ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

GERHARD ED GUITAR MUSIC selections From night birds & luna BOOK & CD TABLATURE CHITARRA LIBRO SPARTITI

GERHARD ED, selections From night birds & luna. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

 

LIBRO DI MUSICA ACUSTICA CON CD.

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Prezzo: €139,99
€139,99

GUITAR ATLAS AFRICA CD CHITARRA LIBRO TABLATURE CONGOLESE MALIAN BLUES MBIRA MBAQANGA

GUITAR ATLAS AFRICA. Chi nel 2003 ha ascoltato il chitarrista classico John Williams in concerto, sarà ancora incuriosito dalle allegre melodie del continente africano. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

By Banning Eyre
SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Banning Eyre, a nationally recognized expert in African guitar music, guides you through a variety of important styles, including congolese, mbira, Malian blues and juju. Explore the history and origin of each style including the pioneering musicians that developed them, and learn the dominant characteristics and techniques necessary to play this remarkable music. All material and examples are presented in standard notation and TAB for both lead and rhythm parts. A CD demonstrating all examples and compositions in the book makes learning easy and trouble-free for all players.


Expand your musical horizons with guitar styles from the African continent.
Banning Eyre, a nationally recognized expert
in African guitar music, guides you through the elements that
are at the heart of the African guitar sound. Explore a variety
of important styles, from the intertwining guitar boogie of the
Congo and the serene, percussive weave of Nigerian juju
music, to the flashy fingerpicking of Mali and Madagascar.
The CD demonstrates ali the examples and compositions
featured in the book.
The author's travels and experiences with guitarists throughout
Africa lend this book unmistakable authenticity, and the
popularity of Afropop makes Guitor Atlos: Africo a must for
every player. This thorough yet concise introduction makes it
fun and easy to explore the fascinating styles of a continent
rich in musical traditions.
Guitar Atlas: Africa

Guitar Styles From Around the Globe
20450

African guitar is a big subject, as big as the continent itself. Africa is 54 countries and
many hundreds of distinct ethnic groups, and while most people think of African music
as principally drumming and singing, there is an astounding number of guitar styles
unique to particular African settings. Paul Simon's breakthrough 1986 album
"Graceland" focused international attention on South African pop music and initiated
a process of discovery for cutious music fans around the world. What they found was
the dazzling array of music styles we now call Afropop. From the tangled guitar boogie
of the Congo-soukous music-to the serene percussive weave ofNigerianjuju music,
to the flashy fingerpickers of Mali and Madagascar, Africa's treasure chest of beautiful
and originaI contemporary guitar idioms seems inexhaustible.
Many of these idioms deserve a book of their own. Some are extensions of ancient
musical traditions that used indigenous instruments for centuries before the first
guitars carne to Africa with Portuguese sailors in the 16th century. These "roots"
genres sometimes have rich, widely inrerpreted repertoires and diverse, demanding
techniques specifically developed to render the sounds of African instruments on
guitar. Even brazenly modern guitar styles, like those in the Congo, have achieved
a remarkable level of depth and rigor within a few short decades of developmenr.
For all the travel and study l've put in, l've only scratched the surface of Africa's
guitar wealth. But l've learned enough to convey a number of important principI es
of some key African guitar styles.
That is the limited objective of Guitar Atlas: Africa. The African guitar styles introduced
here are by no means the only ones worthy of study. They are simply the ones I have been
fortunate enough to discover, and the ones l've become intrigued enough to tackle as a
player. This book would not have been possible without the openness and generosity of
the many guitarists who have shared their wisdom with me. Using the principles and
fundamentals in this book as a starting point, players will be able to approach recordings
of African music with greater appreciation and understanding. Still, mere is no substitute
for sitting down with those who grew up playing these styles, especially ifyou can do so in
Africa. My fondest hope for this book is that it will inspire other players to dig dee per into
this underexamined world of guitar music. I hope others will make their own journeys,
write their own books and articles, and bring as yet undiscovered African guitar geniuses
to international attention.
Guitar Atlas: Africa assumes that you have some experience playing and reading standard
music notation and/or TAB, and that you have some experience with both
fingerstyle and flatpick playing. It also assumes that you have some understanding of
basic music theory-time signatures, rhythms and note values (ranging from whole
notes to sixteenth notes), intervals, harmony (chords and chord symbols), and so on.

