LIBRO

PICKUPS WINDINGS AND MAGNETS Guitar Became Electric Mario Milan Centerstream LIBRO

PICKUPS, WINDINGS AND MAGNETS ... And the Guitar Became Electric. Mario Milan.

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover
Author: Mario Milan

Guitar collectors rejoice! The first book to examine pickups in detail is here! Covers everything from the first experiments to classic models conceived for Rickenbacker, Gibson, Fender, Gretsch, Danelectro, Epiphone and others, with an overview of Japanese and European manufacturers. Includes a 32-page color section of the most popular models and rarities, a timeline, info on building pickups and technical specs, and biographical notes on George Beauchamp, Leo Fender, Seth Lover, Larry DiMarzio and Seymour Duncan. 178 pages.

Price: €34,99
€34,99

JOHNSON JACK-SLEEP THROUGH THE STATIC-TABLATURE-LIBRO SPARTITI CHITARRA ACCORDI

JOHNSON JACK, SLEEP THROUGH THE STATIC. TAB.

Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Jack Johnson

Jack's fifth studio CD spent three weeks perched atop the Billboard 200 album chart, and also debuted at #1 worldwide. Our artist-approved folio features all 14 tunes, plus an intro from Jack himself. 104 pages.

ADRIFT
ALL AT ONCE
ANGEL
ENEMY
GO ON
HOPE
IF I HAD EYES
LOSING KEYS
MONSOON
SAME GIRL
SLEEP THROUGH THE STATIC
THEY DO, THEY DON'T
WHAT YOU THOUGHT YOU NEED
WHILE WE WAIT

Price: €27,99
€27,99

JOHNSON JACK AND FRIENDS-SING-A-LONGS AND LULLABIES FOR THE FILM CURIOUS GEORGE-TABLATURE

JOHNSON JACK AND FRIENDS, SING-A-LONGS AND LULLABIES FOR THE FILM CURIOUS GEORGE. TAB.

Guitar Recorded Versions
Series: Guitar Recorded Version
Publisher: Hal Leonard TAB.
Artist: Jack Johnson

This matching folio to the popular monkey movie soundtrack includes all 13 songs from the soundtrack by Jack Johnson, Includes all uke parts from the original recording and B&W art from the film. 96 pages.

Broken
Jungle Gym
Lullaby
People Watching
Questions
Sharing Song
Supposed To Be
Talk Of The Town
The 3 R's
Upside Down
We're Going To Be Friends
With My Own Two Hands
Wrong Turn

Price: €27,99
€27,99

ACOUSTIC GUITAR SONGS FOR DUMMIES. TABLATURE

ACOUSTIC GUITAR SONGS FOR DUMMIES. 34 songs. 256 PAGEs. TAB.

About A Girl, NIRVANA -Across The Universe, BEATLES -Angie, ROLLING STONES -Annie's Song, JOHN DENVER -Behind Blue Eyes, THE WHO -Best Of My Love, EAGLES -Blackbird, BEATLES -Crazy Little Thing Called Love, QUEEN -Drive, INCUBUS -Dust In The Wind, KANSAS -Fly To The Angels, SLAUGHTER -Free Fallin', TOM PETTY -I'd Love To Change The World, ALVIN LEE -Iris, GOO GOO DOLLS -Landslide, FLEETWOOD MAC -Layla, CLAPTON -Leaving On A Jet Plane, PETER, PAUL & MARY -Love Of A Lifetime, FIREHOUSE -Maggie May, ROD STEWART -Night Moves, BOB SEEGER -Norwegian Wood (This Bird Has Flown), BEATLES -Patience, GUNS N' ROSES -Pink Houses, MELLENCAMP -Signs, TESLA -Space Oddity, BOWIE -Tangled Up In Blue, DYLAN -Tears In Heaven, CLAPTON -Thick As A Brick, JETHRO TULL -3 AM, MATCHBOX 20 -Time In A Bottle, JIM CROCE -To Be With You, Mr. BIG -Wanted Dead Or Alive, BON JOVI -When The Children Cry, WHITE LION -You've Got A Friend, JAMES TAYLOR. TAB.

