THE GUITAR MUSIC OF SPAIN VOL. 3-El noi de la mare-Aire de milonga-Capricho arabe Tarrega-Joaquin Rodrigo

THE GUITAR MUSIC OF SPAIN VOL. 3. Superba raccolta di musica Spagnola per chitarra. Sono presenti titoli di F. Moreno Torroba, Joaquin Rodrigo, Francisco Tarrega, e molti altri di non facile reperibilità. Contiene: Aire de milonga -Jorde cardoso (Eduardu Falu) -Bolero -Campanas de alba -Capricho arabe (F. Tarrega -Dos piezas para guitarra, Bolero El Majo -El noi de la mare (Llobet) -Madronos (Torroba) -Pajaros de prima vera (Joaquin Rodrigo) -Paseo -Petenera -Preludio en Mi Mayor -Romance (Torroba) -Scherzo (Llobet) -6 variationes sobre un tema de Milan -Tango y zapateado (Romero) -Vals Venezolano -Zapateado.

Price: €29,99

TREASURES OF THE BAROQUE VOLUME 1 guitar libro chitarra barocca Silvius Leopold Weiss-Pellegrini

TREASURES OF THE BAROQUE VOLUME 1. Musica dalla chitarra e dal liuto barocco; Francesco Corbetta, Robert de Visèe, Ludovico Roncalli, Santiago de Murcia, Weiss.

Product Description:
David Grimes has utilized his extensive research into Baroque music and his expertise in classical guitar solo performance to compile a truly unique and valuable collection. In addition to presenting an authoritative section on Baroque ornamentation, Mr. Grimes has notated a wealth of fascinating and beautiful guitar solos from the original tablature sources. Standard notation only. 160 pages.


Music From Baroque Guitar Tablatures


Three Minuets
Gavotta and Double
La Forlane Gay
Johann Anton Losy
Minuet and Gavotte
Ayr and Gigue
Francesco Corbetta
Tambour de Suisse
Suite in D (Prelude, Allemande, Courante, Sarabande, Chaconne)
Robert De Visee
Suite in C Minor (Prelude, Allemande, Courante, Sarabande I, Sarabande II, Gavotte)
Francois Campion
Prelude, Sarabande and Gavotte
Air and Courante
Menuet and Gigue
Domenico Pellegrini
Balletto Primo and Corrente
Corrente and Sarabanda
Ludovico Roncalli
Suite in A Minor (Preludio, Alemanda, Corrente, Sarabanda, Gigua, Passacaglii)
Gaspar Sanz
Passacalles in D Minor
Passacalles in A Minor
Passacalles in D (por cruzado)
Antonio De Santa Cruz
Canario in G
Francisco Guerau
Santiago De Murcia
Paspied Viejo and Paspied Nuevo (Feuillet)
Passacalles in D
Suite in C (Preludio, Allemanda, Correnta, Zarabanda, Ayre, Rondo, Gavota, Rigodon, Giga, Menuet de Estas Piezas, Otra Giga)
Music From Baroque Lute Tablatures
Ernst Gottlieb Baron
Sonata in A Minor (Allemande, Courante, Menuet I, Aria, Bouree, Menuet II, Siciliana, Gigue)
Sonata in G (Prelude, Allemande, Courante, Menuet, Bouree, Polonaise, Gigue)
Esaias Reusner
Suite in G (Allemanda, Couranta, Sarabanda, Gavotte, Gigue)
Suite in G Minor (Allemanda, Couranta, Sarabanda, Gigue)

Price: €26,99


VILLA LOBOS HEITOR, SOLO GUITAR. 12 studi (1929), 5 preludi (1940), 5 suite popolare brasiliane (1908 1912), Chôros n.1 (1920).

Price: €75,99

I DO, I DO! 14 wedding songs flute & guitar TABLATURE LIBRO SPARTITI CHITARRA FLAUTO

I DO, I DO! 14 Traditional wedding songs. Tutti i brani per una cerimonia al completo, per flauto e chitarra. TAB.

Flute & Guitar
Series: Songbook
Publisher: Cherry Lane Music TAB
Composer: Various Composers

I DO, I DO! is a great collection of traditional wedding songs for flute and guitar. Songs included are 'Air on A G String,' 'Ave Maria' 'Canon in D' and 'Bridal Chorus.' Fourteen beautiful songs for 2 beautiful instruments. Includes standard notation and tablature. 38 pages

Air On The G String
Ave Maria
Bist du bei mir (You Are With Me)
Bridal Chorus
Canon In D
Jesu, Joy Of Man's Desiring
Prince Of Denmark's March
Sheep May Safely Graze
Trumpet Tune
Wedding March
Where E'er You Walk (Handel)

Price: €39,99


ATKINS CHET, CONTEMPORARY STYLES. Includes duets with Dire Straits' Mark Knopfler. Con anche la parte della chitarra di Mark Knopfler in "cosmic square dance " e in "imagine". TAB.

