LIBRO CON CD E DVD

LA CHITARRA BLUES IN 3D LIBRO METODO CON CD E DVD TECNICHE ESPRESSIONE-RITMICHE-ASSOLI

LA CHITARRA BLUES IN 3D. LIBRO CON CD E DVD. 

 

LIBRO METODO DI MUSICA BLUES, CON CD E DVD, IN ITALIANO. 

SPARTITI PER CHITARRA CON: ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICHE DI ESPRESSIONE, RITMICHE, ASSOLI. 

 

 

 Autore Brandelli, Tommaso

 Strumento Chitarra

 Prodotto Libro con CD e DVD

 Formato Metodi, Studi, Tecnica

 Lingua Italiano

 Pagine 64

 

Descrizione, Contenuto

Il Blues è un vero passaggio obbligato per tutti gli aspiranti chitarristi. In effetti, imparare a suonare la chitarra senza passare dalla casella “Blues” risulta tanto assurdo quanto voler cantare senza nemmeno saper parlare! Questo metodo vi permetterà quindi di scoprire tutti gli aspetti di questo stile musicale: struttura, accordi e ritmi specifici; accompagnamenti, ritmiche e riffs; scale, improvvisazione ed esecuzione solista... 

 

Volendosi essenzialmente pratico, questo libro vi presenta numerosi giri di Blues completi, sia per l’accompagnamento che per gli assoli, nello stile dei più grandi bluesmen di tutti i tempi: Otis Rush, B.B. King, Eric Clapton, Freddie King, Buddy Guy, Albert King, Stevie Ray Vaughan, Magic Sam, ecc. Tutti i Blues proposti nel metodo sono eseguiti per intero sul DVD, a velocità normale, poi ridotta, per aiutarvi nella loro interpretazione. Il CD MP3, da parte sua, con le sue 5 ore di musica, vi permette di suonare ogni Blues su due basi musicali diverse, la prima a velocità normale, la seconda a velocità ridotta.

Prezzo: €26,99
€26,99

INIZIAZIONE AL CONTRABBASSO JAZZ IN 3D LIBRO CON CD E DVD ITALIANO METODO TECNICA ARPEGGI

INIZIAZIONE AL CONTRABBASSO JAZZ IN 3D. LIBRO CON CD E DVD IN ITALIANO.

LIBRO METODO DI MUSICA JAZZ, CON CD E DVD. 
PENTAGRAMMA, ACCORDI.

Autore Rossi, Aurelio

Strumento Contrabbasso
Prodotto Libro con CD e DVD
Formato Metodi, Studi, Tecnica
Lingua Italiano

Descrizione Contenuto:

Quest’opera propone una serie di esercizi musicali originali molto progressivi che si rivolgono prima di tutto ai contrabbassisti principianti. Seguendo i diversi capitoli di quest’iniziazione, troverete numerosi consigli per suonare il contrabbasso Jazz affrontando di volta in volta le varie difficoltà con gli insegnamenti la cui evoluzione rimane tanto progressiva quanto efficace. L’autore, che è anche accompagnatore di orchestre di jazz, vi rivela le sue conoscenze in modo semplice e comprensibile. Vi inizia all’arte di saper impostare le note sullo strumento nonché alla lettura, alla conoscenza delle scale e dei modi ed all’interpretazione jazz sotto tutte le sue forme (standard, ballata, 3/4, walking, anatole...). Infine il DVD Video riprende ogni esercizio per facilitarne la comprensione, mentre il CD Audio propone numerose basi musicali su cui potrete applicare gli insegnamenti nonché esercitarvi liberamente.

Prezzo: €27,99
€27,99

METODO DI CHITARRA GYPSY JAZZ Roux Daussant LIBRO CD DVD TABLATURE POMPE DJANGO REINHARDT

METODO DI CHITARRA GYPSY JAZZ, Denis Roux, Samy Daussant.
IMPARA A SUONARE NELLO STILE DI DJANGO REINHARDT

LIBRO DI SPARTITI DI MUSICA MANOUCHE PER CHITARRA CON CD E DVD IN ITALIANO,
ACCORDI, PENTAGRAMMA E  TABLATURE.

Principianti della chitarra Gypsy Jazz questo metodo fa per voi! Semplice, accattivante, efficace, questo metodo che comprende 1 DVD, 1 Cd audio + 1 Libro di 60 pagine, vi insegnerà:A prendere i primi contatti con la chitarra gypsy jazz (Presentaziola chitarra; Tenere la chitarra; Accordare la chitarra; Cambiare le corde; Suonare la chitarra; I primi brani; I primi accordi). Tecnica e velocità (La tecnica del plettro; Esercizi tecnici; Il senso dell’attacco del plettro; Accordi in Barré, posiziiave; La “pompe” gypsy). Melodie zigane e gypsy (Les deux guitares - Les yeux noirs - Berusovie - Ne te presse pas - Soir de Moscou - Tu djaial - Tchavo). Brani gypsy swing (Seul à Paris - Gypsy swing - Latchlo Niglo - Danse norvegienne). Bonus su DVezzi swing di Parigi - J’attendrai - Je suis seul ce soir - Ménil montant - Ma première guitare).

IN ITALIANO CD DVD TABLATURE

Metodo per Chitarra Gypsy Jazz
Samy Daussat, Denis Roux

Principianti della chitarra Gypsy Jazz Questo metodo fa per voi!

Semplice, accattivante, efficace, questo metodo che comprende
1 DVD, 1 CD audio + 1 Libro di 60 pagine, vi insegnerà

A prendere i primi contatti con la chitarra gypsy jazz
 Presentazione della chitarra
 Tenere la chitarra
 Accordare la chitarra
 Cambiare le corde
 Suonare la chitarra
 I primi brani  primi accordi

Tecnica e velocità
La tecnica del plettro
Il pizzicato e l'appoggiato del plettro
Esercizi tecnici
Il senso dell'attacco del plettro

Accordi in Barré
(posizioni chiave)

La "Marcia pompe" gypsy

Melodie zigane e gypsy
Les deux guitares
Les yeux noirs
Berusovie
Ne te presse pas
Soir de Moscou
Tu djaial
Tchavo

Brani gypsy swing
 Seul à Paris
 Gypsy swing
 Latchlo Niglo
 Danse norvegienne

ABC DEL SOLFEGGIO
DJANGO REINHARDT
DIZIONARIO DEGLI ACCORDI

 

Bonus su DVD
 4 pezzi swing di Parigi
 J'attendrai
 Je suis seui ce soir
 Ménilmontant
 Ma première guitare

 

ISBN 978-88-50714-74-2
9788850714742

 

PREFAZIONE 
Questo metodo graduale è pensato per tutti i chitarristi, principianti o già esperti, che vogliano scoprire la chitarra gypsy. Nelle varie pagine troverete astuzie e consigli pratici per suonare nello stile gypsy swing, nello spirito di Django Reinhardt.
Grazie ad esercizi semplici e piacevoli, imparerete le basi dello stile: la tecnica del plettro, gli accordi, la "pompe': lo stile gypsy swing ...
Per voi, brani tradizionali zigani e gypsy, per la prima volta trascritti in solfeggio e tablatura, diagrammi e griglie d'accordo.
Alla fine del libro sono proposti quattro brani swing, tratti dal repertorio francese.

