LIBRO

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

DADI MARCEL LALANNE JEAN-FELIX COUNTRY ET GENTLEMAN GUITAR TABLATURE Six cordes pour deux amis

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.

Price: €19,99
€19,99

DE LUCIA PACO FUENTE Y CAUDAL TABLATURE CHITARRA SPARTITI LIBRO Entre dos aguas FLAMENCO

DE LUCIA PACO, FUENTE Y CAUDAL. TAB.

Partitura en nota y cifra transcritas por Juan Manuel Cañizares.
Temas:

Product Description:
Third in a series of OFFICIAL chronological transcriptions of the recordings of renowned flamenco guitarist Paco de Lucia, this book presents eight pieces from his album, Fuente y Caudal de Paco de Lucia. Meticulously transcribed in standard notation and tablature, selections include: Entre dos agues; Aires choqueros; Reflejo de Luna; Solera; Fuente y caudal; Cepa andaluza; Los Pinares and Plaza de San Juan. A foreword, explanation of notation symbols, helpful tips and generous performance notes are provided in English, Spanish and French.

Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías).

Formato A4
220 Páginas

Price: €79,99
€79,99

STING SONGS FROM THE LABYRINTH TABLATURE EDIN KARAMAZOV LUTE SONGS RENAISSANCE JOHN DOWLAND

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

Price: €131,99
€131,99

DE LUCIA PACO-ALMORAIMA-TABLATURE SPARTITI LIBRO CHITARRA RIO ANCHO FLAMENCO MUSICA

DE LUCIA PACO, ALMORAIMA. TAB.

Transcripción por el maestro Enrique Vargas, director de la colección "Biblioteca Grandes Guitarras Flamencas de Hoy", quien ha afrontado la tremenda dificultad de transcribir de forma fiel y pormenorizada una obra de tamaña complejidad e importancia.

Paco de Lucía, emplea en "Almoraima" varias innovaciones sin precedentes hasta la fecha: Cada uno de los ocho temas del disco tienen más de una, y a veces hasta cinco pistas de guitarra; bajo eléctrico; percusión; una pista de guitarra tapá y, de vez en cuando, laúd y cante. Todos estos elementos han dificultado tremendamente la tarea de la transcripción. A pesar de ello, el maestro Enrique Vargas ofrece en cada tema diferentes soluciones siempre con la máxima fidelidad al original.

Todas las piezas son perfectamente ejecutables tanto para un solo como para un dueto (con excepción de la rumba y sevillanas que sólo son aptas para dueto). Cada tema viene además precedido por anotaciones explicativas bilingües castellano/inglés. Las partituras están presentadas en solfeo y en cifrado. Tanto las digitaciones de ambas manos como los matices dinámicos y técnicos se presentan de la forma más pormenorizada posible.

A continuación, una descripción técnica de cada partitura de esta obra.

Almoraima, (Bulerías)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra y el bajo. Donde la segunda guitarra se limita a tocar acompañamiento genérico se ofrecen símbolos armónicos. La pista de laúd, interpretada por el maestro Paco de Lucía ha sido transcrita íntegramente. Esta pieza es apta para solo y dueto.

Cueva del Gato, (rondeña)
La parte de la guitarra de acompañamiento interpretada por Ramón de Algeciras está transcrita íntegramente lo que hace la pieza ideal tanto para un dueto como para un solo.

Cobre, (sevillanas)
Este tema es un dueto donde la guitarra principal interpreta cada sevillana en una tonalidad y, a veces, afinación distinta. La segunda guitarra mantiene la misma afinación sin cejilla, es decir, al aire. En la tercera copla de cada sevillana el maestro Paco de Lucía grabó la segunda pista del solo haciendo una especie de contrapunto con la guitarra principal. Esta segunda pista también ha sido transcrita íntegramente.