 

Banning Eyre has played guitar professionally since me mid1970s,
working in genres as diverse as jazz, flamenco, dancerock,
and reggae. Since 1990, he has specialized in guitar
styles from Mrica, making six trips to the continent to research
guitar music. Over the years, Banning has played in a
series of Congolese soukous bands in Boston, in the West Mrican
folk ensemble Cora Connection, and with a variety of
musicians performing Zimbabwean mbira music. He teaches
Mrican guitar styles, both privately and in workshops at Tribal
Soundz in New York City.
During travels in Mrica, Banning has performed with the Super Rail Band of Bamako
and Sali Sidibe in Mali, and with Thomas Mapfumo and the Blacks Unlimited in
Zimbabwe. He plays on two Thomas Mapfumo albums, "Chimurenga '98" and
"Chimurenga Explosion," and on a track from Taj Mahal and Toumani Diabate's
"Kulanjan" (Hannibal, 1999), voted the Folk Roots Album of the Year in the UK.
Banning has written about international music, especially Mrican guitar styles, since
1988. He comments and reporrs on music for National Public Radio's All Things
Considered and contributes regularly to the Boston Phoenix, Guitar Player, Rhythm,
Folk Roots, The Beat, CM] New Musie Monthly, and the Musie Hound and All Musie
Guide series of books. He has traveled extensively in Mrica and produces regular
programs for the public radio series Afropop Worldwide.
In 1995, Banning co authored AFROPOPf.- An Illustrated Guide to Contemporary Afriean
Musie with Sean Barlow. His critically acclaimed book In Griot Time: An Ameriean
Guitarist in Mali (Tempie University Press, 2000) recounts his seven-month apprenticeship
with DjelimadyTounkara of the Super Rail Band of Bamako, Mali. He compiled a
companion CD, In Griot Time: String Musie from Mali (Stern's Mrica, 2000), including a
number of his own recordings of musicians in Mali. Banning is currently at work on a
book abour Thomas Mapfumo and the contemporary history of Zimbabwe.
Banning is the senior editor.

Amponsah
Balafon
Chimurenga
Clave
Diaoura
Dosongoni
Griot
Guirare etouffée
Hosho
Kaira
Kamelengoni
Karigamombe
Karagnan
Keme Burema
Kwaito
Kwassa-kvvassa
Marabi
Marche militaire
am-POHN-sah
BAH-lah-fohn
CHI-mur-EHNG-ah
CLAH-vay
jah-OO-rah
DOH-soh-NGOH-nee
GREE-oh
gih-TAHR AY-too-fay
HOH-shoh
KIE-rah
KAH-meh-leh-N GO H -nee
KAH-tee-gah-MOHM-bay
KAH-ran-YAH(n)
KAY-mayBRAH-mah
KWIE-toh
KWAH-sah KWAH-sah
mah-RAH-bee
MARZH mee-lee-TEHR
Marovany
Matonge
Mbaqanga
Mbira dza vadzimu=
Mi-solo
Ngoni
Pidigori
Seben
Son monruno
Songhai
Soukous
Sungura
Sunjata
Taireva
Ukapika
Valiha
Wassoulou
Yoruba
MAH-roh-VAHN
MAH-tohn-gay
mbah- KAHN -gah
MBEE-rah DZAH-vah-DZEE-
MEE-soh-loh
NGOH-nee
PIH -dee-goh-ree
SEH-ben
SOHN mahn-TOO -oh
SOHN-gie
SOO-koos
soon-GOO-rah
soon-JAH-tah
tie-RAY-vah
OO-kah- PEE-kah
vah-LEE
WAH-soo-loo
yoh-ROO-bah


ABOUT THE AUTHOR
PRONUNCIATION GUIDE
INTRODUCTION

CHAPTER l-Palm Wine Piekers
Two-Finger Pieking
Palm Wine Basies
Parallel 6ths
Making It Swing

CHAPTER 2-Highlife and Juju
Rhythm Guitar
Juju IO
Juju Slow 1 O

CHAPTER 3-Congolese, Rumba, and Soukous
The Clave Rhythm
Congolese Rhythm Guitar
Matonge
Congolese Lead Guitar
Soukous Bass
Congolese Seben 1
Congolese Seben 2.

CHAPTER 4-Music of the Manding Griots
Kora Style
Balafon Style
goni Style
Keme Burema
Diaoura
Lydian Mode
Manding Swing
Manding Groove

CHAPTER 5-Malian Blues .
Major Pentatonie .
Songhai Piece .
Minor Pentatonie .
Minor Pentatonic Duet .
Dorian Pentatonie .
Dorian Desert Blues .
Wassoulou Musie .
Two-Guitar Wassoulou Piece .