Series: Guitar Recorded Version TAB
Artist: Chet Atkins
Chet Atkins is one of guitar's living legends. In this book you will find the best of Chet's contemporary recordings completely transcribed in both tablature and standard notation, including several duets with Dire Straits' Mark Knopfler. 14 songs in all, including. 104 pages.

Blue Angel
Chinook Winds
Cosmic Square Dance (ATKINS & MARK KNOPFLER)
Knuckle Busters
Mockingbird Variations
My Song
Which Way Del Vecchio
Windy And Warm

Price: €26,99



Series: Guitar Recorded Version TAB. 80 pages

Ave Maria e
Big Foot
Cheek To Cheek
Happy Again
I Still Write Your Name In The Snow
Jam Man
A Little Mark Musik
Mr. Bojangles
Pu, Uana Hulu (Remembering Gabby)
Sweet Alla Lee
Waiting For Susie B.
You Do Something To Me

Price: €27,99



Guitar tablature songbook for guitar. Series: Hal Leonard Guitar Recorded Versions. 96 pages. With guitar tablature, standard notation, chord names and guitar notation legend. Instructional.

14 songs, including:
Also includes performance notes detailing Chet's techniques.

About Hal Leonard Guitar Recorded Versions
Guitar Recorded Versions are note-for-note transcriptions of guitar music taken directly off recordings. This series, one of the most popular in print today, features some of the greatest guitar players and groups from blues, rock, and heavy metal. Guitar Recorded Versions are transcribed by the best transcribers in the business. Every book contains notes and tablature.

Chaplin In New Shoes
Country Champagne
Dizzy Fingers
Both Sides Now
Honolulu Blue
I Still Can't Say Goodbye
Londonderry Air
Mother Of Ireland
Sneakin' Around
Some Leather And Lace
Waltz For The Lonely
Yellow Bird
Swedish Rhapsody
(anche il chitarrista dei Deep Purple, RITCHIE BLACKMORE ha suonato questo tema in LAZY, nel LIVE IN JAPAN)

Price: €49,99


ATKINS CHET, PLAYS BACK HOME HYMNS. Take my hand precious lord -amazing grace -will the circle be unbroken -in the garden -when they ring the golden bells -just as i am -further along -just a closer walk with thee -the old rugged cross -lonesome valley -God be with you -were you there. TAB.

Product Description:
This book of hymn arrangements as recorded by Chet Atkins was done in hopes that other guitarists will benefit from the availability of beautiful hymns for guitar, both for use in worship services and for personal enjoyment as well. The arrangements are given in notation and tablature just as Chet played them. They have not been simplified, and are intended for use by those who know and appreciate Chet's style of guitar technique. Fingerings and performance notes have been added by the transcriber.

Transcribed by Jerry R. Ozee, arranged by Chet Atkins. Guitar tablature songbook for guitar. 56 pages. With guitar tablature, standard notation, chord names, performance notes, introductory text and black & white photos. Traditional Country and Hymns. 8.75x11.75 inches.

Take My Hand Precious Lord G Major, composed by T. Dorsey
Amazing Grace G Major, composed by John Newton
Will The Circle Be Unbroken E Major, composed by traditional
In The Garden G Major, composed by C. Austin Miles
When They Ring The Golden Bells G Major, composed by Dion DeMarbelle
Just As I Am C Major, composed by C. Elliot, W. Bradbury
Further Along E Major, composed by J.R. Baxter, W.B. Stevens
Just A Closer Walk With Thee G Major, composed by traditional
The Old Rugged Cross E Major, composed by George Bennard
Lonesome Valley E Major, composed by traditional
God Be With You C Major, composed by Jeremiah Rankin
Were You There D Major, composed by traditional

Price: €21,99




By John McClellan and Deyan Bratic. For Guitar (Fingerpicking). Transcribed solos. Country. Book. 208 pages. Level: Advanced.