Il DVD permetterà di seguire con le immagini tutti gli esercizi e i brani di questo metodo.

Notate che per esercitarvi nella parte del solista, le riproduzioni dei brani si trovano sulle ultime tracce del CD audio.

Alle vostre chitarre, ora, e coraggio!
Samy Daussat
Denis Roux

 

GYPSY SWING
Genere musicale proprio (all'origine) ai gitani, più o meno ispirato allo stile jazz degli anni
'30 '40, del quale Django Reinhardt e il suo Quintet rappresentano il riferimento assoluto, il
gypsy swing affonda le sue radici nelle diverse tradizioni musicali zigane ed europee,
classiche e popolari, contrariamente al jazz classico, più legato alle tradizioni afro-americane.

Eseguito con strumenti a corda, il gypsy swing è caratterizzato essenzialmente dal
bilanciamento ritmico specifico delle chitarre d'accompagnamento, la "pompe" gypsy sulla
quale i solisti espongono delle melodie e improvvisano con una foga tutta gitana.

Il repertorio del gypsy swing è composto da brani di Django, standard jazz, composizioni
dei membri della comunità, varietà francesi e internazionali, valzer gitani e musette, brani
zingari dell'est, bolero o successi del momento, trasformati alla maniera gitana.

Rimasto a lungo confinato nell' ambito della comunità errante, o swing delle carovane, si
presenta sempre più sulla scena francese e internazionale grazie ai suoi principali rappresentanti, come Dorado e Tchavolo Schmitt, Raphael Fays, Biréli Lagrène, Stochelo Rosenberg, Angelo Debarre o Romane, sono solo alcuni.
 

Prezzo: €31,99
€31,99

GIPSY GUITAR RUMBAS FLAMENCAS AND MORE Gerhard Graf-Martinez LIBRO 2 CD TABLATURE DVD

GIPSY GUITAR: RUMBAS, FLAMENCAS, AND MORE. 2 CD. DVD TABLATURE

LIBRO METODO DI MUSICA FLAMENCA GIPSY, CON 2 CD  E DVD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE. 

Gerhard Graf-Martinez

After the great success of his two-volume flamenco Guitar method, in this volume Gerhard Graf-Martinez deals specifically with the Hispanic American form of the varied flamenco: the Rumba Flamenca. It is with this style of flamenco that groups such as the Gipsy Kings hit the international charts and which has become the epitome of the flamenco to many people. In 'Gipsy Guitar', the author leads every interested guitar player safely into the world of the Rumba Flamenca, providing him with solo and accompanying techniques in the form of music, tablature and two brilliant CD recordings. Also available now is the bilingual DVD.

Prezzo: €63,99
€63,99

JORGENSON JOHN INTRO TO GYPSY JAZZ GUITAR LIBRO CD DVD TABLATURE SPARTITI ACCORDI

JORGENSON JOHN, INTRO TO GYPSY JAZZ GUITAR. CD DVD 2-hour.
SHEET MUSIC BOOK WITH CD and DVD 2-hour with GUITAR TABLATURE. 

LIBRO DI MUSICA MANOUCHE GYPSY JAZZ, CON CD E DVD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD E DVD.

SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE.

 

In this first of three volumes of Flatpicking Guitar Magazine's new Gypsy Jazz Guitar instructional series, "Intro to Gypsy Jazz Guitar," Jorgenson provides the foundational information and practice material necessary for you to gain an understanding of the Gypsy jazz guitar style. The first half of this volume addresses the important element of Gypsy jazz rhythm. The second half of this first volume addresses soloing. Each volume of this three-part series includes a 2-hour instructional DVD, an audio CD with practice audio tracks, and a full format book which presents all of the theoretical information, chord charts, fret board diagrams, music notation, and tablature for the material presented on the DVD.

Song Title: Composer/Source:
1-4-5 Blues Progression
A Minor Pattern
Adding C#dim7
Adding the A and E& chords
Adding the Daug
Adding the G9
An Interview with John Jorgenson
Appendix
Audio CD Contents/Forward
Basic Strum Patters
C Major Note Map
C Minor 6
Changing the C7 to C6
Chromatic Pattern 1
Chromatic Pattern 2
Chromatic Pattern 3
Chromatic Scale
Chromatic Scale moving up the neck
Chromatics
D augmented Arpeggio
D Major
D Major Pattern 1
D Major Pattern 2
D Major Pattern 3
Downstroke Exercise

DVD Contents
F Major
F Major Pattern 1
F Major Pattern 2
G Major
G Major Arpeggio
G Major Pattern 1
G Major Pattern 10
G Major Pattern 2
G Major Pattern 3
G Major Pattern 4
G Major Pattern 5
G Major Pattern 6
G Major Pattern 7
G Major Pattern 8
G Major Pattern 9
G Minor
G Minor 6
G Minor 6 Pattern 1
G Minor 6 Pattern 2
G Minor 6 Pattern 3
G Minor Pattern
Gypsy Jazz Rhythm Details
In-between Notes
Introduction/Acknowledgements
Lead Playing
Minor Blues Progression
Minor Blues with 3-Note Chords
Open Strings, Unison, & Dissonance
Rhythm Example #1
Rhythm Example #2
Rocking the bass on C7 & D7
Simple Minor Blues Progression