CHAPTER 6-South African Piekers
and Strummers .
Zulu Fingerstyle Guitar .
Walking Song .
Zulu Song .
Mbaqanga .
Mbaqanga Song .

CHAPTER 7-Zimbabwe Rumba .
Sungura Stomp .

CHAPTER 8-Zimbabwe Mbira .
Mbira Fingerstyle .
Karigamombe Fingerstyle .
Flatpiek Mbira Guitar .
Pidigori .
Lead Mbira Guitar .
Pidigori Extended Lead .
Taireva .
1àireva (version 1) .
1àireva (version 2) .

CHAPTER 9-Miracles of Madagasear .
Sammy's Vamp .
Variation on Sammy's Vamp .
Malagasy Song .


Track
A compact disc is included with this book. This disc can make learning
with the book easier and more enjoyable. The symbol shown at the left
appears next to every example that is on me CD. Use me CD to help
ensure that you're capturing me feel of me examples, interpreting me rhythms
correccly, and so ono The track number below the symbol corresponds directly
to me exampleyou want to hear. Track l will help you runeyourguitar to this CD.
Have fun!

Prezzo: €20,99
€20,99

FINGERPICKING PATTERN ENCYCLOPEDIA. CD TABLATURE

FINGERPICKING PATTERN ENCYCLOPEDIA. CD TABLATURE

Music by Lou Manz
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD
In addition to over 200 useful fingerstyle patterns, lessons on fingerstyle technique, reading music and 13 original fingerstyle compositions are included. Examples are shown in easy-to-read TAB and standard music notation. The CD includes performances of each pattern and the original compositions.

 

 

Introduction

This book is a collection of fingerpicking patterns that will hopefully be a resource, and a source of inspiration, for any guitarist, regardless of style. Since you have picked up this book, you probably already know how exciting and expressive fingerstyle guitar can be. Fingerstyle guitar is not really a style of music; rather it is an approach to guitar that transcends anyone particular style. Many acoustic singer/songwriters, and folk, blues and country players play fingerstyle guitar. Many jazz players also "comp" chords and improvise picking with their fingers, rather than a pick. Of course, fingerstyle technique is also the basis of most contemporary acoustic instrumental playing. Diverse guitarists from leadbelly to Eric C1apton, Merle Travis to Mark Knopfler and Elizabeth Cotton to Joe Pass have used fingerstyle techniques to create their original music.

One of the most definitive aspects of fingerstyle guitar is the use of picking patterns. This is especially true for singer/songwriters and folk/country players. Also, many of our leading acoustic instrumentalists, such as leo Kottke and Adrian legg, have used picking patterns as starting points for their innovative and melodic pieces. In fact, it would be difficult to think of an acoustic singer/guitarist or instrumentalist in folk, blues or country style who does not incorporate picking patterns into their music. This book is appropriate for guitarists of any style or level. Beginners should start with the classic patterns from each chapter and move on to other examples as they progress. Intermediate players will add interesting variations and entirely new patterns to their fingerstyle vocabulary. Even advanced players will find sequences that are new to them in this collection.

WHY FINGERSTYLE PATTERNS ARE USEFUL

They will give you a multitude of options for accompanying songs. You may want to learn a song by one of your favorite artists. Perhaps you have been able to "figure out" the chords by listening to the recording or you may learn the chords from a songbook. If the song was originally recorded using a fingerpicking pattern, you will probably find that pattern or something very close to it, in this book. Even when a song is not originally played fingerstyle, you can be creative and find a pattern that may match the style and rhythmic feel of the recording. Even piano-based pieces, such as Simon and Garfunkel's Bridge Over Troubled Water or Sarah Maclachlan's Angel can work in a fingerstyle setting. They are useful as technique exercises for fingerstyle players. Jazz guitarists practice a multitude of scales, modes and chord voicings. Since fingerstyle players use many picking patterns, it is valuable to practice both common and new patterns as exercises.They will help you develop strength, flexibility, speed and independence in the picking fingers. They can help you create original songs and instrumental pieces. Even well-worn chord progressions sound fresh with new and interesting patterns. Improvise with your favorite fingerpicking patterns and see what develops. The patterns in this encyclopedia are grouped according to type, time signature and special characteristics, such as the inclusion of an alternating bass, syncopation or double stops. A sample piece is provided at the end of each section to suggest some ideas for practical application, and to provide further inspiration. Use the book in any order and in any way that you like.  