This tribute contains twenty-two of Chet's greatest solos and duets along with interviews with his daughter, Merle Atkins Russell and close friends such as Jerry Reed, Vince Gill, Eddy Arnold, Don Mclean and many others. This book offers touching insight into the character of an American original, who did much to shape the course of music history and the guitar. Most importantly, Chet Atkins helped thousands of people over the course of his life through kindness and generosity. To quote Jerry Reed, "There is only one." This book is a tribute to a special man, a special artist... a hero to the millions of lives he touched. The Atkins Family has shared many rare photographs which are presented in a special eight-page color insert. Selections include, Heartaches, Caravan, When You Wish Upon a Star (live version), Music to Watch Girls by, Stars and Stripes Forever, Jerry's Breakdown, Nashtown Ville and many others. All music is in standard notation and in tablature.


Introduction to the Music

Thoughts About Chet's Musicianship

In the words of Chet Atkins, "This is my opinion and it oughta be yours!" When you see a legitimate artist, you know it right away. Chet's core musicianship can be summed up succinctly. Rhythm, sound, color, counterpoint, and intonation were everything to Chet. Oftentimes, guitarists that play Chet's material make the mistake of playing too fast, out of tune, and with no regard for timbre or tone. To play Chet's music in this way is disrespectful to his artistry. We have an obligation to his memory to observe the following:

• Play in tune! Chet never played out of tune.

• Relax. Play in time, he never rushed his tempos, even when he played fast, the tempo was relaxed. He rode the beat, rather than pushing it.

• Make a beautiful sound ... the quality of tone is important. Chet always had a beautiful fundamental in his sound. Listen to his old "Gretsch Country Gentlemen" on Chester and Lester, or his nylon sound on Chet Atkins Picks on Jerry Reed or The Night Atlanta Burned!Someone once said, "You will never produce a beautiful sound, if you don't first know what one is." Chet was all about playing pretty. Sound was everything.

He thought it was important to play to the strength of the guitar rather than to its weaknesses. He also felt the need to improve. I think we get set in our ways and stop growing, something Chet never did. Think about it! • Don't arbitrarily make fingerings easier if it destroys the timbre of the phrase. When Chet fingered a passage a certain way, it was because the color of the notes was important to him! He used the color or timbre of the guitar better than any guitarist who ever lived. Chet also conceptualized music vertically and horizontally in a contrapuntal way, this influenced his fingerings, usage of color and his overall musical vision.

• Sing. Chet was always singing! Singing through the guitar! He stressed the importance of knowing the lyrics to the songs you play, as this will help you create a more complete legato in your musical lines or phrases.

• Listen to all types of music as Chet did. For example, he loved the jazz pianist Erroll Garner's Concert by the Sea. (available on CD at most record stores). Chet was very deep musically, he learned from everybody!

Jorge Morel called Chet, "The pure artist of the guitar!" I often think Chet is under appreciated. By considering the points I have just stated, we can all further Chet Atkins' memory and musical legacy.

About the Transcriptions

If you want to really learn from the master, listen carefully to a given piece several hundred times. This is the level of dedication given to Chet and his music within these pages! Every attempt has been made to transcribe " hat Chet really played into notes in a musical score. But how can one accurately translate so many nuances?

• Musical notation isn't enough. It's like trying to explain the secret to producing a painting by Monet or a fine wine. It is impossible! You will find errors, and that is a good thing. It means you're listening and you care. Any mistakes that exist are made because we are human, not because of complacency. Our criteria for transcribing Chet's music was baser upon the diversity of the music and the diversity of Chet's fans. The musical elements that made each piece unique include sound/timbre, phrasing, rhythm, and technique. All these elements were given an extra degree of scrutiny during the transcribing and final proofing. We also used current computer technology to assure accuracy in translating the notes from the recording to the guitar, and finally, to paper...

