Ricerca

Carrello

View your shopping cart.

Catalogo

Lingue

Accesso utente

LIBRO CON CD

SERRANO JUAN & COREY WHITEHEAD FLAMENCO CLASSICAL GUITAR TRADITION 1 Method CD LIBRO SPARTITO

SERRANO JUAN & COREY WHITEHEAD, THE FLAMENCO CLASSICAL GUITAR TRADITION, VOLUME 1,
A Technical Guitar Method and Introduction to Music. 175 Pagine, 4 CD con 235 tracce audio. NO TABLATURE

LIBRO DI MUSICA FLAMENCO - CLASSICA CON 4 CD,
METODO, SPARTITI PER CHITARRA. CON ACCORDI E PENTAGRAMMA.

Product Description:
This beginning guitar method is written for aspiring classical or flamenco guitarists who want to learn how to read music up to the intermediate level. Music from the Spanish tradition such as Romanza, Pica-Pica, El Vito, Café de las Chinitas, Perfidía, La Virgen de la Macarena and flamenco music of Juan Serrano provides a technical and musical foundation that improves facility in playing scales, arpeggios, tremolo, and rasgueado.

Tablature is not included as the one of the primary aims of this book is to improve note reading and the comprehension of the fundamental elements of music. Performances of all musical examples are available online that includes one performance at tempo for each of the more than 230 musical examples. Short repertoire pieces from Gaspar Sanz, Dionisio Aguado, Fernando Sor, Mauro Guiliani, Ferdinando Carulli, and Mateo Carcassi are included at the end of the book and are repertoire studies that will prepare guitarists for further study in classical and/or flamenco guitar.

Product Number: 21029
Format: Book
ISBN: 0786674652
UPC: 796279100489
ISBN13: 9780786674657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/18/2008
176 PAGES

A Brief History of THE GUITAR

The guitar is a descendant of two different instruments, the Spanish instrument called the vihuela de mano, and the European lute that descended from the Arabian oud. The Arabic word oud translates in English as "wood." The oud has six courses with the lowest sounding string being a single course. The word course refers to a single string or a pair of strings placed closely together. The European lute and the vihuela had a single high string or single course on top. On the lute this string was called the chanterelle. The vihuela and the European lute appeared in six-course versions. Various configurations of the lute used many tunings and had as many as thirteen courses.

The vihuela had as many as ten courses and was tuned like the modern guitar with the exception of the third string, which was lower by a half-step from the modern guitar tuning. It was tuned, from lowest to highest sounding course: E A D F# B E. The six-course lute was generally tuned, from lowest to highest: G C FAD G. There was no absolute tuning pitch at that time and some treatises instructed the student to rune the 1st string as high as possible without it breaking. The lute is often tuned a whole step higher to (A D G B E A) to take advantage of its more brilliant and shimmering tone quality at that pitch. The earliest guitars date from around the middle of the 13th century in Spain and were mentioned in 1265 by Juan Gil of Zamora in the treatise called Ars Musica. In 1487 Johannes Tinctoris wrote about the four-course guitar being invented by the Catalans. The first music published for the four-course guitar was by Alonso Mudarra (1510-1580) in Treslibros de musica en cifraspara vihuela (1546). Nine books of tablature were published by Adrien Le Roy (1520-1598) between 1551-1555. These publications contain the first music for five-course guitar. Later in the same century Juan Bermudo (1510-15-) and Miguel Fuenllana (1525-1585) wrote music in tablature for the guitar. A treatise from the late 16th century in Spain refers to two techniques of playing the guitar; rasgueado (strumming) or punteado (picking with the fingers). The technique of alternate picking toward the palm of the right hand with two fingers, such as the index and middle fingers, was called dos dedos. There was a further explanation of a technique called dedillo that refers to a rapid up and down movement of the index finger to strike an individual string when playing scale passages.

