -Butler's Bag (due Tab, Vai e Ry Cooder da Crossroads) -Head Cuttin' Duel (due Tab, di Vai e Ry Cooder da Crossroads) -Eugene's Trick Bag (due Tab, William Kanengiser e Vai da Crossroads) -Don't Sweat It -Drive The Hell Out Of Here -Final Guitar Solo -Find The Meat -Get The Hell Out Of Here -Hey Jack -How Hidge -Initiation -Introducing The Wylde Stallions -Louisiana Swamp Swank -Love Blood -Meet The Reaper -Now We Run -Pins & Needles -Plug My Ass In -See Ya Next Year -Still Running -The Ax Will Fall -The Battle -The Cause Heads -The Dark Hallway -The Reaper -The Reaper Rap -We're Not Gonna Protest -Welcome Pre-Frosh -What! TAB.

32 tunes from all of Vai's work for film and TV soundtracks - including transcriptions of the searing duel scene in Crossroads between Vai and Ry Cooder. 256 Pages.

Air Guitar Hell
Amazing Grace
The Ax Will Fall
The Battle
Butler's Bag
The Cause Heads
The Dark Hallway
Don't Sweat It
Drive The Hell Out Of Here
Eugene's Trick Bag
Final Guitar Solo
Find The Meat
Fried Chicken
Get The Hell Out Of Here
Head Cuttin' Duel
Hey Jack
How Hidge
Initiation
Introducing The Wylde Stallions
Louisiana Swamp Swank
Love Blood
Meet The Reaper
Now We Run
Pins & Needles
Plug My Ass In
The Reaper
The Reaper Rap
See Ya Next Year
Still Running
We're Not Gonna Protest
Welcome Pre-Frosh
What!

Series: Guitar Recorded Version

Price: €31,99
€31,99

THE ART AND CRAFT OF MAKING CLASSICAL GUITARS Manuel Rodríguez FLAMENCO chitarra classica liutaio

THE ART AND CRAFT OF MAKING CLASSICAL GUITARS, Manuel Rodríguez.

Rich in beauty, sound and history, Manuel Rodríguez and Sons' classical and flamenco guitars have been lovingly hand-crafted in Madrid since 1905. The company's remarkable creations are just as acclaimed today, capturing the 2000 Player's Choice Award from Acoustic Guitar magazine for its nylon-string model. New from Hal Leonard and for the first time available in English, The Art and Craft of Making Classical Guitars presents master luthier Manuel Rodríguez's thoughts on the history of the instrument he loves, and how the guitar attained its prominent position among musical instruments. Filled with fabulous historical photos, priceless memorabilia, abundant diagrams and more, the book covers topics such as the art and development of the guitar, materials used in construction, and much more. Essential for all admirers of the guitar. 168 pages.

Price: €44,99
€44,99

CLAPTON ERIC ME AND MR. JOHNSON GUITAR TABLATURE LIBRO SPARTITI Come On In My Kitchen

CLAPTON ERIC, ME AND MR. JOHNSON. 32-20 Blues -Come On In My Kitchen -Hell Hound On My Trail -If I Had Possession Over Judgment Day -Kind Hearted Woman Blues -Last Fair Deal Gone Down -Little Queen Of Spades -Love In Vain Blues -Me And The Devil Blues -Milkcow's Calf Blues -Stop Breakin' Down Blues -They're Red Hot -Traveling Riverside Blues -When You Got A Good Friend. TAB.

Series: Guitar Recorded Version TAB
Artist: Eric Clapton
Clapton's tribute to his guitar hero Robert Johnson features 14 classic blues tracks, all transcribed here note for note with tab. 104 pages

Price: €169,99
€169,99

GOOD CHARLOTTE THE CHRONICLES OF LIFE AND DEATH GUITAR TABLATURE LIBRO CHITARRA hal leonard

GOOD CHARLOTTE, THE CHRONICLES OF LIFE AND DEATH. TAB.

Series: Guitar Recorded Version TAB
Artist: Good Charlotte

All 15 tracks from the 2005 release by this East Coast post-grunge group. Includes:
128 pages

Table of contents
The Chronicles Of Life & Death
Falling Away
Ghost Of You
I Just Wanna Live
In This World (Murder)
It Wasn't Enough
Meet My Maker
Mountain
Predictable
S.O.S.
Secrets
The Truth
Walk Away (Maybe)
We Believe
The World Is Black

Price: €49,99
€49,99

QUEEN BEST OF TRANSCRIBED SCORES TABLATURE SPARTITI CHITARRA Crazy Little Thing Called Love

 

QUEEN, BEST OF. TRANSCRIBED SCORES. TABLATURE
 
Series: Transcribed Score TAB
Artist: Queen
 
Play 15 Queen classics note-for-note with these detailed transcriptions that match every instrument used on the original recordings. Songs include: Bohemian Rhapsody - Crazy Little Thing Called Love - I Want It All - I Was Born to Love You - Killer Queen - Somebody to Love - Stone Cold Crazy - Tie Your Mother Down - We Are the Champions - We Will Rock You - and more. 224 pages.
 