 

 

Contents:

 

ABOUT THE AUTHOR

INTRODUCTION

HOW TO USETHIS BOOK

 

GETTING STARTED

Music Notation

Technique

The Left Hand

The Right Hand

 

4/4 PATTERNS PART ONE

Easy Going

 

4/4 PATTERNS PART TWO

Suspended Animation

 

THREE-NOTE CHORDS

The Blues In E

 

TRAVIS PICKING

Travis Time

 

4/4 PATTERNS PARTTHREE 35

Seaside Sounds

 

SINGLE-NOTE PATTERNS IN 3/4

Etude in 3/4

 

DOUBLE STOP & CHORD PATTERNS IN 3/4

Etude in G

 

4/4 PATTERNS PART FOUR

Pedal Power

 

SINGLE-NOTE ALTERNATING PATTERNS

Rainy Day Blues

 

MULTIPLE·NOTE ALTERNATING BASS PATTERNS

Etude in A Mixolydian

 

DOUBLE STOPS ON UPPER STRINGS

Minor Memories

 

SYNCOPATION

E For Elvis

 

PATTERNS IN 6/8 AND 12/8

Study in 6/8

 

The CD that accompanies this book can make learning with the book easier and more enjoyable. The symbol shown above will appear next to every example that is on the CD. Use the CD to help insure that you are capturing the feel of the examples, interpreting the rhythms correctly, and so on. The track numbers below the symbols correspond directly to the examples on that page. Track 1 will help you tune your guitar to this CD.

Prezzo: €22,99
€22,99

FINGERSTYLE EXPLORATIONS, JONAS MOLLBERG Book/CD GUITAR standard notation & TABLATURE mel bay

FINGERSTYLE EXPLORATIONS, JONAS MOLLBERG. CD TABLATURE

The purpose of this material is to create a bridge between pop and rock music and the traditional guitar repertoire. As a guitar instructor, the author has often wished there was material based on classical guitar technique but at the same time sounding more like modern, popular music. He also felt a need for a body of literature which is idiomatic and really makes use of the possibilities of the guitar, so he created these pieces. The pieces frequently use open strings as one way of releasing the magic of the guitar. Another prominent element is the use of arpeggio technique, which provides a continuous and natural flow of music. The book is aimed at guitar students as well as people who take delight in music that is melodious and easy to play but doesn't require too much technical skill to perform. The book is written in standard notation and tablature.

Prezzo: €76,00
€76,00

EMMANUEL TOMMY FINGERSTYLE GUITAR METHOD CD TABLATURE LIBRO METODO CHITARRA FINGERPICKING

EMMANUEL TOMMY, FINGERSTYLE GUITAR METHOD. CD TABLATURE

LIBRO METODO PER CHITARRA ACUSTICA, CON CD. 

SPARTITI PER CHITARRA:

ACCORDI, PENTAGRAMMA E TABLATURE. 

The incomparable Australian guitarist Tommy Emmanuel presents four fingerstyle exercises plus an arrangement of the classic tune Freight Train and two signature compositions- Mister Guitar and Dixie McGuire. This book would serve either as a reference text for one of Tommy's workshops or as a helpful guide to developing fingerstyle guitarists working on their own. All selections are written in notation and tablature for the guitar in standard tuning. A convenient chord chart is provided in the appendix. All of the selections in the book appear on the companion CD.

Intermediate to advanced in difficulty, playing these tunes literally involves the thumbs of both hands! Gaining flexibility and control of your left thumb, you too can play like TE!

 

Dictation Notes with Tommy Emmanuel Getting Started on Fingerstyle ...