The baroque guitar had five courses that were tuned to unison at the first, second, and third strings and to an octave at the fourth and fifth strings. The two exceptions are that sometimes the fifth string did not have me bourdon or lower octave string, and sometimes the first string was a single course like the chanterelle of the lute. The former would make the fifth string the highest sounding string on the instrument, many performers preferred the latter, and some performers employed both. The fifth string was the highest sounding string and me fourth was the lowest. On the modern guitar the fifth string is tuned an octave lower than the guitar of Gaspar Sanzo In 1674 in Italy, Francisco Corbetta (1620-1681) published Guitarre Royale, dedicated to King Luis XIV of France. In 1596 in Italy there was a school of guitar playing called the Alpha Beta School. The primary scholars of the school were Juan Carlos y Amat and Palumbi. They developed a system of chord notation that was noted .m letters to describe the chord to be played. They also used the terms "rasgueado" and "punteado" in their rreanse. Between 1770 and 1800, the six single-course guitar was commonplace and following this development composers such as Fernando Sor (1778-1839) Spain/France/England, The famous Mauro Giuliani (1781-1829) Italy, ...

Contents:

A Note from the Authors
The Guitar - A Brief History
La Guitarra (poem)
Preface
Parts of the Classical Guitar
Parts of the Flamenco Guitar
Names of the Open Strings
Tuning
Metronome
Note Locations on the Fretboard
Sitting Position and Holding the Guitar
The Fingers of the Right and Left Hand
Fingernail Shape and Maintenance
Picados (Scales) - Apoyando (Rest Stroke) and Tirando (Free Stroke)
Arpeggios (Broken Chords)
Tremolo (Preparatory Exercise)
Rasgueado (Strumming)
Basic Elements of Music Notation
Musical Expression Symbols
The Musical Alphabet
Half Steps and Whole Steps
The Major Scale
The Open Treble Strings
Systematic Arpeggio Exercises
Alternating Index and Middle Fingers...
Sueño
The Open Bass Strings
Playing on the Bass and Treble Strings
Notes on the First String
Soleares
Notes on the Second String
Music in Two Parts
Playing Eighth Notes
Notes on the Third String
Sevillanas
Sevillanas I (Trio)
Sharps and Flats on the 1st, 2nd and 3rd strings
The Fifth Position on the First String
The Natural Sign
Romanza in A Minor
Romanza
Farrucas
Sixteenth Notes
Slurs
Estudio No. 2
Estudio No. 2 (Duet)
The Major Scale
The Natural (Relative) Minor Scale
The A Harmonic Minor Scale
The A Melodic Minor Scale
The Chromatic Scale
Notes on the Fourth String
Chords
Fandango
Fandango Duo
Notes on the Fifth String
Historia de un Amor
The Dotted Quarter Note
Perfidia
Notes on the Sixth String
Farrucas (Bass Line)
Farrucas
El Zorongo (Bass Line)
El Zorongo (Melody)
Playing the F Major Chord
Playing Two Notes Together (Double-Stops)
El Vito
Rasgueado
Sevillanas Intro
The Natural Notes
Sharps and Flats on the Bass Strings
The Chromatic Scale
El Rancho Grande
Alternating Bass and Chord Progression
El Rancho Grande (Duet)
Ascending and Descending Slurs: Ligados
Left Hand Agility Exercise
Chords in C Major and A minor
Las Mañanitas
Greensleeves
Scales and Chord Progressions
Rumba Rhythm
Scales and Chord Progressions cont
The House of the Rising Sun
Variations on a Theme from Asturias
Malagueña
Intervals
Chords
Triads
C Major Arpeggio and Chord Inversion
The A Minor Arpeggio and Chord
The G Major Arpeggio and Chord
The F Major Triad
Barré Chords
Chord Progressions
Petenera
Café de Chinitas
La Virgen de la Macarena
The High D and E on the First String
Pica-Pica Melody (Guitar I)
Pica-Pica Accompaniment (Guitar II)
Pica-Pica Accompaniment (Guitar III)
Pica-Pica Accompaniment (Guitar IV)
Pica-Pica (quartet)
Key
Chord Substitution
Key Signatures
The Circle of Fifths
Major and Minor Scales in the First Position
More Chords in the Circle of Fifths...
Allegro by Ferdinand Carulli
Allegretto by Carulli
Andante by Carulli
Allegro in E minor by Carulli
Etude in G Major by Carulli
Andantino by Carulli
Larghetto by Carulli
Romanza
Menuet by Robert de Visée
Lección 38 by Dionisio Aguado
Clarines de los mosqueteros del rey de Francia by Sanz
Allegro by Mauro Guiliani
Andante by Ferdinand Carulli
Conclusion
About the Authors