Inventory #HL 00672538
ISBN: 9780634087943
UPC: 073999725384
Width: 8.5"
Length: 11.0"
224 pages
 
Songs include:
Bohemian Rhapsody
Crazy Little Thing Called Love
Hammer To Fall
Headlong
I Want It All
I Was Born To Love You
Keep Yourself Alive
Killer Queen
Now I'm Here
Seven Seas Of Rhye
Somebody To Love
Stone Cold Crazy
Tie Your Mother Down
We Are The Champions
We Will Rock You
 
 
 
Songs include:
Bohemian Rhapsody - Words and Music: Freddie Mercury - 1975
Crazy Little Thing Called Love - Words and Music: Freddie Mercury - 1979
Hammer To Fall - Words and Music: Brian May - 1984
Headlong - Words and Music: Freddie Mercury, Brian May, Roger Taylor, John Deacon - 1991
I Want It All - Words and Music: Freddie Mercury, Brian May, Roger Taylor, John Deacon - 1989
I Was Born To Love You - Words and Music: Freddie Mercury - 1995
Keep Yourself Alive - Words and Music: Brian May - 1972
Killer Queen - Words and Music: Freddie Mercury - 1974
Now I'm Here - Words and Music: Brian May - 1974
Seven Seas Of Rhye - Words and Music: Freddie Mercury - 1973
Somebody To Love - Words and Music: Freddie Mercury - 1976
Stone Cold Crazy - Words and Music: Freddie Mercury, Brian May, Roger Taylor, John Deacon - 1974
Tie Your Mother Down - Words and Music: Brian May - 1976
We Are The Champions - Words and Music: Freddie Mercury - 1977
We Will Rock You - Words and Music: Brian May - 1977
Price: €31,99
€31,99

OLD TIME COUNTRY GUITAR BACKUP BASICS, Joseph Weidlich. Hal Leonard TABLATURE

OLD TIME COUNTRY GUITAR BACKUP BASICS, Joseph Weidlich. 
Based on commercial recordings of the 1920's & early 1930's. TABLATURE 

Old Time Country Guitar Backup Basics
Series: Guitar
Publisher: Centerstream Publications
Author: Joseph Weidlich

This instructional book uses commercial recordings from 70 different “sides” from the 1920s and early 1930s as its basis to learn the principal guitar backup techniques commonly used in old-time country music. Topics covered include: boom-chick patterns • bass runs • uses of the pentatonic scale • rhythmic variations • minor chromatic nuances • the use of chromatic passing tones • licks based on chords or chord progressions • and more.

Inventory #HL 00000389
ISBN: 9781574241488
UPC: 073999501247
Width: 9.0"
Length: 12.0"
84 pages

In the rural setting of the South the singing of old songs was often unaccompanied. When music was played away from the home it tended to be for dancing or some kind of contest. The" core" instruments used were usually the fiddle and banjo, where the banjo "seconded" the fiddle. This style goes back to the early 19th century minstrel show [ca. 1843] whose standard instrumentation were the fiddle, banjo, bones and tambourine.

Fiddle. The principal instrument of the old-time music genre was the fiddle, seemingly always the lead instrument. The fiddle served several functions: to provide dance music, to provide accompaniment to the voice, or solo fiddle music without a particular social function, e.g., for their own enjoyment. The fiddle was particularly important in accompanying vocal music as it could be used to imitate, i.e., "double" the vocal line, thereby reinforcing the primary contours of the melody or to provide ornamentation, based on the melodic line. As the melodies of the songs became simpler, in the sense of using less vocal ornamentation, the fiddle style likewise became simpler. This transition was aided by the addition of the banjo and guitar, which provided additional decorative elements, thus freeing the fiddle to focus primarily on lead melodic functions.

Banjo. Besides the fiddle, the mountain banjo was the most important ensemble instrument, as it was used to reinforce the main notes of the melodies played by the fiddle. The banjo introduced a steady, strong rhythm to maintain the beat, so important when playing for dances. In fact, the clawhammer banjo style, in particular, was, and still is, highly regarded for this role. While the 19th century minstrel banjoists traditionally used two basic tunings (what today would be equivalent to the natural C tuning and open G tuning) an interesting feature of the Southern mountain banjo was the development of several additional tunings to suit the modal character of the traditional melodies being sung and played. Scholars seem to think that these systems of altered tunings HLP 8005 may have been worked out by the turn of the 19th century, perhaps influenced by open guitar tunings needed for playing certain parlor guitar songs (e.g., the Spanish fandango) and the beginning of the African-American blues guitar styles. These modal melodies would then be accompanied on the banjo so that the principal melodic notes could be played without the need to play harmonic chords or shift up and down the fingerboard, whose chord voicings would not be practical most of the time playing in these altered tunings (the newly introduced guitar would now supply this harmonic accompaniment). Occasionally, the banjo was used as a solo instrument on early commercial recordings (e.g., by Charlie Poole using fingerstyle techniques); however, its usual role was to support the fiddler. Guitar. While guitars had been available in the United States for most of the 19th century, principally in urban industrialized areas, e.g., by c.P. Martin, Ashborn, 55. Stewart, and Washburn, by the end of that century guitars were beginning to become available in even greater numbers, aided in part by a much improved mass transportation system, the advent of the industrial revolution, and mail-order houses like Sears Roebuck. In the last decade of that century the guitar was gaining rapidly in mass popularity due to its usage in mandolin bands, glee clubs, and university banjo bands, thus not just for use in its traditional 19th century environment, the parlor.