GETTING PREPARED

• Make sure your guitar is set up so it is comfortable for you to play.
• Choose a good set of strings
• Get in tune ...
TUNING
• If you have an electronic tuner and you just tune acoustically, that is fine.
• If you plug into a tuner, make sure you turn the microphone off.
• When you have a pick up in your guitar and you plug into the tuner, put the midrange flat out or on the lever,
whichever you understand. That gives the tuner, a real accurate tuner, a sparky signal and you will be able
to get your guitar really and truly in tune.
• It is always a good idea to practice tuning up as well as playing the guitar so you can get use to your guitar
sounding in tune. After a while you will find that you will end up training your own ear into what the sound
of being in tune really is.
NAILS ... ACRYLIC NAILS, NO NAILS OR FINGERPICKS
• What works for you?
• What sound are you going for?
CHOICE OF THUMBPICK
• I use Dunlop medium thumb pick ... not too big, small, thin, or thick ... it is right in the middle, like a
plectrum, but it is wrapped around your thumb.
• Some people use the slick picks, which are thinner.
• It depends on what kind of dynamic or strength you play with. Personally, if I use a slick pick, it would
probably fly across the room after the first bass note.
• I like something that hangs on to my thumb, doesn't make it turn blue on the end and it sticks on your thumb
properly.
• The thumb pick ~hould be pushed back so when you look at your thumb it is covering the end of your nail,
where it meets the flesh, first knuckle joint. When I look down at my thumb, it looks like there is 1/2 inch
of thumb sticking out.
• The thumb has to be independent to the fingers. It is important that you develop the thumb first before you
do anything with the fingers. You have to start training it. This takes time and dedication.
• In the key C. pick C, F, and G to play. Put your fingers down on the place of the guitar where the fret guard
is, down at the mouth. I rest the heal of my palm, the corner of the heal down and I take a little bit of
resonance out of the string to give it that music sound. Leave your fingers down and start with the A string
on the 3rd fret of the C chord. When you can get this slow and steady and use to it, go to C, G, and C.
• It is very important that with each chord change, I start the bass note on the root note. When I am playing
in C, the first note you play is C. Whatever chord you are playing, the first bass note should be the root note,
the note of that chord.
• Practice slowly. Keep the fingers down. Do in any key, E, A, G, B, A ...
• Practice until you can get a good feel, groove going and playing the thumb without the fingers coming up.
Get the thumb going first.
• It is important for you to become good at tapping your foot when you play. Chet use to say, pat your foot. It
will help you with your groove and your time. It will put a bit of bounce and confidence into your playing
and timing. You need to have a good time.
• I always tap my foot on 1 and 3. The only time I don't tap on 1 and 3 is in an extreme situation where I
would playa song where for me to get the right feel on it I would tap on the other beat or where I would tap
like a bass drummer. 
(CONTITUA)
 

Contents

Holding Position

Fingerstyle Notation

Learning to Read Tablature

Dictation Notes with Tommy Emmanuel

Getting Started On Fingerstyle Guitar

Tom's Thumb

Freight Train (simple version)

Freight Train

Mr. Guitar

Dixie McGuire

Thumbpickers Chord Chart  

Prezzo: €24,99
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EMMANUEL TOMMY ONLY Biskie-DriveTime-Luttrell-Mombasa-padre-Questions-robin-GUITAR TABLATURE LIBRO

EMMANUEL TOMMY, ONLY. GUITAR TABLATURE

LIBRO PER CHITARRA CON TABLATURE

NOTE FOR NOTE TRANSCRIBED SOLOS FROM THE ALBUM BY TOMMY EMMANUEL Certified Guitar Player.

Tommy Emmanuel has electrified audiences across the globe. This book contains note-for-note transcriptions of solos from Emmanuel's album Only in standard notation and tablature. Transcribed by Mark Pritcher.

 

TOMMY EMMANUEL
Hailed by Chet Atkins as "Without a doubt, one of the greatest guitar players on the
planet," Tommy Emmanuel has electrified audiences from Steve Kaufman's diminutive
Palace Theater in Maryville, Tennessee to the closing ceremony of the 2000 Olympics
in Sydney, Australia. Having concertized throughout much of the civilized world, this
dynamic performer who, in his words "happens to be a pretty good guitarist," made his
way to the fabled competition in Winfield Kansas as a guest artist for the first time in
2000. Shortly before Tommy's performances there, parking lot pickers were said to
have ceasedjamming and moved trance like in droves to a venue designed to hold perhaps 500,
now packed with three times that number ali to hear Tommy Emmanuel play
an acoustic guitar!
Although he has acted as a mentor to a dedicated few young guitarists in his native
Australia, Tommy seems destined to make his mark performing on the world stage. His
impeccable taste, flawless technique, and engaging personality have inspired fans and
critics alike.
 

ACKNOWLEDGEMENTS
I sincerely hope that you enjoy learning these works of art from Tommy's CD
"QNLY". Many thanks to Tommy for the joy that his music brings usoThe folks at Mel
Bay have been very gracious in providing space for the entire tunes. There is enough
variation in the choruses to make "repeats" impractical and I couldn't bear to leave
anything out. Italian guitarist Daniele Bazzani had worked on these tunes independently
and was kind enough to supply me with his notes early on, and that made my
task easier. Thanks to Brett Wood for help with some "impossible" licks. These tunes vary in difficulty, and please remember that interpreting notes and positions by ear can be subjective at best! Feel free to let me know if you have questions about the music. And very special thanks
to my wife Carol and daughter Katelynn, who allowed me to take on this project. I
Mark Pritcher, Tennessee
 

THOSE WHO WAIT Played with a plectrum (straight pick) 6th string = D; guitar tuned down 1/2 step