Prezzo: €27,99

€27,99

SALSA AFRO CUBAN MONTUNOS FOR GUITAR CARLOS CAMPOS CD TABLATURE LIBRO CHITARRA SPARTITI

THE DEFINITIVE BOOK FOR LEARNING SALSA GUITAR ACCOMPANIMENT.

OVER 200 EXAMPLES IN BOTH 2-3 AND 3-2 CLAVE.

Con BACKTRACKS.

LIBRO DI MUSICA SALSA.

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA, TABLATURE .

METODO,

By Carlos Campos. For Guitar. Latin. Level: Beginner. Book/CD. 85 pages.
Salsa and Afro Cuban Motunos For Guitar, by Carlos Campos. Finally the first instructional book showing guitarists how to play Salsa styles. Following on from his highly successful Salsa piano/keyboard instructional books Carlos Campos has created a book for guitarists with over 400 examples (60 examples recorded on the CD) with each more...example for 2-3 and 3-2 clave. There is both written music and tablature These Salsa patterns can be used for Jazz, Latin Jazz and Flamenco musical styles.

INTRODUCTION

THE CLAVE

MODES

DOMINANT 7th

PROGRESSION I-IV-V-IV

PROGRESSION I-IV-V-IV-V-IV-I-IV

PROGRESSION I-IV-V7-I

PROGRESSION I-II-V7-I

PROGRESSION II-V-I

HALF STEP DESCENDING PROGRESSION

WHOLE STEP DESCENDING PROGRESSION

SON MONTUNOS

STANDARD PROGRESSION IN 2/3 CLAVE

STANDARD PROGRESSION IN 3/2 CLAVE

SELECTED DISCOGRAPHY

Prezzo: €39,99

€39,99

MARTIN JUAN ANDALUCIAN SUITE NO. 1 LIBRO CD TABLATURE CHITARRA SPARTITI FLAMENCO BULERIAS

MARTIN JUAN, ANDALUCIAN SUITE, NO. 1. CD TABLATURE

Product Description:
Four exciting concert solos for flamenco guitar from Juan Martín’s best-selling album ‘The Andalucian Suites’. This is the first of the four suites on the album. These suites are transcribed into standard notation and flamenco tablature (cifra), with introductory playing notes by Juan Martín. The four solos on the accompanying CD are performed by Juan.

The complementary and contrasting variety of styles and rhythms of the four solos provide a brilliant display of Juan’s artistry and the expressive capabilities of the flamenco guitar. Each solo is complete in itself. A powerfully evocative Zambra Mora is followed by the much-requested rumba ‘La Feria’, then a gently melancholic Milonga and finally a thrilling Bulerías, which combines modern elements with pure gypsy falsetas from Moron del la Frontera. These solos provide an exceptional opportunity to learn and enjoy the music of a master flamenco guitarist, whose two volumes of graded ‘Solos Flamencos’ are already Mel Bay best-sellers.
Format: Book/CD Set 48 pages

ANDALUCIAN SUITE No.1 THE FOUR SOLOS

These four solos are played as a sequence (or suite) to provide an interestingly varied group of pieces which show a range of flamenco guitar styles. Each solo stands as a complete composition which can be played by itself or in any chosen order. La Feria is particularly featured as a much-requested and popular solo.

