LIBRO

TONE POEMS DAVID GRISMAN & TONY RICE FOR GUITAR 1 BOOK LIBRO SPARTITI CHITARRA O SOLE MIO

TONE POEMS, TONY RICE & DAVID GRISMAN, GUITAR. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 


Product Details
Paperback: 86 pages
Publisher: Mel Bay Publication; MB95696 edition (1996)
Language: English
ISBN-10: 0786616571
ISBN-13: 978-0786616572

 

Book Contents :

- Banks Of The Ohio (Arr.By David Grisman)

- Dawg After Dark (David Grisman)

- Good Old Mountain Dew (Arr. By David Grisman)

- Grandfather's Clock (Arr. By David Grisman)

- I Am A Pilgrim (Arr. By David Grisman)

- I Don't Want Your Mandolins Mister (Arr. By David Grisman)

- Mill Valley Waltz (David Grisman)

- Morning Sun (David Grisman)

- O Solo Mio (Arr. By David Grisman)

- Sam-Bino (David Grisman)

- Song For Two Pamelas (David Grisman)

- Swing '42 (Django Reinhardt/ S. Grappelli)

- The Prisoner's Waltz (David Grisman)

- Turn Of The Century (David Grisman)

- Vintage Gintage Blues (David Grisman)

- Watson Blues (Bill Monroe)

- Wildwood Flower (Arr. By David Grisman)

 

On the remarkable CD, Tone Poems, David Grisman and Tony Rice play 17 musical compositions on a wide range of vintage instruments.

Mel Bay Publications, Inc. is proud to present also a mandolin edition of Tone Poems transcribed by John Carlini.

All 17 solos are in both notation and tablature.

Price: €59,99
€59,99

TRAVIS MERLE-COLLECTION-GUITAR TABLATURE LIBRO CHITARRA SPARTITI FINGERPICKING

TRAVIS MERLE, COLLECTION. TAB.

Series: Guitar Recorded Version
Softcover - TAB
Artist: Merle Travis

15 songs by one of country guitar's greatest legends. Includes an introduction.

Cannon Ball Rag
Cincinnati Lou
Dance Of The Goldenrods
Dark As A Dungeon
Divorce Me C.O.D.
Fat Gal
I Am A Pilgrim
I'm A Natural Born Gamblin' Man
Kentucky Means Paradise
Sixteen Tons
Smoke, Smoke, Smoke (That Cigarette)
So Round, So Firm, So Fully Packed
Start Even
Sweet Temptation
When My Baby Double Talks To Me

Price: €26,99
€26,99

MODERN RECORDING TECHNIQUES-Miles Huber-Robert E. Runstein-LIBRO TECNICHE REGISTRAZIONE-

MODERN RECORDING TECHNIQUES, Huber, Runstein.

Price: €44,99
€44,99

THE HOME STUDIO GUIDE TO MICROPHONES-LOREN ALLDRIN-LIBRO REGISTRAZIONE MICROFONI

THE HOME STUDIO GUIDE TO MICROPHONES, L. Alldrin.

Price: €39,99
€39,99

DE LUCIA PACO LA GUITARRA DE LIBRO Rio Ancho-Cueva del Gato-Plaza Alta-SPARTITI CHITARRA

DE LUCIA PACO, LA GUITARRA DE.

 

Rio ancho -Cueva del gato -Llanos del real -A la perla de Cádiz -Almoraima -Plaza alta -El cobrea. No Tablature

Price: €99,98
€99,98

DE LUCIA PACO ENTRE DOS AGUAS-La Barrosa-Monasterio De Sal-SPARTITI CHITARRA LIBRO FLAMENCA

DE LUCIA PACO, ENTRE DOS AGUAS.
El libro está escrito únicamente en formato Partitura: Entre dos Aguas -Soniquete (Bulerías) -Casilda (Tanguillo) -Callejón del Muro (Minera) -Mi Niño Curro (Rondeña) -La Barrosa -Monasterio de Sal. NO tab.