John Jorgenson is perhpas best known as a founding member of the Desert Rose Band, for his dazzling fretwork with the super guitar trio The Hellecasters, from his six-year stint as a member of Elton John's band, and his session work with a diverse range of artists including rock icons Elton John, Bob Dylan, Bonnie Raitt and Bob Seger, country legends Willie Nelson, Johnny Cash, Emmy Lou Harris and Hand Williams Jr., and international superstars like Barbara Streisand and Luciano Pavarotti. Even though he has made his living playing primarily rock, country, and pop music John's love for jazz and swing music dates back to his youth when his father, James, was conductiong for Benny Goodman. John, who idolized Goodman, actually got to play with his hero while his father led the way. As accomplished on clarinet as he is on guitar, Jorgenson's first swing recording After You've Gone was a tribute to both his heroes, Django Reinhardt and Benny Goodman. Released in 1985, John played Django style Gypsy jazz ont he first side of the LP and recreated the sound of the Benny Goodman Quintet, playing both Charlie Christian's electric guitar parts and Goodman's swinging clarinet style, on the other. His 2004 release Franco-American Swing, which primarily features John's original swing music, has received rave reviews. In the world of Gypsy jazz music, John Jorgenson has long been known as one of the true American masters of the Django Reinhardt guitar style. In 2003, when the musical director for John Duigan's film Head In The Clouds was looking for someone who could faithfully re-record two tracks from the Quintet of the Hot Club of France for use in the film Guitar Player Magazine's editor recommended Jorgenson. John not only transcribed and recorded the Hot Club's "Blue Drag" and "Minor Swing" for use in the film, he also played the role of Django Reinhardt in the movie. John has also performed with leading European Gypsy jazz artists Bireli Lagrene and Romane, appeared on recordings with Babik Reinhardt and Angelo Debarre, and has written many articles and lessons for national and international guitar magazines. Three guitar virtuosos: John Jorgenson, Jerry Donahue, and Will Ray - collaborated for a one-time-only performance which eventually grew into a 10-year partnership.

AUDIO CD CONTENTS
1: G chord rhythm
2: G chord rhythm with alternate right hand pattern (upstrokes added)
3: Simple 1-4-5 blues progression
4: Final blues progression (with all added chords)
5: Rhythm Example 1
6: Rhythm Example 2
7: F chord rhythm
8: D chord rhythm
9: C chord rhythm
10: 1-4-5 progression
11: C7 chord rhythm
12:D7 chord rhythm
13: Minor Blues Progression

FORWARD
Flatpicking Guitar Magazine is proud to present the first in a three-part instructional series on Gypsy jazz guitar. We are honored to have John Jorgenson, one of the true American masters of the Gypsy jazz style, as the instructor in this series. As you will see on the DVD, John's great enthusiasm for this style of music is infectious and he presents the material in such a systematic and easy to follow manner that anyone who spends time practicing what John teaches here will not only gain valuable insights into the Gypsy style of guitar playing, but will also greatly expand his or her knowledge of the fret board and increase their improvisational skill level. I feel that John's inclusion of Brad Davis as the "student" on the DVD brings a casual and entertaining atmosphere to the visual portion of this instructional package. The addition of an extensive and detailed book as a companion to the 2-hour DVD allows John the opportunity to present much more theoretical knowledge, and address each section of the course in greater detail, than time or space allowed on the DVD itself. Lastly, the inclusion of a practice-along audio CD adds a very practical aspect to the instructional package. It provides the viewer with a valuable practice tool that will continue to be useful for years after the viewer has assimilated the basic material here. No matter how advanced a player becomes, practice tracks can always be useful.
Because the majority of the information here is theoretical in nature and is aimed at providing the student with a strong musical foundation, its principles can be explored far past the specific information and examples that are outlined here. For instance, in the soloing section John spends a great deal of time with the G major arpeggio and G major patterns. Understanding that all of this information can be transposed and applied to any key and at any position on the neck gives the student the opportunity to then take the initiative to explore all of the patterns in a variety of keys and positions. Additionally, John's emphasis in this course on taking time to practice free-form improvisation of every position, pattern, and arpeggio that is demonstrated provides the student with a tremendous practice tool for improving improvisational skills. If the student follows John's system of starting with short four or five note patterns and working to improvise over a rhythm bed with just those notes before moving on to add more complex note patterns and ornaments, even beginning level students can start to gain knowledge and experience that will naturally begin to unlock the mysteries of improvisational playing. I hope that you enjoy the material presented here, learn a lot, and have fun! Dan Miller Editor and Publisher Flatpicking Guitar Magazine

 

INTRODUCTION/ ACKNOWLEDGEMENTS

Over the years, I have been approached many times to write instructional books and make instruction video material. I opted not to do them for many reasons, but largely because there was already so much material available to the learning guitarist. With the recent growth of interest in the Gypsy Jazz style of music in America, I felt there was room, and even need for a teaching tool that could help guitarists start to unravel the mysteries of this enchanting and complex style. Pioneered in the 30's by the phenomenal Gypsy guitarist Django Reinhardt, this style of music incorporates techniques and concepts that are unique, many which likely Django himself invented. To the American guitarist who has developed by learning rock, blues, country, bluegrass or jazz this is an often baffling and overwhelming style to grasp, especially at the beginning. I first heard and was captivated by Django's playing in 1979, after I had been playing the guitar for 12 years. Although obviously not a beginner, I felt like I was attempting to learn a whole new language just by ear. Over the years I have continued to study and play the style, and continue to learn new elements now. In this DVD series my intention is for the students to be able to piggyback on those years of studying, performing and jamming so that progress can be attained at a more rapid pace. I feel that theory is an important aspect of the learning, and also serves to give a language to speak about harmonic movement, chord progressions, etc. I grew up in a musical household, and have an innate understanding of theory as well as having studied theory as part of my musical education so it is natural for me explain harmonic and improvisational concepts in a theoretical sense. All the theory in the world, however, will not make a great performer. The ears must be trained to hear the different chords, arpeggios, etc., which then can be translated into shared feelings and emotions, which of course are the ultimate goal of any musical performance. I want to thank Brad Davis for participating in this series, and being such a willing and enthusiastic "student." As I have a personal aversion to the "one guy talking to a camera for an hour" type of instruction DVD, Brad's presence made the whole filming aspect of this project relaxed and easy. Plus, he is a great player and learned the concepts very quickly! Don't get discouraged if you don't learn as quickly as Brad does, after all he is an experienced professional guitarist. I also need to thank Brance Gillihan for his camera work, and his creative and diligent editing. I don't even want to know the technical aspects of his work on the authoring of this DVD! Rusty Russell's excellence behind the still camera produced the cover shots for the intermediate and advanced volumes, and Brance supplied the photo for the intro volume. Most of all I need to thank Dan Miller for making this all happen. His countless hours transcribing the musical examples, creating tab and notation, editing text and layouts show an enormous commitment to creating a product that is of as high a quality as possible, and one that will give the buyer an incredible amount of information. To say that Dan is dedicated is an understament; he has gone to great lengths physically, creatively and literally to present this project to you, and I give him kudos, thanks, and congratulations! John Jorgenson July 2004 Nashville, Tennessee