... ou doing up here?" I told him. In order for him to sign my book, he had to give me his guitar, there was just no where to put it. He said, "Hold this!" He took the book; he was looking for suitable page to sign; he never did anything in a hurry. He was very careful. As he was looking at the book, he said, "Play me a little something!" So I put my foot up on the rung of the stool, I played, "Quiet Nights," that Jobim tune. He signed the book and we swapped back. All this is happening in a few seconds. He said, "You got a nice touch there ... you want to play on this show with me tonight?" Meanwhile, I could hear them start the introduction of Chet. He is getting off the stool, and I turned and said, "I don't have anything prepared, I better not!" Then, they were saying, "Here he is ... Chet Atkins!!" And walking away he says, "You'll be fine, sit there until I call you." And that was it. So then I got a choice, stay there like he told me to do, because he is going to call me, and if I'm not there, then that embarrasses him. I wasn't so stupid that I didn't know that! I am kind of stuck ... it is ice cold in there, I was freezing, my hands were pouring sweat. I was scared to death, but I didn't dare do something as rude as not play. Eventually, Boyce Hawkins, the host, is holding this cheap Gibson CO classical, asking Chet questions you would ask Chet Atkins. He asked Chet to play another one. Chet said, "Well Boyce, I found a kid out there in the studio. His name is David Conrad, he is from North Carolina ... " He remembered everything I said to him in those few seconds back stage, he just tossed it off! So he said, " Let's get him out here, he'll pick a tune for us!" ow, this Boyce fellow, freaked ... this was a live show shot to tape. He was looking from left to right, right to left, like a dog watching television. There I am, Chet kind of waving to me to come on in. I walked across the front and shook their hands and sat down between them. Boyce proceeds, now he is profesional and he cannot allow dead air space, so he jumps right in and says, "So you're from North Carolina. Are you in school? I said, "No sir, I am about to start college, I am visiting friends here. He said, "Chet says you're a pretty good guitar player, but I need you to play for the folks. You have got to prove it!" He shoves that little neo-classic into my hands, I'm trying to tune while he is asking me what I was going to play! The action was bad, not unplayable, mind you, but not ideal. Chet is sitting there and Boyce is looking at me and I am trying to tune this piece of junk of a guitar, Boyce says, "What are you going to play for us?" I said, "I would like to play "One Note Samba," by Jobim. I like Bossa Nova a lot!" Now keep in mind, As I'm still trying to tune ... something inside of me is telling me this is not what they are wanting to hear. The instant it became awkward, Chet gets up and went around and took the guitar from me and handed me his. Chet said, "I think he would rather play this one." It was a Juan Estruch, a beautiful guitar. I think this one was stolen while he was on one of his tours, it just never showed up at the airport. What a wonderful guitar, and personally at seventeen years old, I had never played a guitar that fine, never held one. The action was really low, perfect for me, of course, it came tuned and it played itself. It was just like velvet! I shouted, "A-flat," the band set up a groove, and away I went. Chet was sitting over there just noodling and tuning that bad guitar. I was very comfortable with the piece. When it came time for the bridge (sings the bridge), I just knew the chord progression there. It dawned on me, I had never done any chord melody there. So when I arrived at the bridge, I yelled, "Take the bridge!" I leaned over into Chet's face and he just ripped on through it, and played the heck out of it. On the bad guitar, of course the tone was all together different with Chet playing. From that point on, we were a duet. When we finished that one, we did "Satin Doll" and "Girl from Ipanema." Man, there were as many people coming up to me after the show as there was for Chet. At this point, I'm thinking, "I am not going home. I am not going to college. Momma can just send all my stuff over here!" We finally made our way to each other. I said, "This was one of the most wonderful things of my life, I'm committed to this! What can I say? Were do we go from here? Chet looked at me, then said, "Well, you're going back home to North Carolina and go to college, and I am going to go get a haircut! [laughs] He could see I was pretty disappointed and said, "Nah!, you go back home, I'm going to be here anytime you want or need me. Stay in touch, I'm not going anywhere! Go to school and come back and I'll be here ... we will pick another one!" Back then, there were a lot of golf tournaments throughout the South, still are, Pro-Am and Pro-Celebrity etc ... Chet, Jerry Reed, Boots Randolph and Floyd Cramer had a show called the All Stars. The whole deal with them, they made X. Cosse [Chet's manager] book these shows around golf tournaments. They would come and play, ...


The first time I met Chet Atkins was around 1986. A guy named Dave Burgess, who I was involved with at the time, wanted me to meet Che. Chet had heard Dave was working with me and [mentioned he] would like to meeet me, the reason being, he had produced Perry Como's version of "And I Love Her So;" Chet wanted to meet me because he loved the song. He liked good songwriters. So we met, and he was a little distant when we were talking. We were talking when something funny carne up ... I mentioned the actor Claude Akins. Chet said, "Yeah when we would be out on the golf course, I would always get his golf calls!" [laughs] Chet Atkins and Claude Akins ... that was funny! Somebody mentioned Bruce Springsteen, and Chet-this is the other side of him; he hated bulls--t-he didn't wait a second, he said, "He's the biggest hype in show business." Wow! I thought, this is my kind of guy! He didn't pull any punches. He says what he thinks. That is what I remember from my first meeting with Chet.