EVOCACION DE LA INVASION ARABE AD 711

The opening movement of the suite recalls the Moorish invasion of Spain, when a small army arrived from North Mrica in the year 711 A.D. and landed at Gibraltar. The leader of the Moors was Jabal Tariq - 'he of the rock' - from whose name Gibraltar is derived. This small but efficient army, which arrived in Andalucia with its now famous Arab horses and brilliant horsemanship, took over much of Spain, a conquest which was to last nearly eight centuries. Cordoba and, larer, Granada were to become the Islamic capitals, dominating Spain until 1492. The music is based on the form of the Zambra Mora, flamenco's most Moorish dance form. It evokes that original menacing invasion and also reflects the beauty of the Moors' legacy in their art and architecture, with palaces such as the Alhambra in Granada and the great mosque at Cordoba.

Playing Notes

The 6th string is tuned to 0 for this piece, and no cejilfa (flamenco capo) is used. It starts wirh a free form (toque libre) cadenza in the style of the Moorish oud (a lute-shaped instrument with unfretted neck) with passages of ligado in which the nores are sounded by the left hand. The profusion of notes on the page may look daunting at first, bur the music lies quite easily under the fingers. In such a free and expressive passage without a definite rhythmic metre, the timing of the written notes has to be somewhar approximate. Listening to the CD will help to convey rhe correcr phrasing and emphasis. On the second page, the music changes to a regular 2/4 rhythm, which persists to the end of the piece, with later passages of rasgueo (strumming) and alzapua (a rapid three-srroke technique using down- and up-strokes of the thumb). Playets of classical guitars which are not fitted with golpeadores (tapping-plates) can omit the golpe taps. The solo concludes with a passage of continuous rasgueo (see Key to Symbols, following). The golpe on the penultimate beat is made with the middle finger striking the golpeador on the near side of the strings before the finger travels on to sound the strings with a down-stroke. The transcription is dedicated to the distinguished classical guitarist Eleftheria Kotzia, who incorporated the piece into her concert repertoire, as was heard in her virtuoso performance at London's South Bank Centre.

LA FERIA

In the same year, 1492, that Ferdinand and Isabella forced the Moors to leave Spain, Cristobal Colon (Christopher Columbus) sailed from the small port of Palos on the west coast of Andalucia on his voyage of discovery to Ametica. That voyage forged a cultural link with the Americas which has its effect within flamenco music. South American rhythms have returned to Spain with soldiers and musicians and have been absorbed into flamenco, undergoing a change in identity yet retaining an obvious Latin-American aire (atmosphere and feeling). It is clearly evident in this Rumba, an immensely popular style today. The solo is named The Fair, a time of uninhibited celebration.

Playing notes

The 6th string of the guitar is tuned to E. The cejilfa is placed at the second fret. The Rumba starrs with rhythmic strumming, using the characteristic slapping rechniques (see Key). For the first 8 bars the strings are damped with the fingers of the left hand so that they provide a percussive sound without musical vibration. The approximate positions of the left hand fingers as they damp the strings are shown in the music and cifra (flamenco tablature), initially in a chord shape over the lower frets and then over higher frets. The notes of the chord are not sounded, but the change in hand position alters the pitch of the percussive sound made by the damped strings. The piece also includes passages of alzapua, left and right hand apagado damping to cut short the sound of chords and, at the end, a repeated three-stroke rasgueo of thumb up-stroke followed by middle finger and thumb down-strokes. middle finger golpes on the near-side golpeador are used before a final up-stroke with the thumb ends the solo.