Series: Guitar Collection TAB
This songbook will have even beginning guitarists playing 34 of the best acoustic rock songs ever with the help of performance notes and guitar tab arrangements. 256 pages.

Price: €20,99
€20,99

BONAMASSA JOE BEST OF Play It Like It Is TABLATURE CHITARRA Blues Deluxe-Faux Mantini-Had To Cry Today

BEST OF JOE BONAMASSA. GUITAR TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOE BONAMASSA IN PERSON

Best of Joe Bonamassa

Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - TAB
Artist: Joe Bonamassa

11 artist-approved note-for-note guitar transcriptions from this guitar mastermind, complete with an interview and photos. Includes: Blues Deluxe • Miss You, Hate You • New Day Yesterday • Pain and Sorrow • The River • So, It's like That • Woke up Dreaming • and more.
Inventory #HL 02500921
ISBN: 9781575608945
UPC: 884088089481
Width: 9.0"
Length: 12.0"
116 pages
 

Blues Deluxe - WORDS AND MUSIC BY: JEFFREY ROD - 1967
Faux Mantini - WORDS AND MUSIC BY: JOE BONAMASSA - 2004
Had To Cry Today - WORDS AND MUSIC BY: STEVE WONWOOD - 1969
If Heartaches Were Nickels - WORDS AND MUSIC BY: WARREN HAYNES - 1995
Miss You, Hate You - WORDS AND MUSIC BY: JOE BONAMASSA, RICHARD FELDMAN - 2000
My Mistake - WORDS AND MUSIC BY: JOE BONAMASSA, MARK LIZOTTE - 2002
New Day Yesterday - WORDS AND MUSIC BY: IAN ANDERSON - 1970
Revenge Of The 10 Gallon Hat - WORDS AND MUSIC BY: JOE BONAMASSA - 2004
The River - WORDS AND MUSIC BY: JOE BONAMASSA, ROBERT HELD - 2004
So, It's Like That - WORDS: MICHAEL HIMELSTEIN - MUSIC BY: JOE BONAMASSA - 2004
Woke Up Dreaming - WORDS AND MUSIC BY: JOE BONAMASSA, WILL JENNINGS - 2003

116 pages.

 