String Bands. From the 1920s, with the introduction of the guitar into the string band ensemble, the emphasis, at least in terms of recording, shifted from providing music for dances to the accompaniment of vocal songs and fiddle tunes. That necessarily changed the function of the string band instruments, freeing up the ensemble for various duties. The guitar was now used to mark out the...


Joseph Weidlich [b. 1945] began his formal musical studies on the classic guitar. He moved to Washington, D.C. in 1972, from his native St. Louis, to teach classic guitar. He performed in several classic guitar master classes conducted by notable students of Andres Segovia (i.e., Sr. Jose Tomas [Spain], Oscar Ghiglia [Italy] and Michael Lorimer [U.s.]). He has also played renaissance guitar, renaissance lute, and baroque guitar.
In 1978,he completed research on and writing of an article on Battuto Performance Practice in Early
Italian Guitar Music (1606-1637), for the Journal of the Lute Society of America, 1978 (Volume XI). This
article outlines the various strumming practices, with numerous examples, found in early guitar
methods published in Italy and Spain in the early 17th century. In the late 1970she published a series
of renaissance lute transcriptions for classic guitar, published by DeCamera Publishing Company,
Washington, D.C., which were distributed by G. Schirmer, New York/London. The American Banjo
Fraternity published an article Joe wrote on James Buckley's New Banjo Book [1860]in their newsletter,
the Five-Stringer, #185, Double Issue, Fall-Winter 2000-01.
The banjo has also been no stranger in Joe's musical life. He began learning folk styles in the early
1960s during the folk music boom, later playing plectrum and classic banjo styles as well. His extensive
research in the history of minstrel banjo demonstrates how that style formed the foundation of
clawhammer banjo. Alan Jabbour, noted old-time fiddler, musicologist and former long-time director
of the Library of Congress' American Folklife Center, has said of Joe's book, The Early Minstrel Banjo:
Its Technique and Repertoire, that "our understanding of the minstrel banjo in the 19th century is greatly enhanced by the long labors you have devoted to the subject and the fine understanding you have brought to it."
Joe has collaborated with banjo builder Mike Ramsey (Chanterelle Workshop, Appomattox,
Virginia) in designing two prototype minstrel banjos based on the dimensions described in Phil Rice's
Correct Method [1858], as well as similar instruments made by William Boucher in Baltimore in the 1840s.
Also published by Centerstream Publishing are Joe's editions of a flatpicking guitar edition of
George Knauff's Virginia Reels [1839],believed to be the only substantial extant compilation of nineteenth-
century Southern fiddle tunes published prior to the Civil War (which includes songs later featured
in the early minstrel shows), Minstrel Banjo-Brigg's Banjo Instructor [1855],More Minstrel Banjo-
Frank Converse's Banjo Instructor, Without A Master [1865], Guitar Backup Styles of Southern String
Bands from the Golden Age of Phonograph Recordings, which features the guitar backup styles of Ernest
Stoneman's Dixie Mountaineers, the Carter Family, Charlie Poole and the North Carolina Ramblers,
Gid Tanner and the Skillet Lickers, and Jimmie Rodgers, often acknowledged as lithe father of country
music" and Painless Arranging for Old-Time Country Guitar.

 

TABLE OF CONTENTS
Biography .
A Brief Introduction To "Old-Time Music" .
Introduction to Old-Time Country Guitar Backup Basics .
 
PART ONE: BACKUP BASICS .
Lesson 1 Boom-Chick Patterns .
Lesson 2 Alternating Between Root and Fifth of a Chord .
Lesson 3 6-7-8 Bass Run Connectors .
Lesson 4 Golden Age Lick ,
Lesson 5 Third of the Chord in Back-Ups .
Lesson 6 3-2-1 Bass Run Connector .
Lesson 7 Pentatonic Scale .
Lesson 8 Ascending and Descending Triad Usage .
Lesson 9 Reinforce Melodic Line .
Lesson 10 Scales .
Lesson 11 Chord Progression Lick .
Lesson 12 5-6-7-8Bass Run Connector .
Lesson 13 Varied Golden Age Lick .
Lesson 14 Leading Tone Usage .
Lesson 15 Concluding Thoughts .
 
PART TWO: .
Variations On Backup Basics
Transcribed from Commercial Recordings of the 1920s and Early 1930s
Epilogue.
Song Reference List 
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