LIBRO

DADI MARCEL / LALANNE JEAN-FELIX, COUNTRY ET GENTLEMAN. Je te veux - Je and Jean Felix - Me and Marcel - Circus rag - L'ècho des savanes 89 - Parque del Plata - Ballade pour Nini - Country symphonie - Blues for Lenny - En attendent Joachim - Destination voyage - Six cordes pour deux amis. TAB.

STING, SONGS FROM THE LABYRINTH, Walsingham. TABLATURE

... From thenc I went to the Landgrave
of Hessen, (who gav me the gretest we1come
that myght be for on of my qualyty) who sent a
ringe into England to my wiff valued at xx £
sterlinge, and gave me a great standing cupe
with a cover of gilt, full of dolers with many
great offers for my service ...

... And from thence I had great desire to
see Italy and cam to Venyce and from thence to
Florence whear I plaid befor the Duke and got
great favors ...

(LETTER TO SIR ROBERT CECIL)

This book is filled with John Dowland's haunting lute songs, as performed by Sting and Edin Karamazov. After his introduction to Dowland's music in the 1980s, Sting has continually returned to the music of this 'original English singer-songwriter' for inspiration, culminating in this spectacular album. Also included in the album and the songbook are excerpts from John Dowland's letters, bringing us even closer to the man behind the masterpieces.

MUSIC BY JOHN DOWLAND PERFORMED BY STING AND EDIN KARAMAZOV

BOOK TO ACCOMPANY STING'S LATEST ALBUM OF LUTE SONGS BY RENAISSANCE COMPOSER JOHN DOWLAND.
ARRANGED FOR GUITAR AND VOICE IN BOTH STANDARD NOTATION AND TABLATURE.

NOTE ON THE GUITAR ARRANGEMENTS.

This songbook aims to present the lute music of Songs From The Labyrinth as faithfully as possible in a version playable on acoustic guitar.

The renaissance lutes used on the recording have bass strings which give them a considerably
larger range than a guitar in standard tuning, and in adapting the music for guitar it has
occasionally been necessary to omit some bass notes or to raise notes by an octave.

Capos and alternate tunings have been used to evoke the resonance of the lute when playing in keys that would otherwise lack resonance and playability on the guitar. Where capos are used in the vocal pieces, or where the whole guitar is to be de-tuned, the standard notation shows the sounding pitch of the Sting recording and therefore matches the key of the vocal parts. However in the instrumental pieces the use of capos or de-tuning has been left optional, with the standard notation written as if no capo or de-tuning is being used.

Originally, lute music was most commonly written in a form of tablature rather than in standard notation, and-just as in modem guitar tablature-the system has limitations in the level of rhythmic detail that it is possible to show. For example, if a melody in semiquavers is played together with a bass note for each four melody notes, lute tablature will commonly only show that the following passage is to be played in emiquavers, with the bass notes shown in the appropriate vertical alignment; the decision as to whether each bass note should ring for a full crotchet or be cut shorter is left to the performer. (Note also that it is standard practice to double the note durations when converting to modem notation, so that modem semiquavers will actually be demi-semiquavers in the original, as in the example below.) The standard notation in this collection should therefore not be seen to represent the original or definitive version of the music and, although it does have the advantage of making the overlapping voices within the guitar part easily distinguishable, the performer is not necessarily obliged to hold all notes for their written durations.

Although the majority of the pieces on Songs From The Labyrinth keep closely to the original versions, some tracks have been creatively arranged, incorporating the performers' original adaptations as well as more standard variations and ornamentation. It should be remembered that the scores in this book are adapted transcriptions of the recorded performances, rather than editions of the original scores, and for in-depth study of this music it may be useful to consult an edition based directly on the original scores, and showing the original notation.