... emulating some of my favorite singers-Paul Rodgers,
Gregg Allman, Rod Stewart. Sometimes it was
frustrating. I'd been playing guitar for so long, and
had gotten control over that, but this was uncharted
territory. Ultimately, it's allowed me a freedom as an
artist I hadn't felt before."
Joe's muscular fusion of righteous playing
and keenly etched vocals has never been more
seamless than on his latest solo album, You & Me.
Produced by South African-born studio ace Kevin
Shirley-whose credits include Led Zeppelin, the
Black Crowes, Aerosmith, and Joe Satriani-the
disc potently blends a "big rock sound," intense British
blues (about which Joe's especially passionate),
and gritty Delta roots. It's packed with standouts,
including an interpretation of Charley Patton's "High
Water Everywhere" (a tribute to New Orleans), "So
Many Roads" (a blues classic made famous by Otis
Rush), and "Tea for One," a Zeppelin gem embellished
with a full orchestra-and Jason Bonham
on drums. Bonamassa, who's been getting deeper
into songwriting, also cites the originals "Bridge to
Better Days" and the Ray Charles-inflected "Asking
Around for You" as favorites.
You & Me is mature work that continues to
unspool the artistic thread that began with Bonamassa's
solo debut, 2000's Top 10 Blues disc A New Day
Yesterday, named for the 1969 Jethro Tull classic
that Joe makes his own with (as allmusic.com calls
it) "a jaw-dropping performance." Produced by the
legendary Tom Dowd-whose career included work
with Aretha Franklin, Ornette Coleman, Eric Clapton
Ray Charles, John Coltrane, Rod Stewart, and
scores of others-the album features guest shots
by Gregg Allman, Rick Derringer, and Leslie West,
among other greats. The powerhouse original song
“miss You, Hate You" remains a cornerstone of Joe's
repertoire, as does the slide guitar showcase "Cradle
rock." In 2002 Bonamassa released So, It's Like
that, a brew of dead-on blues and classic pop-rock
production featuring all originals, including the tour
de force "Pain and Sorrow." The album was his first to
hitr 1 on Billboards Blues chart.
In 2003-designated "Year of the Blues" by
congress-Bonamassa returned with his heartfelt
tribute to the genre, Blues Deluxe, packed with nine
classics and three originals. In the liner notes, Harrris
Cohen observes that Joe "never loses touch with
the raw emotion that makes the blues what it is."
Reviewing Blues Deluxe, former Creem editor Jaan
Uhelszki added, "New York guitar phenom walks tall
in the blues tradition ... jettisoning fiery riffs inspired
by John Lee Hooker, B.B. King, Elmore James, and
Albert Collins into the future with furious playing, a
hard-rock sensibility, and a grizzled voice that owes
a debt to Gregg Allman. Equally inspired by the
Delta blues and the mid-'60s British blues boom,
the young firebrand ... is able to fuse those two
schools together, creating edgy blues-rock." Bonamassa
further honed that fusion on 2004's Had to
Cry Today, another sweat-soaked mix of innovative
and classic sounds made electrifying through his
gale force playing.
Bonamassa is also deeply committed to Blues
in the Schools, developed by the Memphis-based
Blues Foundation to educate students about the
legacy of the blues and to promote and preserve its
heritage. Joe has helped bring the program into over
100 schools across the country, and response has
prompted the Foundation to indefinitely extend it. "I
love the way the kids' eyes light up," says Joe. "We introduce
them to Muddy Waters, Robert Johnson, and
other legends. I explain this amazing musical family
tree to them, and talk about how almost every artist
today can be traced back to the origins of blues and
jazz." In 2005 Bonamassa became the youngest-ever
member of the Blues Foundations' 25-person Board
of Directors. "When they told me my name was in
the hat for it," he remembers, "I had that 'it's nice just
to be nominated' feeling. Then I was on a plane to
Memphis to actually become a part of it, and it was
an incredible honor."
Currently, when not performing shows as one of
the hardest-working artists on the road today, Bonamassa
is writing material for an acoustic album he's
planning to release in 2007. "I'm known as an electric
guitar player," he says, "but a big part of my music
started on the acoustic end, and I want to also show
that side of me." Born on May 8, 1977 (the day that
would have been blues icon Robert Johnson's 66th
birthday), Joe lives in Los Angeles with his evergrowing
collection of vintage and custom-made guitars
(now reaching the 200 mark). "I still feel like same
four-year-old who just got his first guitar for Christmas,"
says Joe-with a passion that's heard in every
note he plays.
 

Price: €23,99
€23,99

TCHAIKOVSKY NUTCRACKER FOR GUITAR IN TAB Arr. Ken Hummer TABLATURE SPARTITI CHITARRA LIBRO

TCHAIKOVSKY, NUTCRACKER FOR GUITAR: IN TAB. Arr. Ken Hummer. TAB.

About Nutcracker for Guitar: In TAB
Arranged by Ken Hummer. For Guitar. Classical Guitar Folio. Book. 48 pages. Every piece from Tchaikovsky's Nutcracker ballet is expertly arranged for guitar, including the holiday favorites "Waltz of the Flowers" and "Dance of the Sugar Plum Fairy." This collection is a must for guitarists planning a holiday recital and all who enjoy playing for friends and family. Each piece is clearly written in standard music notation and TAB for easy reading.

Price: €14,99
€14,99

SCARLATTI DOMENICO-MUSIC OF FOR TWO GUITARS-VOLUME 1-Julian Gray & Ronald Pearl SPARTITI

SCARLATTI DOMENICO, MUSIC OF FOR TWO GUITARS, VOLUME 1. by Julian Gray & Ronald Pearl.