AN INTERVIEW WITH JOHN JORGENSON
What is Gypsy jazz?
Gypsy jazz in general is music in the style of Django Reinhardt, Stephane Grapelly and the Quintet of the Hot Club of France. The lineup of this group that first recorded in 1934 consisted of guitar an violin as the lead instruments, with 2 more guitars and a string bass as the rhythm section. This was highly unusual for the time, as jazz had been played more with horns for lead instruments, and drums, piano and/or banjo and string bass or tuba as the rhythm section. To have a jazz ensemble made up entirely of string instruments was innovative and elegant, and Reinhardt and Grapelly were the first non-American jazz musicians to really be recognized and influential. Reinhardt and Grapelly were influenced some by the American violin/guitar duo of Joe enuti and Eddie Lang. But the biggest influence on Django musically was Louis Armstrong. Django was already a prodigiou musician with un anny skill on the banjo-guitar at an early age, and earned money as a teenager accompanying Musette accordionists live and on recordings. After injuring his left hand in a fire in his caravan in 1928 at age 18, Django developed a whole new technique on the guitar while recuperating, mainly using his index and middle fingers, as the others were permanently pulled ba - by the burned tendons. In a relatively short period of time Django was again out playing, sometimes with his brother Joseph accompanyinc him, and caught the attention of Emile Savitry who played for him a 78 record of Armstrong's "Dallas Blues". Django was fascinated with this new American jazz, and quickly adapted many of Armstrong's phrases and rhythmic feels to his guitar. Django's gypsy heritage had already imbued his music with a firey passion, and the addition of the jazz elements created a whole new style of music, now called Gypsy jazz. Grappelly's influence on the development of this style is equally important. His flawless intonation, highly melodic improvisational style and elegant swing perfectly balanced Reinhart's wildly virtuosic playing and the natural competition between these two soloists drove each of them to new heights. In many early reviews of the QHCF's recordings and concerts, Grapelly often got more kudos than Django.
The music that the QHCF made was heard around the world thanks to the 78 records of the day and of course radio. This exotic, swinging combo caught the attention of many future guitar and violin stars and showed that swing could be played on string instruments as well as on horns. Influences for the QHCF can be easily heard in the music of Bob Wills and his Texas Playboys, seminal electric jazz guitarist Charlie Christian, pop guitarist and inventor Les Paul, Nashville stalwart Chet Atkins, bluegrass guitarist Clarence White, mandolinist David Grisman, champion fiddler Mark O'Connor. the list could go on and on-nearly every guitarist and violinist since owes a big debt of gratitude to the pioneering work of Django, Stephane and QHCF. Today Gypsy jazz music is still very much alive, and has had a thriving scene in Europe for years, thanks to artists like The Rosenberg Trio, Bireli Lagrene. Romane, Angelo Debarre, Dorado Schmidt, Fapy Lafertin, Rafeal Fays, Serge Krief. Boulou and Elios Ferret and Jimmy Rosenberg. There are many festivals in Germany, England, Holland, Norway and France featuring Gypsy jazz music. In London there is a club called Le Quecumbar that features Gypsy jazz every night. The American scene is a little behind Europe, but coming on strong in the last few years. Now there are Django festivals in New York, San Francisco, Chicago, Philadelphia, and Seattle, and lots of gypsy jazz players and bands. Seattle has a thriving scene including Pearl Django and Micheal Horowitz, and other pockets around the country are cropping up including Alphonso Ponticelli in Chicago, Raul Reynoso, Club Django and the Hot Club of San Diego in Southern California, the Hot Club of San Francisco in Northern California, The Hot Club of Philly, Arizona, Minnesota- you name it and there is probably a Hot Club of... and lest we forget our neighbor to the North, there are also big contingents in Montreal and Toronto. Once you know the sound of Gypsy jazz, you will start hearing it often in films and television. It seems to always lend a light, swinging elegance to the ambience whenever it is played, and if the current interest level is any indication this mu i will always be bringing new recruits to the fold! From a musician's perspective, what are some characteristics of the Gypsy jazz style that help define it? (In other words, if a musician from a different genre had never heard Gypsy jazz, what would you tell them about it rhythm, chords, soloing, etc. that would help him understand what it is all about?) Gypsy jazz is characterized in part by the rhythmic feel, which is more of a 2 beat feel in faster songs and a 4 beat in the slower ones, but the rhythm is always driving and insistent. The style that the rhythm guitar plays is called "Le Pompe" and always has a strong back-beat. The melodies are very romantic and rhapsodic, with vituosic flourishes from both the guitar and violin. The solos stay mostly in the Swing-era harmonic content, in other words they don't use a lot of the altered extensions but stay a little more "inside" than bop, which came next in the jazz evolution. The gypsy element is especially prominent and more obvious in minor key songs like "Dark Eyes" which comes from an old gypsy folk melody. Minor 6th and diminished chords and arpeggios are used liberally, and one rarely hears a minor 7th chord unless it is used as a passing chord.

Prezzo: €62,99
€62,99

JORGENSON JOHN INTERMEDIATE GYPSY JAZZ GUITAR CD DVD TABLATURE CHITARRA METODO MANOUCHE

JORGENSON JOHN, INTERMEDIATE GYPSY JAZZ GUITAR. SHEET MUSIC BOOK WITH CD and DVD 2-hour with GUITAR TABLATURE. 

LIBRO DI MUSICA MANOUCHE GYPSY JAZZ, CON CD E DVD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Now that you have laid a foundation by completing the material in Intro to Gypsy Jazz Guitar, the second volume Intermediate Gypsy Jazz Guitar, also presented in the DVD/CD/Book format, continues by presenting you with characteristic Gypsy style licks and techniques that are based on the arpeggios and patterns taught in the first volume. Once again Jorgenson presents a very systematic learning method by first teaching simple licks and techniques and then gradually building to more complex material. In studying the left and right hand techniques and ornamentations presented in the second volume, the student will gain an understanding of how to play the guitar with the Gypsy "accent."