Jonathan Preiss, December 2006
John Dowland, Fantasy, bar 4 Lute (original tablature)
Guitar (standard notation)
Guitar (modem tablature)

Ryght honourable: as I have bin
most bounde unto your honor, so I
most humblie desire your honor to
pardon my boldness, and mak my choic of
your honor to let you understand my
bounden duty and desire of Gods preservation
of my most dear soveraingne Quene
and con try: who I besech God ever to bless
and to confounde all their enemies what and
whomsoever.
Your honors most bounden for ever
John Doulande
(LETTER TO SIR ROBERT CECIL, NUREMBERG, 10 NOVEMBER 1595)

S T I N G
SONGS FROM THE LABYRINTH
Walsingham

Can she excuse my wrongs - 1597
"Ryght honorable ... "

Flow my tears (Lachrimae)
Have you seen the bright lily grow - 1616
"... Then in time passing on ... "

The Battle Galliard
The lowest trees have tops - 1603
"... And accordinge as I desired ther cam a letter ... "

Fine knacks for ladies - 1600
"... From thenc I went to the Landgrave of Hessen ... "

Fantasy

Come, heavy sleep - 1597

Forlorn Hope Fancy
"... And from thence I had great desire to see Italy ... "

Come again - 1597
Wilt thou unkind thus reave me - 1597
"... After my departure I ealed to mynde ... "

Weep you no more, sad fountains - 1600

My Lord Willoughby's Welcome Home

Clear or cloudy - 1600
"... men say that the Kinge of Spain ... "
In darkness let me dwell - 1610
 

All songs are arranged for Guitar and Voice in both standard notation and tablature.

Can She Excuse My Wrongs

Clear Or Cloudy

Come Again

Come, Heavy Sleep

Fantasy

Fine Knacks For Ladies

Flow My Tears (Lachrimae)

Forlorn Hope Fancy

Have You Seen The Bright Lily Grow

In Darkness Let Me Dwell

My Lord Willoughby's Welcome Home

The Battle Galliard

The Lowest Trees Have Tops

Walsingham

Weep You No More, Sad Fountains

Wilt Thou Unkind Thus Reave Me

GALLAGHER RORY, THE ESSENTIAL. TAB.

Fourteen songs from the album arranged for Guitar tab complete with full lyrics.

"As if fated to live the blues he studied so deeply, Rory Gallagher was beautiful, talented and doomed. He was just 47 years old when died after a liver transplant surgery in 1995. But in a career that spanned from 1969 until his death, Gallagher compiled one hell of a legacy. The Irish guitarist was a prolific music maker, recording 17 albums under his own name, and two studio albums with his early blues-rock trio, Taste. He also appeared on two seminal blues recordings: Muddy Waters' The London Sessions in 1972, and Albert King Live in 1977."
- Michael Molenda (Editor, Guitar Player Magazine), 2004.
A Million Miles Away

Bad Penny

Bought And Sold

Crest Of A Wave

Edged In Blue

Follow Me

I Could've Had Religion (Live)

Laundromat

Loanshark Blues

Philby

Tattoo'd Lady (Live)

They Don't Make Them Like You Anymore

Walk On Hot Coals

Wheels Within Wheels

PATITUCCI JOHN, 60 MELODIC ETUDES. 

About 60 Melodic Etudes
(for Acoustic and Electric Bass) By John Patitucci. Instructional book for string bass. 128 pages.
With fingerings. Instructional, Etudes and Scales. 9x12 inches.

This new book from one of the most popular bass players in the business brings players great tools to improve their skills. Bass players can advance their knowledge of the fingerboard, improve intonation and time, develop flexibility and work though modes and scales presented in the book. This work combines music and technique in one powerful package!

Contents:
John Patitucci Biography
Foreword
PART I:
PART II:

This book is designed for acoustic bassists, electric bassists and cellists who want to:

• Improve their knowledge of the fingerboard.
• Practice interpreting and phrasing melodies.
• Improve their intonation and time.
• Learn to play with more flexible time by practicing rubato passages.
• Strengthen their ears to hear the five basic chord sounds within the diatonic
major scale: major, minor 7, dominant 7,minor 7b5and major 7#11.
• Learn to hear and use various diatonic modes and scales against these five
basic chords: Major, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and
Locrian.
• Gain valuable experience on the use of the melodic-minor scale over the
minor-seventh b5chord.
As far as I know, this is the first book to have a separate melodic etude for each
of these five chord sounds in all twelve keys. I also left room on a few occasions
for you to try your hand at improvising for a few measures within an etude. The
etudes have tempo markings, but should be practiced at different tempos and
even rubato (i.e., elastic and flexible time with room for speeding up and
slowing down to enhance the freedom of the artist's expression). These etudes
also help the bassist and cellist tackle the common technical problems that all
must deal with, such as shifting on one string, string crossing and alternating
right-hand plucking and bowing. For acoustic bassists and cellists, every etude
can be played pizzicato and/or arco. I deliberately shied away from providing
fingerings and bowings because I would rather you explore many alternatives
for each passage.
In Part II of the book (pp. 69-128), I have included a complete fingering chart
for both acoustic and electric bass for all the scales. The scale examples are
given in two ways: 1) Starting on the root note and 2) starting on the lowest
note available on the fingerboard. The second example is provided to foster a
more comprehensive knowledge of the instrument.
If you have a teacher-which I feel is extremely important-s/he may want to
write down ideas for you as well. Also, as you vary the tempo of each etude, you
may have to alter fingerings and bowings.
In closing, I sincerely hope and believe that this book will help you grow as a
musician and be a useful tool for many years to come.
-John Patitucci

John Patitucci has been at the forefront of the jazz world for the last twenty
years and active in all styles of music. He is a two-time Grammy award winner
and has been nominated eleven times. He has won many magazine polls and
awards as a double bassist and bass guitarist, most recently as a member of
the Wayne Shorter Quartet which won the 2003 Downbeat critics' poll for Best
Acoustic Jazz Group and Best Jazz Recoding for Footprints - Live!. He has
performed and/or recorded with jazz giants such as Dizzy Gillespie, Wayne
Shorter, Herbie Hancock, Chick Corea, Stan Getz, Freddie Hubbard, Roy
Haynes, Wymon Marsalis, Michael Brecker, John Scofield, Joe Lovano, Kenny
Garrett, Victor Feldman and countless others.
John has been active as a composer with eleven solo recordings of his own. He
has also been commissioned to write for various chamber music groups, most
recently the New York-based string quartet Elements. John was nominated for
a Grammy in 2003 for Best Instrumental Arrangement Accompanying a Vocal
for his arrangement of In the Bleak Midwinter from his CD Song, Stories and
Spirituals. He was nominated for a Grammy in 2002 for Best Instrumental
Composition for a piece entitled Communion that featured Branford Marsalis,
Brad Mehldau and violist Lawrence Dutton of the Emerson String Quartet.
Mr. Patitucci has been involved in education for many years, writing books,
making instructional videos and giving master classes around the world. He
was formerly the Artistic Director of The Bass Collective, a specialized school
in New York. In 2002, he began teaching at The City College of New York
(CUNY) and was named Associate Professor of Music there in 2003.

I would like to thank God, my wife Sachi, and my daughters-Gracie
and Bella, and all the other members of my family especially my
brother Thomas, my Mom and Dad, and sisters. Thanks are also
due to Chris Poehler, David Baker and all of the other teachers I
have had in my musical journey to this point (whose names could
take up as many pages as this book). Thanks also to the many
musicians I have worked with who have inspired me and taught me
(another very long list) and to Sandy Feldstein and John Castellano
for urging me to write this book.
Special Thanks to Mindy Sax, for the preliminary music copying.
Finally, thanks also to all the folks at Carl Fischer for the fine work
and support, especiallyAlexTeploff.
Cover photo by Bill Bytsura.