Contents:

Biographical Note
The Four Solos, with playing notes
Key to Symbols and Notation
Evocación de la Invasión Árabe AD 711 (Zambra Mora)
La Feria (Rumba)
Alborada (Milonga)
Gitanos (Bulerías)

Prezzo: €25,99

€25,99

FLUID SOLOING BOOK 1 ARPEGGIOS FOR LEAD ROCK GUITAR Tim Quinn CD TABLATURE CHITARRA

FLUID SOLOING BOOK 1, ARPEGGIOS FOR LEAD ROCK GUITAR. Tim Quinn. CD TABLATURE

Product Description:
A modern arpeggio handbook and comprehensive training manual for developing fast, flowing arpeggio runs that connect the entire fretboard. Emphasis is on developing fluid, non-shifting arpeggio patterns (across the neck) using hammer-ons and pull-offs for speed and fluidity; and also on developing smooth position-shifting arpeggios (along the length of the neck) using slides. These two types of motion are then connected and combined in an extensive collection of soloing etudes for full assimilation. The result is a complete system of arpeggio pathways that connects every part of the fretboard and facilitates maximum speed, fluidity, and range. Complete whole-neck connections are presented for major 7th, dominant 7th, minor 7th, minor 6th, half-diminished, diminished 7th, major triadic and minor triadic arpeggios.

This book is for all guitarists who are serious about improving their ability to solo over chord progressions using arpeggios, in any style of music; including rock, jazz, fusion, blues, country or pop. Having the ability to instantly outline any chord in a song with a fluid arpeggio run (no matter where your hand is on the neck) is immensely valuable for every guitarist. This book methodically teaches you the skills that make this possible. Loaded with melodic arpeggio passages that can be applied to your music immediately, this is perhaps the most practical and powerful arpeggio book ever written. CD included. Standard notation and Tablature.
Format: Book/CD Set

heartfelt thanks goes out to all the teachers who profoundly impacted my own playing and learning ... thank you jack Petersen, Dan Haerle, Rich Matteson, and Tom johnson at the University of North Texas, as well as to my teachers at Berklee College of Music.To the musicians who have been so inspiring ... Steve Morse, Pat Martino,john Coltrane, Eric johnson, Chick Corea,jimi Hendrix, Frank Zappa, Barney Kessell,Wes Montgomery, Stevie RayVaughan,Albert King,jeff Beck, Steve Vai, Dexter Gordon, Cannonball Adderly, joe Satriani, Igor Stravinsky, Eddie Van Halen,AI DiMeola, Greg Howe, joe Pass, Robben Ford,Vinnie Moore,Allan Holdsworth, and Carlos Santana; for the teachings of Paramahansa Yogananda; to Bill Bay and the fine staff at Mel Bay Publications, Inc.; to Bruce Saunders for his caring engraving; to Dave Austin and George Sanchez for their generous assistance; to josquin DePres at Track Star Studios for much inspiration and guidance; to the many students who have been indispensable in helping me streamline these materials; to my parents who provided the music education and encouraged the young performer; and especially to my wife, Mari, who lovingly tolerated the thousands of hours with me at the guitar while I formulated these concepts ... thank you. The title of this book is "Fluid Soloing:Arpeggios for lead Rock Guitar". Its purpose is to teach you how to solo over chord changes using strictly arpeggios only, as opposed to using scales. Section I of this book presents a special collection of non-shifting arpeggios for the guitarist, designed for developing blistering speed and maximum range while keeping the fretting hand in one location on the neck. These are the fundamental arpeggio components, necessary to facilitate the eventual connection of arpeggios. So, please understand that the activities of connecting arpeggios really begin on page 37. Go right there and beyond for arpeggio connections at any time you wish. Do understand, though, that most of Section I of this book is in itself a practical manual of arpeggio non-shifting fingerings for every guitarist. In order to develop the connection of arpeggios, we must start with these basic non-shifting shapes. It is all about understanding the anatomy of the guitar fretboard and its inherent arpeggio shapes. You will be instructed in how to connect them in activities beginning on page 37 and beyond. But you needn't learn all the shapes in Section I before moving on to Section 2. just begin by practicing a few of the shapes between pages 8-36. But then jump ahead, too! For instance, try pages 38,49,67,84,88 or 90 for some challenging fun, while you continue to pursue the material between pages 8-36. There is enough material in this book to keep you busy for the next two years or more. This is truly a wizard's handbook to arpeggio usage.