Jorgenson also begins the study of Django Reinhardt's playing here by teaching an improvised chorus that Django played on a recorded version of the song "Undecided." Two other songs, Raul Reynoso's "Waneta's Waltz" and Jorgenson's "Snowflake Waltz" are also studied.
Introduction/Acknowledgements
An Interview with John Jorgenson

Hello everyone, welcome to Volume 2 (Intermediate Gypsy Jazz Guitar)! Guitarists have been asking me
since Volume 1 (Intra to Gypsy Jazz Guitar) came out last year when the next one would be ready, and it
is finally here. Over the past year I have had the chance to get out around the country (and world!) and
meet so many others like me who love Gypsy jazz. I want to thank all of you for helping spread the word
about this cool music, and for all the encouragement I have gotten about this DVDseries. I am very happy
to share what I have learned over the years, and am excited to see where all the young guitarists will take
Gypsy jazz in the future.
Thanks go again to Brad Davis, who learned how to play this music so quickly that he toured with
me last year and did a great job. Brance Gillihan shot the instructional footage, and edited the opening
video clip of "]'Attendrai" as well as authoring and editing the whole DVD, and what a great job he did
too. Rusty Russell took the cover shot, and Dan Brick shot the footage from Paris when I still had dark hair
from playing Django in Head in the Clouds.
Major, major thanks go to Dan Miller for his tireless efforts, compiling, editing the text, layout
work, and gentle prodding for me to get my parts finished. This entire series would not happen without
Dan's hard work and dedication to the readers. Thanks is also due to Richard Hendlin, of Solana Beach,
California, for his proofreading work.
I would also like to thank Kristy Wiehe, Jim Cowan, Adrian Bagale and David Gartland from Saga,
Alain Cola from Dell'Arte, Rick Shubb, Nick Lehr, Chris Middaugh from Schertler, Trish Galfano, and my
excellent bandmates Charlie Chadwick, Stephan Dudash, Gonzalo Bergara, Brad Davis, Doug Mattocks,
Raul Reynoso, Dick Hardwick, Bryan Sutton, Andy MacKenzie, John Wheatcroft, Tania and Sandra
Differding, The Nashville Chamber Orchestra, Don Hart, Paul Gambill, and all the others who helped
make the last year one of the best. John Jorgenson June 2005 Nashville, Tennessee 

When did you first hear Gypsy jazz?
I got my first recording by Django and the Quintet of the Hot Club of France in about 1979, and just couldn't believe how amazing the sound of the group was, how much they swung, and what a tone Django got from his guitar-unlike any other I had heard!

What was it about the music that led you to dive into it with such enthusiasm?
I think what captured me most was that Django played the acoustic guitar in a way that made it seem limitless, and almost more like the electric guitar in terms of sustain and expression. Again the tone of his guitar was amazing, and the way that the whole Quintet sounded so fresh and alive, as if had been recorded last week instead of 50 or 60 years ago! As I had originally played the electric guitar, I wanted to learn how to play the acoustic guitar with the same sort of drive and virtuosity as Django, and I thought it would be an amazing vehicle to express myself through this high-energy acoustic chamber jazz. Plus it is always challenging, and constantly stretches my abilities and imagination.

What is it about Django's guitar playing that makes it stand out from all of the other guitar playing, guitar players, and guitar music that you have been exposed to?
Django's guitar playing always has so much personality in it, and seems to contain such joy and feeling that it is infectious. He also pushes himself to the edge nearly all the time, and rides a wave of inspiration that sometimes gets dangerous. Even the few times he does not quite make his ideas flow out flawlessly it is still so exciting and innovative sounding that mistakes don't matter! Django's seemingly never-ending bag of licks, tricks and colors always keep the song interesting, and his intensity level is rarely met by any guitarist. Django's technique was not only phenomenal, but it was personal and unique to him due to his handicap. It is very difficult to achieve the same tone, articulation, and clarity using all 5 left hand fingers. It is possible to get closer with only 2 fingers, but again is quite challenging. Probably the thing about this music that makes it always challenging and exciting to play is that Django raised the bar so high, that it is like chasing genius to get close to his level of playing.

In this DVD/book series you chose to start the first DVD without presenting songs. Instead, you started with the rudiments of Gypsy jazz rhythm and then, when moving on to lead playing, you focused on teaching arpeggios and patterns that would familiarize the viewer with various playing positions on the neck as they relate to different chords. Could you talk about this approach, why you chose to present your material this way, and what the advantages of learning this way would be as opposed to starting out by simply learning songs?
I chose to start out my instructional DVD by teaching the building blocks of the music; rhythmic feels, chord progressions, chord "additions" or substitutions, and arpeggios. These can be applied to any song, and are much more useful for the learning musician than simply learning a song. If a player understands how theory works, even at the most fundamental level, it will make learning other songs and licks much easier. To learn arpeggios all over the fingerboard will help get the player familiar with the possibilities that exist on the guitar, and with basic theory the player will find that all the licks that they have learned in one key can be easily transposed to be used in other keys, just by knowing what the "root" note is, or what scale degree a note is in one key, which then give a "target note" for the new key. Music notation and theory are so often mystifying to the learning player, and even often to the very skilled player. I aim to take away that mystery and show that theory and how it works is very logical, and can be utilized without having to sacrifice any spontaneity or soul. It is simply a tool to help to train the fingers and ears where to go to express the musician's ideas and feelings. Once these skills become second nature, there is little to impeded the flow of emotion-to idea-to phrase-to fingers- to sound-to audience; and that, of course is the final goal of any musician. 