John Patitucci Biography .
Foreword
Part I: 60 Melodic Etudes
C Major Scale
F Major Scale
Bb Major Scale
Eb Major Scale
Ab Major Scale
Db Major Scale
Gb Major Scale
B Major Scale
E Major Scale
A Major Scale
D Major Scale
G Major Scale
C Aeolian Scale (Ballad) (Cm7)
F Dorian Scale (Ballad) (Fm7)
Db Aeolian Scale (Bbm7)
Eb Dorian Scale (Ebm7)
G# Phrygian Scale (G#m7)
C# Phrygian Scale (C#m7)
F# Phrygian Scale (F#m7)
B Phrygian Scale (Bm7)
E Dorian Scale (Em 7)
Aeolian Scale (Am 7)
D Dorian Scale (Dm7)
G Phrygian Scale (Gm7)
C Lydian Scale (Cmaj7# 11)
F Lydian Scale (Fmaj7#l1)
Bp Lydian Scale (Bbmaj7# 11)
Eb Lydian Scale (Ebmaj7# 11)
b Lydian Scale (Abmaj7#11)
Db Lydian Scale (Dbmaj7# 11)
Gb Lydian Scale (Gbmaj7#l1) .
B Lydian Scale (Bmaj7# 11) .
E Lydian Scale (Emaj7# 11) .
A Lydian Scale (Amaj7# 11) .
D Lydian Scale (Dmaj7# 11) .
G Lydian Scale (Gmaj7#11) .
C Mixolydian Scale (C7)
F Mixolydian Scale (F7) .
Bb Mixolydian Scale (Bb7)
Eb Mixolydian Scale (Eb7)
Ab Mixolydian Scale (Ab7) .
Db Mixolydian Scale (Db7)
Gb Mixolydian Scale (Gb7)
B Mixolydian Scale (B7)
E Mixolydian Scale (E7) .
A Mixolydian Scale (A7)
D Mixolydian Scale (D7)
G Mixolydian Scale (G 7)
C Loerian Scale (Cm7b5) .
Ab Melodic-minor Scale (Fm7b5)
Db Melodic-minor Scale (Bbm7b5)
Gb Melodic-minor Scale (Ebm7b5) .
G# Loerian Scale (G#m7b5) .
C# Loerian Scale (C#m7b5) .
F# Loerian Scale (F#m7b5) .
B Loerian Scale (Bm7b5) .
G Melodic-minor Scale (Em7b5) .
C Melodic-minor Scale (Am7b5) .
F Melodic-minor Scale (Dm7b5) .
G Loerian Scale (Gm7b5) .

Part II: 60 Melodic Scales
C Major Scale
F Major Scale
Bb Major Scale
Eb Major Scale
Ab Major Scale
Db Major Scale
Gb Major Scale
B Major Scale
E Major Scale
A Major Scale
D Major Scale
G Major Scale
C Aeolian Scale (Ballad) (Cm7)
F Dorian Scale (Ballad) (Fm7)
Db Aeolian Scale (Bbm7)
Eb Dorian Scale (Ebm7)
G# Phrygian Scale (G#m7)
C# Phrygian Scale (C#m 7)
F# Phrygian Scale (F#m7)
B Phrygian Scale (Bm7)
E Dorian Scale (Em7)
Aeolian Scale (Am 7)
D Dorian Scale (Dm7)
G Phrygian Scale (Gm 7)
C Lydian Scale (Cmaj7h1)
F Lydian Scale (Fmaj7# 11)
Bb Lydian Scale (Bbmaj7# 11)
Eb Lydian Scale (Ebmaj7# 11)
Ab Lydian Scale (Abmaj7# 11)
Db Lydian Scale (Dbmaj7#1)
Gb Lydian Scale (Gbmaj7#11) .
B Lydian Scale (Bmaj7#11) .
E Lydian Scale (Emaj7# 11) .
A Lydian Scale (Amaj7# 11) .
D Lydian Scale (Dmaj7# 11) .
G Lydian Scale (Gmaj7#11) .
C Mixolydian Scale (C7) .
F Mixolydian Scale (F7) .
Bb Mixolydian Scale (Bb7) .
Eb Mixolydian Scale (Eb7) .
Ab Mixolydian Scale (Ab7) .
Db Mixolydian Scale (Db7) .
Gb Mixolydian Scale (Gb7) .
B Mixolydian Scale (B7) .
E Mixolydian Scale (E7) .
A Mixolydian Scale (A7)
D Mixolydian Scale (D7) .
G Mixolydian Scale (G7) .
C Locrian Scale (Cm7b5) .
Ab Melodic-minor Scale (Fm7b5) .
Db Melodic-minor Scale (Bbm7b5) .
Gb Melodic-minor Scale (Ebm7b5) .
G# Locrian Scale (G#m7b5) .
C# Locrian Scale (C#m7b5) .
F# Locrian Scale (F#m7b5) .
B Locrian Scale (Bm7b5) .
G Melodic-minor Scale (Em7b5) .
C Melodic-minor Scale (Am7b5) .
F Melodic-minor Scale (Dm7b5) .
G Locrian Scale (Gm7b5) .
 