"We learn so much in life/ dont we? Ufe is our teacher. Ufe is the school/ and if we're
smart we learn the lessons and learn from each other. I think one of the hardest things
that I've ever had to learn is patience; and trust and faith in believing that things are
going to work out. That's really hard to learn/ to be patient. That's what this song is
about. About truly trusting that if your motives are right/ and everything about you is
heading in the right direction/ then there is no way that you can go wrong. /'
The plectrum is held by the thumb and first finger, and you then use the pick and your
second and third fingers to play the strings. This is sometimes called "hybrid picking".
For a given tune, and a desired effect, the plectrum gives a different sound than the
thumb pick. But if you have never played in this style it can be a challenge. Take it slow
and easy and you will get it! It is not practical to put a plectrum direction on each note,
but you can lay your right hand on the strings, and get a feel for what strings the pick
contacts, and which strings your second and third fingers touch comfortably. If this
style is new to you, go through the tune first using thumb and three fingers, and when
you are familiar with it, you can start on the hybrid technique. It is helpful to study
Tommy's performance videos or DVD's and watch his right hand. Also the fingering is
often critical. In places, fingering can be an individual thing, and you play the way your
left hand feels the best. But most of the time that I have indicated fingering, it is
because it is as Tommy intended it to be played. What seems to be awkward at times,
usually turns out to be brilliant because he has a way of making the melodic ideas flow
together, due in large part to the choice of fingering.
In this tune the tempo is fairly even throughout. It starts with natural harmonics at the
seventh fret, as you lay your first finger across the neck. Tommy uses his left-hand
thumb often to fret the 6th string. This is the case with the opening motif, starting
with the bass in measure 4. For the most part, let notes ring and sustain whenever possible,
even if it is not indicated in the music. Tommy's left hand reach is remarkable, as
you can tell from the five fret stretch in measure 26. Measure 32 has one of the awkward
fingerings on the hammer-on that will take some practice! The left hand thumb
is put to use again for the passage starting in measure 37. In measure 82, there is a
quick natural harmonic on the fifth string, and then you use your left hand to play the
hammer-on on the sixth string.

 

 

- Biskie

- DriveTime

- I've Always Thought Of You

- Luttrell

- Mombasa

- Ol Brother Hubbard

- Padre

- Questions

- Sonce We Met  

- Stay Close to Me

- The Robin

- Those Who Wait

- Timberlake Road

- Train to Dusseldorf. 

 

Prezzo: €36,99
€36,99

FAHEY JOHN AMERICAN PRIMITIVE GUITAR 3CD TABLATURE LIBRO Indian Pacific Railroad Blues

FAHEY JOHN, AMERICAN PRIMITIVE GUITAR. In Christ There Is No East Or West -Take A Look At That Baby -Some Summer Day -Indian Pacific Railroad Blues -The Last Steam Engine Train -When The Springtime Comes Again -The Approaching Of The Disco Void. SHEET MUSIC BOOK WITH 3CD & GUITAR TABLATURE. 

LIBRO DI MUSICA ACUSTICA, CON 3 CD. 

SPARTITI PER CHITARRA CON :

ACCORDI PENTAGRAMMA, TABLATURE. 

... in roots music as a living, breathing thing rather than a museum piece. Industrial guitar grind dominates City Of Refuge, bathyspherelike booms echo through Womblife. White gamelan sounds reverberate through The Epiphany Of Glenn Jones. Such experimentation might have isolated him from his peers through most of the last 30 years, but in the 90s he has discovered an affinity with the ever expanding global underground communitY. "I didn't know there was an alternative movement going," Fahey admits, "so I just kept trying to create similar things to the old. I was aware that there had been an experimental movement in the 60s with John Cage and his followers, but thought they had all gone. Then some friends introduced me to Sonic Youth. Until then I didn't know what was going on.
"As defined by Sonic Youth's Thurston Moore, this "alternative movement" was out of a desire for music resistant to "commodification", be it noise, lo-fi, 20th century experimental music and improv, or global and rediscovered American roots musics like bluegrass, folk and blues.
John Fahey's work feeds the new underground spirit on a number of counts, while Revenant - the label Fahey co-owns with his manager, the Nashville-based attorney Dean Blackwood - alerts new audiences to a hidden history of American music, retrieved from the tiny regional labels scattered across its rural hinterlands.
The surprising success of the six CD box set reissue of rogue archivist Harry Smith's Anthology Of American Folk Music (for which Fahey supplied award-winning sleevenotes) attests to a desire for music that emerges from and addresses real experiences rather than a marketing man's business plan. The Revenant archive releases, meanwhile, vividly recast the past not as nostalgia but as American Primitive or Raw Music. "It was Dean's idea to do that," Fahey modestly states, "but I provided most of the information, together with this collector called Gayle Dean Wardlow. Now that the American Primitive thing is catching on we'll do more. People love the title" The range of his enthusiasms combined with the breadth of his own music make Fahey a vital link connecting today's underground with a century of raw and experimental musics. For his part, he is only too pleased to be working within his newly adopted alternative music 'community'. His instant conversion has already produced one of its finest works in The Epiphany Of Glenn Jones, which teamed John with the Massachusetts post-rockers Cui De Sac, led by Glenn Jones. The title refers obliquely to the project's unpromising start as a "retro lounge music" session - quickly aborted - which Jones's sleeve notes describe as being akin to taking part In some "hellish sensory deprivation experiment". Was working with Fahey really that bad?
The guitarist chuckles mischievously: "Glenn told me after the Epiphany that he had got on a power trip. It had happened to him before, only he hadn't realized it. He did things like not letting me meet the other members of the band until the recording sessions, all kinds of tricks, so that he could remain ultimate dictator of Cui De Sac and the project. But that's an old battle, Glenn's a friend of mine and it came out OK."