A la Perla de Cádiz, (cantiñas)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra. Donde el acompañamiento es genérico se suministran símbolos armónicos. En la parte final el maestro Paco de Lucía desarrolla una brillante improvisación sobra la salida del cante por cantiñas . La melodía de esta salida ha sido transcrita para que sirva de referencia y también por si se desea interpretarla utilizando voces u otros instrumentos musicales. Apto tanto para solo como para dueto.

Olé, (jaleos)
A pesar de ser un dueto con las dos guitarras transcritas íntegramente, esta pieza es perfectamente ejecutable como un solo de guitarra.

Plaza Alta, (soleá)
Al final de este tema entra la segunda guitarra cuyas partes más importantes han sido transcritas íntegramente y en las partes genéricas se ofrecen símbolos armónicos. Puede ser interpretada como solo y como dueto.

Rio Ancho, (rumba)
Esta conocidísima rumba se presenta en el siguiente formato: la guitarra principal; las partes más importantes de la segunda guitarra y los símbolos armónicos.

Llanos del Real, (minera)
En la parte final de esta pieza entran la segunda y tercera guitarra que han sido transcritas íntegramente.

Formato A4
307 Páginas

At last, a long-awaited transcription book of the emblematic CD Almoraima by Paco de Lucía published by Gestión de Lucía (the artist management company) has arrived. This time the author of these charts has been no other than maestro Enrique Vargas, also the director of the collection The Great Flamenco Guitars of Today Library, who had to face the tremendous difficulty of transcribing accurately every little detail of this historic work of art.

In the process of an intense search for a new expressive melodic, structural and harmonic forms in flamenco, the genius guitarist from Algeciras implements in Almoraima various innovations unprecedented for the times: every one of the eight cuts of the CD has more than one - and some times up to five - guitar tracks; electric bass; percussion; a muted guitar track, and, sometimes, oud and singing. All of these elements made the task of transcribing this work tremendously difficult. In spite of this, maestro Enrique Vargas offers in every piece the solutions based on maximum fidelity to the original.

All of these pieces are perfectly playable by solo guitar and a duo (with the exception of the rumba and sevillanas than are only suitable for a duo). Every piece is preceded by annotations in Spanish and English. The charts are presented in notation and tab. The fingerings for both hands and dynamic and technical characteristics are explained in the smallest detail.

Contents:

"Almoraima" (bulerias)
In this piece the most important parts of the second guitar and the bass have been transcribed entirely. Where the second guitar plays generic accompaniment the chord symbols are provided. The oud track recorded by maestro Paco de Lucía has been transcribed entirely. This piece is playable as a solo as well as a duo.

"Cueva del Gato" (rondeña)
The guitar accompaniment played by Ramón de Algeciras has been transcribed entirely, which makes this piece ideal for a duo as well as a solo.

"Cobre" (sevillanas)
This piece is a duo where the main guitar interprets each sevillana in a different key and, sometimes, different tuning. The second guitar maintains the same tuning without a capo. In the third copla of each sevillana maestro Paco de Lucia recorded a second solo guitar track which does a sort of counterpoint with the main guitar. This track is also been transcribed.

"A la Perla de Cadiz" (cantiñas)
In this piece the most important parts of the second guitar have been transcribed. Where the accompaniment is generic chord symbols are supplied. In the final part of this piece maestro Paco de Lucía plays a brilliant improvisation over a sang melody that has been transcribed to be used as a reference or played by some other musical instrument if so desired. Can be played as a solo as well as a duo.

"Ole" (jaleos)
Despite this piece being a duo with both guitars completely transcribed, is perfectly playable as a solo, too.

"Plaza Alta" (soleá)
In the final part of this piece enters the second guitar whose more important parts have been transcribed entirely. In the generic parts chord symbols are supplied. Can be played as a solo as well as a duo.

"Rio Ancho" (rumba)
This famous rumba is presented as a guitar duo with the accompaniment explained and transcribed in its most important parts. Chords symbols are supplied throughout the whole piece.

"Llanos del Real" (minera)
In the final part of this piece enter the second and third guitars that also have been transcribed.

Price: €79,99
€79,99
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