ARPEGGIO CONNECTIONS is a unique collection of 164 cyclically repeating arpeggio studies, designed to provide the guitarist with a logical and effective method for developing fast, fluid arpeggio runs that move freely across the entire fretboard while outlining specific chordal harmonies. The two-fold concept is simple: Section I) to develop the ability to play fast and powerful arpeggios ACROSS THE NECK using hammer-ons and pull-offs for fluidity (non-shifting motion where the fretting hand stays in one area of the fretboard); and Section 2) to develop the ability to play smooth and fast arpeggio runs while the fretting hand shifts ALONG THE NECK using slides (which I like to call "horizontal" motion, since the hand is moving sideways, parallel to the earth's horizon) By developing complete non-shifting arpeggio control, and also developing complete position-shifting arpeggio control, the resulting effect is whole neck fluid motion that freely weaves together an established matrix system of arpeggio patterns and pathways. The design of the material in this book is highly scientific, having been developed through many years of shaping and crafting this concept. What you are holding in your hands is a manual for developing smooth, flowing arpeggio movement on the guitar, which is useful to ALL GUITARISTS in pursuit of virtuosity in ANY STYLEof music. The student should feel free to go directly to the studies anywhere in the book, but is encouraged to eventually read and understand the ideas discussed in the appendix. The goal is to play blistering, continuous streams of fluid melodic lines that outline specific chords. The appendix addresses certain issues that are fundamental to this type of virtuosic control (such as how the organization of strict alternate picking is affected by hammers, pull-offs and slides). By playing the patterns and exercises herein on a regular basis for weeks, months, and years, the player's control over the instrument will continue to unfold and to grow ever more formidable and fierce. This book is the first book in the 'FLUID SOLOING SERIES',a unified set of books that explain different aspects of whole neck fluid motion on the guitar. The soloing etudes marked "Comprehensive" are included to demonstrate some of the techniques from the other three books, as well as the techniques presented in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns. If you like the content of this book, check out the other books in the series as well.

introduction

section one: RAPID FIRE ARPEGGIOS
NON-SHIFTING - Fast & fluid arpeggio patterns for Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(b5), Minor 6, Major Triadic, Minor Triadic chords. Arpeggios are presented in seven different sets. Each set is identified by a number that indicates the string with the lowest root and the finger that plays it in that set (for example, Set 5-1 arpeggios have the root on the 5th string fretted with the 1st finger).Set 5-1 Arpeggios
Set 6-1 Arpeggios
Set 5-4 Arpeggios
Set 6-4 Arpeggios
Set 4-1 Arpeggios
Set 6-2 Arpeggios
Set 5-2 Arpeggios

Practice Suggestions
Soloing Etudes
section two: EXTENDED ARPEGGIO RUNS
POSITION-SHIFTING - Fluid, melodic exercises for whole-neck motion.

Arpeggio Runs with a 16th Note Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triadic, Minor Triadic)
Arpeggio Runs with a Triplet Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triad, Minor Triad)

Practice Suggestions
Soloing Etudes

Appendix: "Guide For Using This Book"
Tablature Symbols Key
106 PAGES

Prezzo: €29,99

€29,99

THE ULTIMATE BANJO SONGBOOK, 26 Favorites Arranged for 5-String Banjo. 2CD TABLATURE

Various Composers. A great collection of banjo classics, including: Alabama Jubilee -Bye Bye Love -Duelin' Banjos -The Entertainer -Foggy Mountain Breakdown -Great Balls of Fire - Lady of Spain -Rawhide -(Ghost) Riders in the Sky (A Cowboy Legend) -Rocky Top -San Antonio Rose -Tennessee Waltz - UFO-TOFU -You Are My Sunshine, and more. 148 pages.

Series: Banjo
Softcover with CD - TAB
Author: Janet Davis
148 pages.