The one thing I got from Chet was that he was his own man, he wasn't a part of the gang. He was a singular individual. He definitely knew how to play the game and he knew how to do what needed to be done in order to win the awards, make the money, and have the hit records and stuff. But he was in his own world! It was very obvious to anyone who had any brains, if you were around this guy-he was a genius. Walt Whitman, I love this quote, said, "The artist, finding no sphere worthy, invents one or creates one." So he was in a sphere he created for himself. If you go back and see how he developed through his guitar, not just his own sphere but the entire phere of country music as it was, which was probably the best dimension country music was ever in. The 1950's, with Loretta Lynn and Patsy Cline. Of course there were other great producers, Owen Bradley and people like that, but he was right there doing it himself. But, he was also an artist.

The other thing that he was, like Chuck Berry-he was a tinkerer. He was an inventor, a guy that loved elctronics. He had a mathematical side to his mind.

One of the other things I remember was being on a television show with Cheto It was Chet, myself. The Jordanaires, and some other group I don't remember. Chet and I ended up doing "Vincent" together; this was on the Nashville Now program with Ralph Emery. Chet did a funny song called "If Jesus Wore a Rolex." I remember Minnie Pearl was on the show also. Chet was getting a kick out her. What a funny lady! Oh yes, Bill Monroe was on the show, too. Chet told me he wanted me to hear a song. Chet was as I am ... somewhat fixated on his father. He did a song about his father. I was very touched by it, and touched by the fact he wanted me to hear it.·He was interested in having me hear this song.
He was so effusive in his praise of my singing, writing, and everything that I was doing. I began to realize how important I was to him; then it dawned on me how important he was to me, and it was just a beautiful thing. I was very appreciative of it and we became more friendly with each other.

Sometime in the 1990s Chet told me he was bragging about me. I said, "You were?" He said they had just come out with a comprehensive Chet Atkins package and "Vincent" was on it. The song meant something to him; it became sort of like a mantra.
Toward the end of Chet's life I stopped by for a visito I remember Paul Yandell was there. Chet would not talk much. He was very frail. Every twenty minutes or so he would engage uso As we were about to leave, I knew. would never see him again. He looked me in the eye, he was very lucid, and he said, "Don, I want you to know that I was very proud to be able to know you." I didn't know what to say. As we drove away, I was devastate! So that's il. .. the rest is ali show business!


Introduction to the Music
David Conrad - "It's a Wonderful Life"
Black Mountain Rag
Minuet - J.S. Bach
Eddy Arnold - "Make the World Go Away"
Cy Coben on Chet - "Chet's Tune"
Streets of Laredo
Tony Brown - "The King of Nashville"
Johnny Smith - "Walk Don't Run, Chet..."
Take Five
Going Home
Bob Beckham - "I know That's Right!"
Music to Watch Girls By
Vince Gill - "I Was in Guitar Heaven"
Minute Waltz
Mainstreet Breakdown
Merle Atkins Russell - "Thank You Very Little"
The Stars and Stripes Forever
Jerry Reed on Chet - "Hail to the Chief"
Drive In
Jerry's Breakdown
Jorge Morel - "The Pure Artist of the Guitar"
Choro da Saudade
Recuerdos de la Alhambra
When you Wish Upon a Star
John McClellan - "A Boy's Tale"
Ray Stevens - "I Haven't Got the Carrot Yet!"
Oh By Jingo
Don Light - "He Nailed it Again!"
Nashtown Ville
Harry Warner - "They Called Him, Sir"
La Vie en Rose
Don McLean - "Starry, Starry Night"
Vincent (Starry, Starry Night)

Price: €46,99


ATKINS CHET, VINTAGE FINGERSTYLES. Arkansas traveler -blue echo -chinatown, my chinatown -the claw -lady madonna -lover, come back to me -my little waltz -slinkey -trambone -when you wish upon a star -wobegon -yankee doodle dixie -oh by jingo, oh by gee, you're the only girl for me. TAB.

Series: Guitar Recorded Version TAB
Artist: Chet Atkins

Features 14 fingerstyle favorites transcribed in notes & tab from this unparalleled player, Includes a note from Chet Atkins, tips on playing his music, photos and a guitar notation legend. 80 pages.

Arkansas Traveler
Blue Echo
Chinatown, My Chinatown
The Claw
Lady Madonna
Lover, Come Back To Me
My Little Waltz
Oh By Jingo, Oh By Gee, You're The Only Girl For Me
When You Wish Upon A Star
Wobegon (The Way It Used To Be)
Yankee Doodle Dixie

Price: €28,99
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