AMERICAN PSYCHO
When Fahey was venting his disgust for his 60s recordings earlier on, he went at them with a ferocity out of all proportion to the quality of music. His negative attitude hinted that something deeper was going down than a mature reappraisal of his youthful endeavours. Eventually, his hostility relents, and the negativity lets up long enough to reveal the pain at its source.
"Mainly it's a parental situation:' Fahey explains, washing down more popcorn with gulps of sweet iced tea. "I was writing these things as an escape, as a possible way to make money. The sentiments expressed come out of a messed up situation. I was creating for myself an imaginary, beautiful world and pretending that I lived there, but I didn't feel beautiful. I was mad but I wasn't aware of it. I was also very sad, afraid and lonely. By presenting this so-called beautiful facade I looked good to myself and my audience.
"This went on for years," he continues. "I always tried to put a peaceful element into the music, but it was false because I was not at peace. I didn't know what 1was doing and felt pretty phony. I didn't understand any of this until I had psychoanalysis."
Entering psychoanalysis in the mid-80s helped him exorcise the past. "Before psychoanalysis:' Fahey recalls, "I used to accidentally get so high on prescription drugs and booze that, sometimes, I wouldn't show up for a show. Or I'd be there and not know it. For a while I thought 1was going insane. People would tell me I did these crazy things, but I didn't attribute it to the Quaaludes I was taking so that the memories of my father abusing me as a child wouldn't come back."
In taking Fahey back to the source of his traumas psychoanalysis invested the innocent symbols he had carried over from his childhood with sinister new meanings. Out of a boy's fascination with turtles and tortoises, he had elaborated a personal mythology based on the reptiles, using them as a repeat motif anchoring his art and discography in his childhood.
Under analysis he recalled how he burst out screaming when he first saw a turtle. "When I was about four or five years old I saw what I thought was a penis walking across the front lawn:' he shudders. "It was just a box turtle, but it kind of upset me ..."
Analysis related the encounter to the memory of being sexually molested by his father. "The obsession comes from the psychic meaning of turtles, reptiles and amphibians. In dreams they symbolize genitalia. That's why I went to a psychoanalyst because I had all these repressed memories." The unifying visual motif of his personal mythology and extensive discography turned out to be the corrupting agent of their potential destruction all alone. Remarkably, coming to terms with the full horror of such a revelation marked the beginning of Fahey's 90s regeneration.

AMERICAN PRIMITIVE
John Fahey was born on 28 February 1939 and spent most of his childhood in Takoma Park, Maryland, a small town on the outskirts of Washington DC. His early musical training was at once formal and frustrating. His parents occasionally took him to see 50s bluegrass stars like The Stanley Brothers, whose early recordings Fahey would later reissue on Revenant. But though he grew up with Country & Western and bluegrass, his first instrument was a clarinet. He abandoned it at 14 when he bought his first guitar, a $17 Sears And Roebuck special, with money earned from his newspaper round. After teaching himself to pick his way through the Eddy Arnold songbook, the young, lonely and slightly crazy guitar player decided it was time to start writing his own material. The year was 1954, and Elvis Presley was just beginning to make waves in America. If the young Fahey readily embraced the ...