Price: €89,99
€89,99

GUITARRA FLAMENCA PASO A PASO DE COLORES-Oscar Herrero LIBRO TABLATURE SPARTITI CHITARRA

GUITARRA FLAMENCA PASO A PASO. TAB.

Libro de partituras de los temas de introducción de la serie de vídeos Guitarra Flamenca Paso a Paso, FLAMENCO GUITAR. STEP BY STEP. Herrero. Tema de entrada del vídeo 1: "De Colores" (Bulerías) -Tema de entrada del vídeo 2: "Eclipse" (Taranta.Bulería) -Tema de entrada del vídeo 3: "El rastrillo" (Sevillanas).

Product Description:
This book offers notation and tablature transcriptions of the themes used to introduce and illustrate Oscar Herrero's three-volume video series "Flamenco Guitar Step by Step." Appropriate for the intermediate to advanced flamenco guitarist, the music in this book is distinct from that which comes with the videos. The music transcribed in this book is played behind the opening and/or closing credits of the videos. Text is in English, French, and Spanish.
Format: Book

Introduction
Right-hand techniques and notation
Left-hand techniques and notation
De Colores (Bulerias)
Eclipse (Taranta-Buleria)
El Rastrillo (Sevillanas)

Price: €29,99
€29,99

LIEBERT OTTMAR-NOUVEAU FLAMENCO-TABLATURE SPARTITI CHITARRA LIBRO 2 the night-IL CICLONE-FILM

LIEBERT OTTMAR, NOUVEAU FLAMENCO. Il tema musicale del film dal successo "ciclonico", 2 the night. TAB.

Artist: Ottmar Liebert
Guitar transcriptions to the album with 13 pieces, 72 pages

 

Nouveau Flamenco by Ottmar Liebert. For guitar.

Creative Concepts Publishing. Contemporary Instrumental. Difficulty: medium. Guitar tablature songbook. Guitar tablature, standard notation and chord names. 72 pages. Creative Concepts. Published by Creative Concepts 

 With guitar tablature, standard notation and chord names. Contemporary Instrumental. 9x12 inches.

Guitar transcriptions to the album with 13 pieces: Barcelona Nights * Heart Still/Beating * Passing Storm * Santa Fe * Surrender 2 Love * 3 Women Walking * 2 The Night * Waiting 4 Stars 2 Fall * and more.

 

 

2 THE NIGHT (OTTMAR LIEBERT)
3 WOMEN WALKING (OTTMAR LIEBERT)
AFTER THE RAIN (OTTMAR LIEBERT)
BARCELONA NIGHTS (OTTMAR LIEBERT)
FLOWERS OF ROMANCE (OTTMAR LIEBERT)
HEART STILL/BEATING (OTTMAR LIEBERT)
MOON OVER TREES (OTTMAR LIEBERT)
PASSING STORM (OTTMAR LIEBERT)
ROAD 2 HER HOME (OTTMAR LIEBERT)
SANTA FE (OTTMAR LIEBERT)
SHADOWS (OTTMAR LIEBERT)
SURRENDER 2 LOVE (OTTMAR LIEBERT)
WAITING 4 STARS 2 FALL (OTTMAR LIEBERT)

Price: €29,99
€29,99

LIEBERT OTTMAR E LUNA NEGRA OPIUM HIGHLIGHTS Guitar Recorded Version TABLATURE CHITARRA TAB

LIEBERT OTTMAR E LUNA NEGRA, OPIUM HIGHLIGHTS. TAB.

Series: Guitar Recorded Version TAB
Artist: Luna Negra
Artist: Ottmar Liebert

This songbook features note-for-note transcriptions with tab for 14 selections from Ottmar Liebert and Luna Negra's 1996 new age/flamenco release Opium. Includes tips on playing Ottmar's music, and pages of great photos.