This book contains arrangements for all levels of players to enjoy. It also includes arrangements for the

player who is ready to move to the next level. If an arrangement seems too simple, look behind it-there will

be another version and/or alternate licks. These are derived from arrangements I have used with my students

and in my own performances. Each can be learned as it is written, or, alternate licks are offered so that you can

interchange them with the corresponding measures in the arrangements to form an entirely different version.

Each measure is numbered to make this process easy and fun.

The title, Ultimate Banjo Songbook, is a challenging title and one I have endeavored to justify. The publisher

named the book, and together we determined which song titles were to be included. All of the songs are well

known and respected in a particular area of musical genre, all are great banjo tunes, and each of these is a

special song in some way-either in the history of music, through its composers, and/or in bluegrass music

in particular.

A brief history is included with each song. Many of the lyrics are also included. I hope this will enhance the

player's appreciation for the song as well as his/her understanding of the song and its roots. Interestingly, during

my research, I discovered that 20 percent of these songs are official state songs. I was not aware of this

when the song titles were selected as the "ultimate songs" for this book. The research stemmed primarily

from encyclopedias, magazine articles, the internet, and album liner notes.

With the word "ultimate" in mind, I tried to include songs from a variety of musical styles: bluegrass, ragtime,

swing, pop, rock' n' roll, and jazz. These are arranged in a variety of three-finger picking styles: traditional

bluegrass style, melodic/fiddle style, chromatic style, single-string style, triplet-style, jazz-style, and

combinations of these. These will also be identified when they are applied. The first version for each song is

a standard arrangement in the three-finger style in which the song is traditionally performed.

In addition to the standard key of G in G tuning, several songs are arranged in other keys while the banjo

remains in G tuning, including minor keys. Likewise, one song is offered both in G tuning and in D tuning,

and one is offered in G minor tuning as well as G tuning. Additionally, a link or passage is included, which

can be used to modulate from one key to the other, in order to combine the arrangements. "Foggy Mountain

Breakdown" includes a harmony part as well.

These tunes include a wide variety of tempos, from slow to breakdown speed. Also, waltzes are contrasted with

the standard 4/4 time, and Spanish rhythms, Western swing, jazz rhythms, and more can be found.

The songs are arranged for all playing levels. These can be played for enjoyment alone, or for the more

ambitious, a study on improvisation with multiple versions is offered with each song. There are infinite

ways to arrange one song for the banjo. Many of the alternate licks are included to a) simplify, b) make more

difficult, c) embellish, d) offer a different effect, e) offer a different picking style for a tune, and more.

These arrangements have been very effective with my students, and I hope you will enjoy them also.

As always, happy pickin'!

Janet Davis

This book is designed for use by banjo enthusiasts of all skill levels. By featuring multiple versions of each song, the book provides valuable material for the beginner to advanced player. The package also includes 2 CDs that contain demos for listening playing along.

ALSO INCLUDED:
Multiple Variations and versions for each song

Alternate licks, endings, segues, and turnarounds

Various tunings and Keys

Song lyrics and History

5-string Banjo Tablature

Standard 4/4

Waltzes

Spanish Rhythms

Western Swing

Jazz Rhythms

Traditional Bluegrass style

Melodic fiddle style

Chromatic Style

Single string style

Triplet style

Jazz Style

BLUEGRASS

RAGTIME

ROCK 'N' ROLL

POP

SWING

e altro

TABLE OF CONTENTS

PREFACE
INTRODUCTION AND GUIDELINES
TABLATURE & RHYTHM

Songlist:

(Ghost) Riders In The Sky (A Cowboy Legend)
Alabama Jubilee
Blue Moon Of Kentucky
Bugle Call Rag
Bye Bye Love
Duelin' Banjos
Faded Love
Farewell Blues
Fireball Mail
Foggy Mountain Breakdown
Gold Rush
Great Balls Of Fire
How Great Thou Art
Lady Of Spain
Limehouse Blues
Orange Blossom Special
Red Wing
Roanoke
Rocky Top
San Antonio Rose
Tennessee Waltz
The Entertainer
UFO-TOFU
Wheel Hoss
Yesterday
You Are My Sunshine