Product Description:
Domenico Scarlatti's wealth of invention and the immediacy of his emotional appeal - from darkest tragedy to bold farce - have long attracted guitarists to make his music their own. This collection of nine sonatas arranged by the Gray/Pearl Duo gathers music displaying both Scarlatti's virtuosic dash and lyrical poignancy. The volume contains an un-edited score as well as performance-ready parts with suggested fingerings, technical solutions and interpretive articulations. This is the first book in an exciting new series from the eminent American guitar duo of Julian Gray and Ronald Pearl.

Song Title: Composer/Source:
K. 115 Domenico Scarlatti
K. 119 Domenico Scarlatti
K. 147 Domenico Scarlatti
K. 175 Domenico Scarlatti
K. 213 Domenico Scarlatti
K. 227 Domenico Scarlatti
K. 234 Domenico Scarlatti
K. 33 Domenico Scarlatti
K. 531 Domenico Scarlatti

Price: €24,99
€24,99

PACHELBEL JOHANN CANON IN D GUITAR SOLO TABLATURE CHITARRA CLASSICA SPARTITO PAUL HENRY

PACHELBEL JOHANN, CANON IN D GUITAR SOLO. TAB.

Series: Guitar Sheet
Composer: Johann Pachelbel
8 pages

Price: €7,99
€7,99

DADI MARCEL GUITAR LEGEND TABLATURE LIBRO Chattanooga-Swingy Boogie-Blueberry-FINGERPICKING

DADI MARCEL, GUITAR LEGEND. Swingy Boogie - Swingy Boogie (harmony) - My family in Massapequa - Cocktail party - Blueberry - Old time picking parlor - Pinewood road - Chattanooga train - Nous trios - Waltz for Paula - Song for Steve and Anne-Marie - To mom and Dad - Two days with Charlie - Holiday's with Samuel - Romantic Sauerkraut - Billy the Keith - Billy the Keith (Harmony) - Angelina B - Angelina B (Harmony) - My old friend Pat (Harmony) - Easy Rollin' - Easy Rollin' (Harmony) - When fingers dreams of you - When fingers dreams of you (Harmony) - Sonia - A letter from abi - Oh Dadi Blue - Winther's Waltz - The ballad of Greg Ladey - Song for ma femme - Le Derviche tourneur - Fluide Glacial - Lullaby for Stéphanie - Number one son - Big Chief - Prière pour Michel Lopez - Poor Lonesome Dadi - Song for Jerry - Marcel's Rag - Marcel's Rag (harmony) - Egged bus red - Egged bus red (harmony) - Old black piano - Old black piano (harmony) - Milk shaker - Nashville tops - From Paris with love - From Paris with love (harmony) - En attendant Joachim - Things we used to do - Marcel Samba - Song for Léo - Roger Chesterfield. TAB.

Price: €21,99
€21,99

Storti Mauro-IL DOMINIO DELLE CORDE-Lezioni di tecnica melodica e polifonica per chitarra-

 

 

MASTERING THE

STRINGS

 

MAURO STORTI

COMPLEMENTARY LESSONS OF MELODIC AND POLYPHONIC TECHNIQUE FOR THE GUITAR

FIFTH EDITION REVISED AND ENLARGED

(Translation by Robert Miller)

 