Garrone Mario, LA COSTRUZIONE DELLA CHITARRA CLASSICA. 116 pagine, in italiano.

Mario Carrone è pervenuto alla liuteria in età non più giovane, forte della sua preparazione tecnica e della grande esperienza acquisita nei processi industriali di progettazione e di lavorazione. Ha dunque portato nell'arte di costruire la chitarra, non soltanto il suo formidabile bagaglio tecnico- scientifico, ma anche una mentalità e uno stile di lavoro basati sulla volontà e sulla capacità di prospettare i problemi in sintesi essenziali e concrete, e di escogitare, per ciascuno di essi, soluzioni dimostrabili e quindi ripetibili. Libero da ogni remora psicologica, egli ha sempre operato mescolando una sbrigativa condotta da imprenditore con la salda convinzione che tutti i misteri che avvolgono la macchinachitarra sono dissipabili; e, in questa sua convinzione, ha saputo, quando occorreva, frenare la sbrigatività e addentrarsi umilmente nell'esercizio della pazienza. Era du nque natu rale che un Iiutaio come lui non trovasse nulla di straordinario nello scrivere un manuale per la costruzione della chitarra, e che lo facesse semplicemente ignorando le difficoltà che avrebbero fermato molti altri. Inoltre, e non secondariamente, Carrone aveva avuto da un editore l'incarico di scrivere il libro. AI di là della sua buona sorte, e da accreditargli come non piccolo merito, sta il fatto che, se egli non era, forse, l'unico liutaio capace di non scomporsi dinanzi a siffatta richiesta editoriale, era – al meglio delle nostre conoscenze – l'unico in grado di interpretare il lavoro che ne sarebbe seguìto come un divertimento (come, in fondo, egli interpreta tutta la sua attività di costruttore di chitarre). Analogamente ai liutai, anche gli allievi- liutai e i chitarristi si possono (almeno rispetto all'argomento qui trattato dividere in due categorie: quelli che leggono e quelli che non leggono, ciascuna specie potendo esibire, a sostegno del proprio atteggiamento, una serie di ragioni più o meno convincenti e onorevoli. È del tutto prevedibile che un manuale come questo non debba incontrare i propri, potenziali lettori, tra i liutaistregoni, tra i loro allievi apprendististregoni e tra i chitarristi che di Iiuteria non si interessano. Ma la quantità di liutai-non-stregoni e relativi alunni, e di chitarristi che hanno la pretesa di capire com'è fatto e come funziona l'arnese che essi tengono in grembo per l'intera vita, sembra in continua, inarrestabile crescita. Non sappiamo esimerci dall'esprimere la nostra calorosa approvazione per questa piega assunta dagli eventi: i liutai alla Mario Carrone dovrebbero avere un futuro (anche tra i chitarristi), e i loro manuali una vasta e attenta schiera di lettori, non soltanto e non necessariamente liutai. Se non credessimo che così potrebbe essere, o che così sia, perché mai avremmo dovuto esporci nello scrivere queste righe?

Ben poco è stato scritto fino ad oggi sulla costruzione della chitarra
classica e non molto sulla liuteria in genere.
Molti anni fa, quando iniziai ad occuparmi di liuteria, decisi subito di
non seguire la normale "routine" di apprendimento, che prevede tempi
più o meno lunghi passati nella bottega di un liutaio esperto, oppure la
frequenza di una scuola di liuteria.
Scelsi piuttosto di sviluppare un mio metodo di costruzione, partendo
dalle scarne notizie che riusciia raccogliere dalle riviste italiane ed estere
e da qualche libro specifico sulla costruzione della chitarra.
A volte si inizia una attività per gioco o per curiosità e soltanto dopo un
certo tempo ci si accorge di come essa diventi parte della nostra vita,
concedendoci soddisfazioni che non riceviamo invece dal lavoro di tutti i giorni.
Infatti, dopo un primo periodo passato a costruire vari strumenti in modo
tradizionale, mi accorsi che la chitarra classica mi permetteva di esprimere
meglio le idee che avevo in mente da tempo: continuai quindi a
lavorare con passione crescente a questo strumento, trasformando
quello che era iniziato come un gioco nello scopo principale della mia vita.
Ho poi perfezionato un mio metodo di costruzione volto più all'innovazione
continua che al risparmio di tempo, allargando i miei interessi alla
scoperta e al successivo studio dei fenomeni acustici che si verificano nello strumento.
Con questo manuale mi rivolgo a tutti gli appassionati di liuteria, ai
chitarristi desiderosi di conoscere a fondo il loro strumento, ed anche ai
liutai professionisti, i quali potranno trovare molte informazioni utili
sull'acustica degli strumenti musicali, sui sistemi di costruzione e
sull'incatenatura delle tavole armoniche.
Sarò infine ben lieto di esaminare ogni eventuale osservazione che
potrebbe essere formulata dai lettori, in vista di successive edizioni di questo volume.
Mario Garrone