In this Gypsy Jazz Guitar instructional series John Jorgenson has designed and presented one of the most complete acoustic guitar instructional methods available on the market today. Each volume of this three-part series include~ a 2-huur instructional DVD, an audio CD with practice audio tracks, and a full format book which presents all of the theoretical information, chord charts, fret board diagrams, music notation, and tablature for the material presented on the DVD. In the first volume Intra to Gypsy Jazz Guitar, Jorgenson provides the foundational information and practice material necessary for you to gain an understanding of the Gypsy jazz guitar style. The first half of this volume addresses the important element of Gypsy jazz rhythm. Aher discussing correct right hand rhythm technique, Jorgenson teaches the closed chord forms of a basic blues progression and then systematically introduces new chords into that progression to add "color" and "spice" while also introducing you to the characteristic "moving chord" style of Gypsy rhythm. Aher addressing the basic blues progression, Jorgenson then transitions into the more Gypsy sounding minor blues progression and introduces the "three-note" chords which are prominent in Gypsy style rhythm guitar. The second half of the first volume addresses soloing. Here Jorgenson not only lays the groundwork of Gypsy jazz soloing, but in the process also presents you with a method which serves to greatly enhance your understanding of the fingerboard and improvisational playing. Jorgenson teaches arpeggios, note maps, lead patterns, and Gypsy techniques in every area of the fingerboard and in various keys. Additionally, he masterfully shows how the arpeggios and patterns relate to one another. Once you have laid a foundation by completing the material in the first volume, the second volume Intermediate Gypsy Jazz Guitar, also presented in the DVD/CD/Book format, continues by presenting you with characteristic Gypsy style licks and techniques that are based on the arpeggios and patterns taught in the first volume. Once again Jorgenson presents a very systematic learning method by first teaching simple licks and techniques and then gradually building to more complex material. In studying the leh and right hand techniques and ornamentations presented in the second volume, the student will gain an understanding of how to play the guitar with the Gypsy "accent." Jorgenson also begins the study of Django Reinhardt's playing here by teaching an improvised chorus that Django played on a recorded version of the song "Undecided."
Once you have completed the foundation work in the first volume, and the study of Gypsy jazz guitar techniques and ornamentations presented in the second volume, you are now ready to dive into the intricacies of Django Reinhardt's solo guitar playing. In the third volume, Advanced Gypsy Jazz Guitar, Jorgenson teaches three complete Reinhardt solos. He presents the songs "Minor Swing", Limehouse Blues", and "Dinah", but does not simply layout the solo for you to memorize. Jorgenson presents a complete study of these solos by analyzing Django's phrasing and note choices. The goal here is to take you beyond solo memorization. In studying the choices that Django made in constructing his solos, you will learn how to best create your own arrangements and improvisations in this style. 

Licks 1 Amp; 2
Licks 3, 4 Amp; 5
Lick 6
Licks 7 Amp; 8
Lick 9
Licks 10 Amp; 11
Licks 12, 13 Amp; 14
Licks 15 Amp; 16
Licks 17 Amp; 18
Licks 19, 20 Amp; 21
Lick 22
Licks 23, 24 Amp; 25
Licks 26, 27 Amp; 28
Licks 29 Amp; 30
Lick 31
Licks 32 Amp; 33
Lick 34
Licks 35, 36 Amp; 37
Licks 38, 39 Amp; 40
Licks 41, 42 Amp; 43
Licks 44, 45 Amp; 46
Licks 47 Amp; 48
Undecided Melody
Undecided
Undecided (cont.)
Undecided Chord Forms
Licks 52 Amp; 53
Licks 54 Amp; 55
Licks 56 Amp; 57
Snowflake Waltz Introduction
Snowflake Waltz
Snowflake Waltz (cont.)
Snowflake Waltz (cont.)
Snowflake Waltz Chord Shapes
Snowflake Waltz Chord Shapes (cont.)
D minor voicings Amp; Lick 58
Appendix

DVD Content
Jorgenson in Paris (J'Attendral)
Introduction
Welcome
Lick 1-Lick 48
Undecided
Lick 49-Lick 51
Waneta's Waltz
Lick 52-Lick 57
Snowflake Waltz
Lick 58
Closing

Audio CD Contents
1: G diminished rhythm
2: Am Rhythm
3: Am/Dm Rhythm
4: Am Blues Progression Rhythm
5: Straight Blues Rhythm
6: "Undecided" Rhythm
7: "Waneta's Waltz" Rhythm
8: Alternate C and G Chord Progression
9: "Snowflake Waltz" Rhythm

Prezzo: €62,99
€62,99

AC/DC GUITAR KIT TABLATURE CD DVD BASI SPARTITI IMPARARE SUONARE CHITARRA ACCORDI

AC/DC, GUITAR KIT. 72 minutes. TABLATURE CD DVD

LIBRO DI MUSICA ROCK CON CD E DVD.
CD DI BASI PER VOCE, E CHITARRA E VOCE.
LIBRO DI SPARTITI PER CHITARRA E VOCE.
TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE.

Back In Black

- For Those About To Rock (We Salute You)

- Highway To Hell

- Whole Lotta Rosie

- You Shook Me All Night Long.

nel CD Jam complete con preascolto
nel DVD lezione nota per nota
nel libro Tablature

This 3-part package contains everything you need to master five songs by the legends of rock AC/DC, featuring a sheet music booklet, a tutorial DVD and a CD of superb soundalike backing tracks.
Learn to play the five songs note-by-note with the DVD tutorial - you'll get as close as possible to help you master the correct fingerings, techniques and sounds.
A 56-page booklet contains the printed music in notation and tablature to support the on-screen lessons.
Once you've mastered the songs, the audio CD of backing tracks will give you the chance to experience the sound of the full band, with carefully produced professional accompaniments that sound just like the original recordings!

Prezzo: €37,00
€37,00

MARTIN JUAN PLAY SOLO FLAMENCO GUITAR VOL2 LIBRO CD DVD TABLATURE SPARTITI CHITARRA

MARTIN JUAN, PLAY SOLO FLAMENCO GUITAR VOL.2. CD DVD TABLATURE

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

SOLO FLAMENCOS TOMO VOL. 2

Progressively graded for intermediate and more advanced GRADES 6 - 8

This second volume, of a two-part series, contains a book, CD and DVD by internationally recognized flamenco guitarist, Juan Martin. Provided are more than 21 solos, progressively graded in the three higher grades, 6 to 8, to suit players at intermediate and more advanced stages, who already have some experience of the instrument and techniques of flamenco. The music for all these is accurately written in notation and flamenco tab (cifra) and (except for the two final solos) is also included on the companion CD. The DVD contains over 60 minutes of music. All text is provided in both English and Spanish.
 

INTRODUCTION

Welcome to the second volume of Solos Flamencos!