Since the end of the last century, the art of the guitar has experienced two decisive turning points. The first was the setting up of the Tarrega School, important from the musical point of view, but with the technical consequences . resulting from abandoning the system of positions similar to those of the violin, made necessary by the need for a more precise configuration of the parts, in the spirit of romantic music; the second, which began some time ago and is still going on, is the enrichment of guitar music with an abundant production of contemporary music inspired by the art of Andres Segovia and his most gifted disciples. These two phenomena, whose enormous importance has been the mainspring of the current revival of the guitar, are accompanied by a paradoxical standstill in guitar teaching methods which today are still based almost entirely on the works of the great guitarists of the nineteenth century. Far from wishing in any way to belittle the historical-artistic value of the methods of Carulli, Carcassi, Giuliani, Aguado and Sor, it is undeniable that, when examined in the light of the present-day technical-musical situation, they contain serious shortcomings. Conceived within the very precise limits,pf the classical style, they have gradually lost all relevance to music today, answering less and less the needs that arose in subsequent phases of musical evolution, while little or nothing emerged later that could be added to this fundamental group of works. Tarrega's great contribution to the guitar school only rarely expressed itself in a clear, scholastic form as, with his lofty artist's nature, he preferred to give form to his intuitions, translating them into studies and preludes in the manner of his contemporaries. It is regrettably sad to note that where artistic genius is greatest, didactic sensitivity is all too often lacking: too intent on living his art, the great artist cannot find the time to pause and carry out an analysis. What is one to make today of Carcassi or Carulli who base their method on the sequence of keys, passing blithely from a very brief melodic exercise to a multi-voice study, almost completely ignoring the right hand? What is one to make of Giuliani's method which, published under the mystifying number of Op. I, reveals very scant didactic sensitivity, because if the beginner manages to survive the boredom of its 120 arpeggios, he will almost certainly succumb when faced with the difficulty of the following pages! And lastly, what is one to make of Aguado and Sor who, skipping the entire preparatory phase, offer the student, right from the first pages, those delightful but not easy pieces worthy of a better fate than being maltreated by inexperienced hands? Today, the guitar student still searches in vain for a "helping hand" to guide him unfailingly "from the first faltering steps to the peaks of perfection". The two weak points of the discontinuous teaching method that most teachers and students use nowadays are the introduction to the study of the guitar and the transition from the classical to the contemporary technique. The need for a new and more rational method for beginners is felt even more today as the average age of students has dropped noticeably. Up to a few years ago it was believed that the guitar could not be studied gainfully before the age of lIn, but, in reality, it was the lack of suitable texts and instrumentJ' that were almost always the cause of failure when the guitar was taken up, at an earlier age. As to the transition from the classical to the modern and contemporary school, which usually takes place around the 4th to 5th year, this can be the source of considerable difficulty and, at times, bitter disappointment, especially for those students who, having been more diligent, have better assimilated technical formulas and approaches that are both insufficient and outdated. With regard to this, it should be remembered that most classical studies, above all those of the Italian school, as also arpeggios and scales in the first position, lend themselves to easy execution (perhaps easier execution!) by using an incorrect approach with the left hand. The use of the thumb on the sixth string, which Carulli did, was both the cause and consequence of the inclined position of the left hand. On the wide necks of modern guitars, this position, which hinders the important, wide-ranging action of the little finger, turns out to be a serious impediment, capable of calling into question all the work done in years of study. The right hand, for its part, made stiff by having been used almost exclusively for arpeggios, lacks lightness, mobility, agility, entry precision, and softness in the crosswise and lengthwise strokes. The only way to get round these serious obstacles is to back up traditional studies, which, if intelligently chosen and revised, still possess an irreplaceable formative function, with suitable technical exercises aimed at preventing incorrect use of the hands and at familiarizing the student, right from the first year, with the formulas and methods used in modern guitar playing. Modern guitar music, written mostly by composers who are not themselves guitarists and thus not conditioned by the instrument, calls for total mastery of the guitar by the player which, in my opinion, can only be achieved beyond the t(mal system because, being a system, it rules out an infinite number of musical, and thus technical-instrumental, possibilities. Only practice of atonal exercises makes thorough knowledge of certain new aspects of technique possible which, seemingly of minor importance, later prove to be fundamental for high-level guitar playing. The lessons I present in this book are based on these ideas and aim at developing, in a harmonic and interdependent way, both physical faculties (elasticity, speed, strength equally distributed among the different fingers, bold attacks and changes of position) and mental ones (exact perception of distances, prompt memory of the fingerboard, sensitivity to the relationships between fingerboard space and musical space, memory and power of concentration). Only by assimilating these elements can the miracle of transforming an inert object like a musical instrument into a Jiving part of the performer be achieved.

Price: €19,99
€19,99
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