AI MIEI CARI Gianarosa, Oscar ed Eugenia
RINGRAZIAMENTI
Esprimo la mia viva gratitudine a tutti gli amici che mi hanno aiutato e incoraggiato nella stesura di questo manuale:

- Innanzitutto, al chitarrista-compositore Angelo Gilardino, che mi gratifica della sua amicizia da molti anni e che mi ha seguìto con pazienza fin dall'inizio della mia attività.

- A Sandro Francese,amico di gioventù e tecnico elettronico abilissimo, che ha costruito gran parte delle apparecchiature necessarie ai controlli di qualità dei miei strumenti.

- AlI'ing. Bruno Pizzigoni, docente universitario di grande valore, che ha approfondito i problemi connessi con la tastiera della chitarra, risolvendol i brillantemente.

- AlI'ing. Claudio Francese,che ha realizzato integralmente il software e parte dell'hardware per la creazione e la visualizzazione dei grafici relativi alle curve di risposta ottenute con il computer.

- AI dotto Francesco Rossi,che con passione, abilità ed infinita pazienza, ha realizzato tutte le fotografie inserite in questo libro, seguendo la costruzione dello strumento durante i mesi occorsi per il suo completamento.

- AI tecnico Gino Repetto, che mi ha assistito nella soluzione dei problemi relativi all'impiego del legno con grande competenza e amichevole collaborazione.

- Infine a mia moglie Gianarosa, per le ore che le ho sottratto a causa di questo hobby, diventato ormai parte importante della mia vita.
Mario Garrone

Capitolo n. 1
NOTIZIE STORICHE - MORFOLOGIA E NOMENCLATURA DELLA CHITARRA.
Capitolo n. 2
NOZIONI DI ACUSTICA APPLICATE AGLI STRUMENTI MUSICALI
Capitolo n. 3
LA SCELTA DEI LEGNI
Capitolo n. 4
IL LABORATORIO DEL LIUTAIO
Capitolo n. 5
UTENSILI ED ATTREZZI
- Utensili elettrici
- Utensili a mano
Capitolo n. 6
COME COSTRUIRE LE FORME E GLI ATTREZZI SPECIFICI
Capitolo n. 7
IL MANICO pago 41
Capitolo n. 8
LE FASCE E LE CONTROFASCE.
Capitolo n. 9
IL FONDO
Capitolo n. 10
LA TAVOLA ARMONICA E L'INCATENATURA
Capitolo n. 11
L'ASSEMBLAGGIO
Capitolo n. 12
LA FILETTATURA
Capitolo n. 13
LA TASTIERA
Capitolo n. 14
LA FINITURA DEL MANICO
Capitolo n. 15
L'APPLICAZIONE DEI TASTI
Capitolo n. 16
LA LEVIGATURA
Capitolo n. 17
LA VERNICIATURA
-IL TAMPONE
-LA GOMMA LACCA
-RACCOMANDAZIONI IMPORTANTI
-VERNICI ADDITIVE
Capitolo n. 18
IL PONTICELLO
Capitolo n. 19
MESSA A PUNTO E MONTAGGIO DELLE CORDE
Capitolo n. 20
I CONTROLLI DI QUALITA'
- ACCORDATURA DELLA CHITARRA
SULLA PROFILATURA DELLA TASTIERA DELLA CHITARRA, Bruno Pizzigoni.
Bibliografia