I hope you will find it meets your needs for more technically demanding music which can help you to feel that you are really beginning to master the challenges of the solo flamenco guitar. The tremendous success of the first volume has greatly encouraged us in the preparation of this second volume. Messages of appreciation from players in all parts of the world have brought us great pleasure and satisfaction. The main content of this volume follows the format of the first volume, with seven solos demonstrated at each of the grades 6 - 8. In addition there are four recorded extras on the CD and DVD; these consist of two brief sequences of Solea, a Garrotin (an easier solo which could help you to get started) and more falsetas for Bulerias. Finally, as a further extra in the book, there are two of my solo compositions presented only in music notation and cifra tablature, which are not demonstrated on the CD or the DVD. There is a separate introduction and explanation for these. It is not always easy to rate music at the higher grades in terms of its relative difficulty but I hope you will recognise a progressive trend as you advance from Grade 6 to Grade 8. Many factors are relevant to the grading (with which not all players will be able to agree), but I have taken into account not only considerations of technical difficulty and speed, but also those more fundamental considerations of musical expressiveness, summed up in the two fundamental concepts of compas and aire. The player should aim for an interpretation in which the difficulty of the solo is not apparent to the listener - what matters, of course, is whether it is musically satisfying and whether it can move the emotions. Technical skill is always only a means to an end. Certainly there are occasions when the bravura of a virtuoso technique is absolutely right, especially in the lighter styles (Rumbas, Bulerias, etc.). Even so, the good flamenco guitarist always tries to play with expressive aire and, if it's possible, with that magical spirit of duende, rather than exciting the audience just because he or she can. What I am aiming for here is music for the player whose technical skills are developing to the point where the basic elements are assured. For this reason I have not included the lists of technical requirements at each grade level which are a feature of Volume 1. There are new techniques introduced in the solos but most of the basic elements are illustrated in that volume. At this level, the choice of music continues further the approach adopted previously. I have included here my own compositions and also fundamental elements and solos that pay homage to the great masters of the recent past, particularly Sabicas and Nino Ricardo. Following Ramon Montoya, these two giants of the art were largely responsible for the establishment of the flamenco guitar as a solo instrument, and the value of their genius cannot be overstated. Both of them were exceptionally creative in their melodic and rhythmic originality. I also acknowledge, particularly in a solo Bulerias that evokes the impetuous aire of his first recordings, the incomparable contribution of Paco de Lucia. Today the flamenco guitar embraces other musical traditions such as jazz and pop music, and you will want to discover and pursue your own creative pathway and musical tastes. The aim of these two volumes is to help you establish a solid foundation in the art of flamenco solo playing which acknowledges the history of its evolution and the possibilities for further development and exploration that will take it still further. For me, the flamenco guitar is both a melodic and a percussive instrument, capable of intense beauty of sound and also of powerfully exciting rhythmic drive. Its music arises within a broader and still evolving tradition of flamenco artistry, a unique cultural heritage comprising the cante, the baile and the guitar. A basis of rasgueo rhythm in palos a compas is the uniquely flamenco heart-beat of the music which gives its pulsation and structure. If this is ignored or relegated to insignificance, and the music lacks strong melodic themes intensified by the amazingly expressive sounds of the guitar, I think flamenco guitar-playing can be in danger of deteriorating into aimless and unmusical doodlings or empty technical dazzle. But this is my philosophy and you will want to develop your own! I hope these volumes can help and direct you towards achieving your goals. iViva el arte - y vamos a tocar!

Contents:

Grade 6
La Cana --
Farruca --
Colombianas --
2 Sevillanas --
Sevillana II --
Bulerias (de Sabicas) --
Granadinas (Lorca's Dream) --
Garrotin (Noche de San Juan) --

Grade 7

Solea --
Seguiriya y Cabales --
Bulerias (de Paco) --
Tarantas --
Milonga (del Recuerdo) --
Tangos --
Zambra Mora --

Grade 8

Solea (de Ricardo) --
3 Sevillanas (Sevillana 1) --
Sevillana 2 --
Sevillana 3 --
Solea por medio (Esencia) --
Rondena -- Aurora
Rumba (Rumba nostalgica) --
Serranas (de Ricardo) --
Bulerias (con metronomo) --

Solea A (Another falseta Orta falseta) --
Solea B -- Ritmo Falseta 
Garrotin -- de Sabicas
Bulerias (Ritmpo y falsetas) --
Solea (por escrito) --
Harlequin (Arlequin) Rumba

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ULTIMATE BEGINNER SERIES ROCK GUITAR BASICS NOLAN LIBRO DVD CD TABLATURE METODO ACCORDI

ULTIMATE BEGINNER SERIES, ROCK GUITAR BASICS 1 & 2 COMBINED. Nick Nolan. DVD CD TABLATURE

 

LIBRO DI MUSICA ROCK, METODO CON CD E DVD.

SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE.

Prezzo: €31,99
€31,99

MARTIN JUAN PLAY SOLO FLAMENCO GUITAR VOL. 1 CD DVD TABLATURE CHITARRA METODO LIBRO

MARTIN JUAN, PLAY SOLO FLAMENCO GUITAR VOL. 1. SHEET MUSIC BOOK WITH GUITAR TABLATURE + CD + DVD. 

LIBRO METODO DI MUSICA FLAMENCO CON CD E DVD. 

SPARTITI PER CHITARRA CON: PENTAGRAMMA, TABLATURE. 

 

 

with notation and TAB    PLAY SOLO FLAMENCO GUITAR with

JUAN MARTiN


Guitarra Flamenca

SOLOS FLAMENCOS


42 solos

Progressively graded for absolute beginner to intermediate and more advanced

GRADES 0 - 5

con notacion y CIFRA

Progresivamente graduados para el principiante absoluto hasta intermedio y mas avanzado

CD Contents

Primera  Solea  First Solea

Tientos   Anhelo (Yearning)

Sevillana   Copla tradicional

Verdiales   Malaga, mi tierra

Alegrias en Mi   Alborozo (Jubilation)

Tangos   Festejo (Celebration)

Guajira   Fiesta cubana

Solea La base

Fandango de Huelva

Alegrias en mi con silencio

Bulerias por arriba

Rumba Rumba del dia nueve

Malaguelia Velez

Granadinas Albaicin

Solea para acompaliar

Tientos de Ricardo a Paco

Seguiriyas Sabicas y ritmeo

Alegrias Melocotones de Ronda

Verdiales Coplas malaguenas

Bulerias Diego en menor

Guajiras from Cania raja

Solea Solea gitana

Seguiriyas Falsetas clasicas

Zapateado Taconeos

Rumba Cancion popular, more advanced (mas avanzada)

Solea por Bulerias Raices

Tarantas Aires de La Union

Alegrias Tema inicial (Opening theme)

Sevillana   Mi copla

Solea   Falseta tradicional

Alegrias en la

Tarantos   Toque de las minas

Zorongo

Cantilias   Luz y sombra (Light and shade)

Seguiriya   Lamento

Rumba   Rumba flamenca

Solea Falsetas sencillas (Simple falsetas)

Fandango de Alosno

Rumba Cancion popular

Tangos Impulso

Carcelero

Farruca Ritmo del baile (Rhythm of the dance)

 

FLAMENCOVISION AND PATRICK CAMPBELL 

MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. MADE AND PRINTED IN U.S.A.