"Flamenco is a music both romantic and dangerous; it is an attitude as much as it is a musical genre." Ottmar Liebert

135 pages

Alegria Arabe
The Blink Of An I Contains Eternity
Buleria De Las Golondrinas
Buleria De Rojo
Butterfly + Juniper
Chama 2 Santa Fe
La Acequia Madre
Montana Walking
Nuevo Mexico
Old Man On The Citadel
Tangos De Tesuque
Turkish Night
The Winding Road/La Primavera
Yasmeen

Price: €59,99
€59,99

LIEBERT OTTMAR E LUNA NEGRA BORRASCA GUITAR TABLATURE BOOK CHITARRA SPARTITI LIBRO

LIEBERT OTTMAR E LUNA NEGRA, BORRASCA. TABLATURE

Series: Creative Concepts Publishing
Publisher: Creative Concepts TAB
Artist: Ottmar Liebert

 

On your early releases you overdubbed rhythm and lead parts. When
you began to tour, did you hire additional players for those parts?
I just did it by myself and kind of faked it. I also had a new percussionist
who was really hot, so it kind of worked. This year, to celebrate seven years
of Luna Negra [Ottmar's group], we plan to tour with a nine piece band that
will consist of three guitar players, three drummers, a horn section, and a
bass player. There are a lot of tunes from Borrasca [Lieben's sophomore
effort] that feature Rhumbas that shouldn't be faked.
You have a pretty respectable speed with your picking. Do you use a
pick, or is it always i,m (index and middle finger alternating)?
It is always i,m. The tremolo is i,m,a, with the first note of the triplets
starting with the a and the thumb. I only use a pick when I play live on the
electric; it is a pick made out of stone. I also use a sterling silver pick I
found at the Hard Rock Hotel in Las Vegas when we played there.
What did you do to build up speed and develop a smooth tremolo?
Well, the tremolo was more about reclaiming lost territory. When I was
a kid I spent countless hours reading and doing a tremolo at the same time.
The picato (i,a rest strokes) was just a matter of practicing. The picato was
easier than the rasqueados [the flamenco strums] because they are very
unnatural motions for the hands to make. I worked on them every day for a
couple of years. I recently had a studio musician in New York tell me about
several recordings by famous classical guitarists of Rodrigo's Concierto De
Aranjuez. These guitarists would keep a pick near their guitar for the passages
requiring the rasqueados, because they didn't have the technique. The first
time that Concierto was recorded correctly rhythmically was when Paco De
Lucia recorded it a few years ago. The slow movements are not as beautiful
as, say, Julian Bream's. I think this is because Flamenco players are not as
used to setting the note perfectly with an orchestra; the guitar tone is dead so
quickly. I think Paco's rendition is so beautiful; it has never been performed
like that before. I think he blurred the line between Classical and Flamenco.
Do you still maintain a practice routine?
If I don't practice for an hour or two every day I get edgy, physically
weird. My wife will tell me to go into the studio and practice. I am kind of
a high-strung, scattered person, and I am very unorganized. 1 get distracted
by my computer, phone calls, etc. Some of the practice is just physical, and
you need to practice like a runner. Sometimes, however, I will spend time
just playing around with melodies-not practicing technique, but practicing
musIc.
It sounds like you play what you hear, not what you find on the guitar.
Yes, I hear the next note or I don't play it.
How do you care for your nails?
I apply a little bit of Crazy Glue, then I add baking soda to it. This
combination creates an instantly hard shell. I try to take it off once a year to
let my nails breathe and rest.
What sort of ampl ijication do you use?
I hate'pickups, I've always played into a microphone. It used to be a
AKGC460 with a 63 capsule. Now it's a C480, which is a wonderful new
mic with a higher output and an incredible range. Live, I need to use a
pickup, depending on the size of the venue. I use an Acoustech, which is a
mic-pickup combination; it helps on the low end.
Tell me about your guitars.
My flamenco guitars are made by Keith Vizcarra, of Santa Fe, and are
Negras [cedar top/rosewood back and sides]. They are fitted with
revolutionary V-pegs that Vizcarra designed. The idea behind them is that
normal machine heads don't have the connection to the wood that friction
pegs have. Because of this, Vizcarra invented geared friction pegs, which
have a geared ratio with material that looks like wood and has wood on the
end. They contain the best of both worlds. You get the sound of friction and
the reliability of geared heads. They are absolutely brilliant.
 