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DOBBINS CRAIG HYMNS FOR FINGERSTYLE GUITAR CD TABLATURE BOOK LIBRO SPARTITI

DOBBINS CRAIG, HYMNS FOR FINGERSTYLE GUITAR. SHEET MUSIC BOOK with CD GUITAR TABLATURE .

Complete note-for-note transcriptions of twelve best-loved traditional hymns and gospel songs.

Includes: O for a Thousand Tongues to Sing, At the Cross, Tis So Sweet to Trust in Jesus, Sweet Hour of Prayer, The Old Rugged Cross, What a Friend We Have in Jesus, Since Jesus Came into My Heart, Amazing Grace, Leaning on the Everlasting Arms, There is a Fountain, In the Garden, and Jesus, Keep Me Near the Cross.

All songs are fully transcribed in standard notation and tablature, plus performance notes and background information on each song. 46 pages, CD included.

"Craig Dobbins' beautifully played and richly harmonized arrangements sound so perfect on the guitar, you wonder why every church doesn't retire its organist and hire a really good fingerpicker."
-Jim Ohlschmidt, writer, Acoustic Guitar magazine

Acoustic Masters. (Craig Dobbins' Hymns for Fingerstyle Guitar). By Craig Dobbins. For Guitar. Guitar Method or Supplement. Acoustic Masters Series. Acoustic; Fingerstyle. Book & CD. 52 pages. Published by Alfred Music Publishing (AP.0011B).

 

ISBN 1576239748. Acoustic; Fingerstyle.

Craig Dobbins has tastefully arranged this beautiful collection of hymns to be easily playable and yet worthy of concert and solo recital performance. All the music is written in standard notation and tablature, and performed beautifully on the included CD. Selections include: Amazing Grace * In the Garden * O for a Thousand Tongues to Sing * The Old Rugged Cross * Sweet Hour of Prayer * There Is a Fountain and more.

 

Amazing Grace
In the Garden
O for a Thousand Tongues to Sing

The Old Rugged Cross

Sweet Hour of Prayer

There Is A Fountain

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DYKES DOYLE VIRTUOSO FINGERSTYLE GUITAR LIBRO CD TABLATURE CHITARRA-GIRL-COUNTRY FIED PICKIN'

DYKES DOYLE, ACOUSTIC MASTERS SERIES VIRTUOSO FINGERSTYLE GUITAR. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO DI MUSICA CON CD,

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA E TABLATURE. 

 

Doyle Dykes / transcr. Jon Chappell
SERIES: Acoustic Masters Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Doyle Dykes is the natural heir to Chet Atkins' throne. This Nashville-based virtuoso fingerstyle guitarist plays solo guitar arrangements of originals, hymns, and secular pop music with astounding feel and unheard-of technique. This volume includes Doyle's original guitar compositions and his hugely popular arrangement of The Beatles' song "Girl." Songs are:

Includes the Following Selection:
Title Composer

ANGEL'S DESIRE
DOYLE DYKES

BIRMINGHAM STEELE
DOYLE DYKES

CALEB'S REPORT
DOYLE DYKES

CELTIC COWBOY
DOYLE DYKES

CHANGING OF THE GUARD, THE
DOYLE DYKES

COUNTRY FIED PICKIN'
DOYLE DYKES

GIRL
LENNON, JOHN / MCCARTNEY, PAUL

HOWLING OF THE WOOD
DOYLE DYKES

JAWBONE, THE
DOYLE DYKES

MARTHA'S KITCHEN
DOYLE DYKES

MISS HALEY'S MUSIC BOX
DOYLE DYKES

MISTY NIGHTS IN TOKYO
DOYLE DYKES

ROAD BACK HOME, THE
DOYLE DYKES

SELF PORTRAIT ON ACOUSTIC GUITAR
DOYLE DYKES

VISITATION, THE
DOYLE DYKES

WABASH CANNON BALL (PRINT ONLY)
A.P. CARTER

WHITE ROSE FOR HEIDI
DOYLE DYKES

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DYKES DOYLE DYKESOLOGY LIBRO CD GUITAR TABLATURE LIBRO Jazz In the Box-Zaccheus-Amazing Grace

DYKES DOYLE, DYKESOLOGY. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

 

- Jazz In the Box

- Zaccheus

- Twin Six Shooters

- The Lord's Prayer 

- Laguna Sand

- Mission of St. Holli

- Loving Rita

- Gitarre 2000 

- Amazing Grace

- And Can It Be?

 

Paperback: 79 pages
Publisher: Mel Bay; MB98626BCD edition (1999)
Language: English
ISBN-10: 078665063X
ISBN-13: 978-0786650637

Prezzo: €149,99
€149,99
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