Designed as a comprehensive multimedia teaching set, this book, CD, and DVD present 42 solos, progressively graded in 6 levels from absolute beginners to more advanced, to suit players of all levels. It contains examples of eighteen different palos (rhythmic forms) of flamenco, with a wealth of melodic falsetas and rhythms. The music for all these is accurately written in notation and flamenco tab (cifra) in the book, and is also recorded on the companion CD. The DVD video contains over 57 minutes of solo music, and also includes introduction by Juan Martín and brief scenes of Andalucia today, which help to place this profoundly exciting and deeply felt music in the landscape of its origins. Juan Martín has succeeded here is showing how even music which is simple and very easy to start with can express the essential sound and emotion of flamenco, to build step by step the skills necessary for the performance of concert solos. Written in English and Spanish.

 

INTRODUCTION

Welcome to my new video series! It can help you to play flamenco guitar whatever your present level of skill. Many people who would like to play flamenco on the guitar tell me they are discouraged by the apparent difficulty of the techniques required. I want to try to change that, because the marvellous art of flamenco is much more about feeling and rhythm, those essential components of aire and compas, than always about sheer speed or amazing technique. The exciting challenge for me has been to arrange and compose music which includes classic elements with more modern sounds and rhythms that will capture for the student the true essence of flamenco guitar right from the very start, without sounding too simplified or lacking that characteristic flamenco sound.

The solos in this project are in a progressive series of grades, from an initial Grade a up to grade 8. This book, CD and video, the first of two sets, contain the pieces for grades a to 5. The grades are intended to be in line with the levels of musical advancement required for the grade examinations of music colleges for any musical instrument. This is a new kind of challenge for flamenco, but the art is now becoming so international that I believe it is time to see flamenco guitar as an art that can be learned in a progressive way by anybody who has the necessary devotion, understanding and determination. To many devotees of flamenco the idea of a formal graded approach, possibly subject to examination, may seem quite alien and even unwelcome. I want to look to the future, however, and to join with others who now nurture the growing world-wide interest in this precious art and the need for systematic methods of teaching. The essence of flamenco is so strong and distinctive that I do not believe its future is threatened by the increasing numbers of people who find in its soul what they want to express and to enjoy in music, any more than the music of the Mississippi Delta has been impoverished by the world-wide interest in the art of the Blues. There are no formal standards or guidelines in flamenco that are widely established to mark the student's stages of progress. In this project, therefore, I have given much thought to what I believe should be the appropriate levels of skill and musicianship necessary for achievement of the grades which can mark the advancement of technical ability and musical understanding. The book contains more details about the contents and requirements of each grade.

I have been greatly encouraged in this project by my young son Carlos, whose need for interesting music to play from the start of his learning the guitar has given me a valuable purpose and focus in preparing the music, particularly with the earliest grades.

There is bound to be disagreement about whether a piece is right for the grade assigned, or whether it is too easy or too difficult. I think that sort of argument is both unavoidable and not really very helpful. I have tried to present a logical development of musical understanding and of techniques for the right and left hand, but the important thing is not to be too rigid about the sequence of grades. Students and players have to differ in their capacities and needs. The music always matters more than anything else! More advanced players will be able to incorporate the music of the video in their own arrangements, and they should find things worth learning at any grade.

My aim is to give the student music which he or she will enjoy playing and which will reward the effort to practise and learn. This is not primarily a project to explain technique, but I have included some brief notes about the individual pieces. I hope you will share in the enjoyment I have had in undertaking this project with my good friend and former student Patrick Campbell who has again worked hard to communicate my playing through video, the CD and the printed page. I would also like to thank Bill Bay and his team for their invaluable advice and encouragement with what we believe to be a new advance in learning methods for flamenco. Viva el arte - y vamos a tocar!


Contents:

CONTENIDO / CONTENTS
Introduction By Juan Martín
Introducción Por Juan Martín
The Elements of Flamenco Guitar-Playing
Los Elementos del toque de la guitarra flamenca
Symbols and Notation
Símbolos y Notación

GRADE / NIVEL O Notes and Requirements/Notas y requisitos
PRIMERA SOLEÁ First Soleá
TIENTOS Anhelo (Yearning)
SEVILLANA Copla tradicional
VERDIALES Málaga, mi tierra
ALEGRÍAS EN MI Alborozo (Jubilation)
TANGOS Festejo (Celebration)
GUAJIRA Fiesta cubana

GRADE / NIVEL 1
Notes and Requirements/Notas y requisitos
SOLEÁ Falsetas sencillas (Simple falsetas)
FANDANGO DE ALOSNO
RUMBA Canción popular
TANGOS Impulso
CARCELERO
FARRUCA Ritmo del baile (Rhythm of the dance)
SEVILLANA Mi copla

GRADE / NIVEL 2
Notes and Requirements/Notas y requisitos
SOLEÁ Falseta tradicional
ALEGRÍAS EN LA
TARANTOS Toque de las minas
ZORONGO
CANTIÑAS Luz y sombra (Light and shade)
SEGUIRIYA Lamento
RUMBA Rumba flamenca

GRADE / NIVEL 3
Notes and Requirements/Notas y requisitos
SOLEÁ La base
FANDANGO DE HUELVA
ALEGRÍAS EN MI con silencio
BULERÍAS POR ARRIBA
RUMBA Rumba del día nueve
MALAGUEÑA Vélez
GRANADINAS Albaicín

GRADE / NIVEL 4
Notes and Requirements/Notas y requisitos
SOLEÁ Soleá gitana
SEGUIRIYAS Falsetas clásicas
ZAPATEADO Taconeos
RUMBA Canción popular, more advanced (más avanzada)
SOLEÁ POR BULERÍAS Raíces
TARANTAS Aires de La Unión
ALEGRÍAS Tema inicial (Opening theme)

GRADE / NIVEL 5
Notes and Requirements/Notas y requisitos
SOLEÁ PARA ACOMPAÑAR
TIENTOS de Ricardo a Paco
SEGUIRIYAS Sabicas y ritmeo
ALEGRÍAS Melocotones de Ronda
VERDIALES Coplas malagueñas
BULERÍAS Diego en menor
GUAJIRAS from Caña rajá

APPENDIX: PUBLICATIONS BY/PUBLICACIONES DE IUAN MARTÍN

Prezzo: €32,99
€32,99
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