Ottmar Liebert's phenomenal success in the last decade has been matched
by only a few mainstream pop/rock acts. That he is an instrumental guitarist
makes his story all the more unbelievable -not the stuff of gold and platinum
success. Not normally. Liebert is a self-described "mutt" born of Chinese
and German heritage and raised in Europe as a boy. His journey brought him to
America, where he followed his pop/rock muse through many frustrating
years. Looking for a change of pace, Liebert began playing nylon string
acoustic guitar in restaurants in his home town (eleven years to date) of Santa
Fe, New Mexico. A local artist funded a vanity pressing of 1,000 copies of
what turned out to be Nouveau Flamenco. When radio got a hold of this
unique hybrid of flamenco/pop instrumental tunes, a genre was born. Even
though the public readily took to Liebert's quasi-flamenco stylings, some
purists were, and still are, outraged. I met with Liebert after he had just
finished mixing his newest project, Leaning Into The Night, for Sony Classical.
When I heard your first CD, "Nouveau Flamenco," it seemed like a very
pop,oriented treatment of Flamenco styles. There is a lot of repetition and
musical hooks.
I had been playing mostly in rock bands, so I am one of those people
eho thinks in terms of verse/chorus/verse.
Even though you have released a half dozen records since, the first one
is still popular.
Higher Octave [the record label] is still working that first album; I only
did, three with them before signing with Sony. That album is now platinum in
the U.S., Canada, ew Zealand, and Australia. It is an amazing little record.
your experience with Flamenco wasn't all that great when you recorded
that fisrt record in Santa Fe.
A couple of years from the time I arrived, after taking a bunch of Flamenco
lessons and picking material off of records, I was developing the material for
Nouveau Flamenco. When I recorded that album I had only been playing
Flamenco for about a year, so I had very rudimentary technique. It was
interesting, because calling it Nouveau Flamenco was kind of a joke. If I had
pretended to be Spanish I would have called it "Nuevo Flamenco." My title
was suppoed to be funny, like "Nouvelle Cuisine." I kind of stepped right
into a hornet's nest with that title. I found myself thinking, "where is
everybody's sense of humor?" Here I was just starting out with a style I was
interested in, applying it to what I had already, and these guys were getting so
upset. Actually decided to keep it going, because it was becoming funny to
me. The people that are the most stern about "tradition" are not the players,
they are the critics-the people removed from it. Their attitude is, "this is
mine, I found it. I can't play it, but I know what it's supposed to be." You
have to take it with a sense of humor. I take some of the traditional meters
and apply them. In the beginning, to show people where I got them from, I
would write underneath [Buleria], and by no means is it a Buleria with regard
to key and chord sequence, but it is a Buleria rhythm. One time my guitar
builder made me aware of an Email newsletter. I got involved, which was
funny because they didn't believe it was me writing back. They had been
writing about me forever; one faction was saying "Ottmar sucks," and the
other group was saying, "He's introduced so many people to Flamenco, etc."
they had never checked the meter of the song. They just thought that it
wasn't a true Buleria because of a very narrow idea of what Flamenco is. It
is like saying Chuck Berry is Rock 'n Roll, but King Crimson isn't. To me
it's humorous but it is really a non-issue.
I have heard you say that you prefer instrumentals because the listener
is not being told what to think about. Can you elaborate?
Well, I think that instrumental music somehow involves the listener;
without that involvement it is just background. Instrumental music is very
much like a relationship: what you get out of it depends on how much you
put into it. A song format seems to say, "Check me out, I've got something to
say ! " The Iistener is just receiving, as opposed to being involved. The better
lyricists  i will involve you, but some of the pop-schlock is not involving at all.
it is fine for me if omeone wants to refer to instrumental music as background.
Because I think it is beautiful that music can have those different levels.


Matching folio to the album, including: August Moon - Baja La Luna Mix - Borrasca - Bullfighter's Dream - Driving 2 Madrid - In the Hands of Love - The Storm Sings, and more.

112 pages

Price: €39,99
€39,99
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