Prezzo: €25,99

€25,99

THE VERY BEST OF FINGERSTYLE GUITAR-25 Songs Arranged for Solo Guitar in Tablature-CD TABLATURE

THE VERY BEST OF FINGERSTYLE GUITAR, 25 Songs Arranged for Solo Guitar in Tablature. BOOK WITH CD & TABLATURE

LIBRO DI MUSICA CLASSICA E LEGGERA, CON CD.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE.

25 Songs Arranged for Solo Guitar in Standard Notation and Tablature
Series: Guitar Solo
Softcover with CD - TAB
Composer: Various Composers

An essential collection for all fingerstyle guitarists, this book contains 25 songs in a variety of musical styles. The CD includes complete demonstration performances of all the songs!
72 pages

1929 - Ain't Misbehavin' - "Fats" Waller, Harry Brooks

Auld Lang Syne - parole: Robert Burns, musica tradizionale scozzese

Ave Maria - Franz Schubert

Canon In D - Johann Pachelbel

1946 - The Christmas Song (Chestnuts Roasting On An Open Fire) - Mel Torme, Robert Wells

Eine Kleine Nachtmusik - W. A. Mozart

1991 - (Everything I Do) I Do It For You - Bryan Adams, Robert John Lange, Michael Kamen (from: ROBIN HOOD:
PRINCE OF THIEVES)

The First Noel - English Carol - 17 secolo

1963 - The Girl From Ipanema (Garôta De Ipanema) - Parole: Vinicius de Moraes, Musica: Antonio Carlos Jobim,

1965 - In My Life - John Lennon and Paul McCartney

Jesu, Joy Of Man's Desiring - Johann Sebastian Bach

Liberty Bell March - John Philip Sousa

1979 - Longer - Dan Fogelberg

1981 - Memory - Andrew Lloyd Webber - from CATS

1955 - Misty - Erroll Garner

1937 - My Funny Valentine - Richard Rodger - Babes in Arms

1997 - My Heart Will Go On (Love Theme From 'Titanic') - James Horner

Ode To Joy - Ludwig Van Beethoven - from Simphony n. 9 in Re Minore, quarto movimento, tema del coro

Pomp And Circumstance - Edward Elgar

Romance - anonimo - Giochi Proibiti

1958 - Satin Doll - Duke Ellington - from Sophisticated Ladies - from film: The Lemon Drop Kid

1950 - Silver Bells - Jay Livingston, Ray Evans

1992 - Tears In Heaven - Eric Clapton, Will Jennings

1955 - Unchained Melody - Alex North - from film: Ghost

1965 - Yesterday - John Lennon and Paul McCartney

Prezzo: €25,99

€25,99

60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR Bach Handel Mozart Beethoven Brahms CD TABLATURE

60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR, Featuring the Music of the World's Greatest Composers: Bach, Handel, Mozart, Beethoven & Brahms. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA CLASSICA PER CHITARRA CON CD.

SPARTITI PER CHITARRA CON : PENTAGRAMMA E TABLATURE.

60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR
Featuring the Music of the World's Greatest Composers: Bach, Handel, Mozart, Beethoven & Brahms
Series: Guitar
Publisher: Cherry Lane Music
Format: Softcover Audio Online – TAB
Arranger: Mark Phillips

Most classical guitar folios feature compositions by the lesser-known “guitar” composers. This collection, however, exclusively features music by the world's most renowned composers. The works of Johann Sebastian Bach and George Frederick Handel represent the culmination of the Baroque era. Wolfgang Amadeus Mozart stands at the summit of the Classical era. Ludwig van Beethoven straddles the Classical and Romantic eras, and Johannes Brahms is the giant of the Romantic era. For educational purposes, the pieces have been organized in order of difficulty within each composer's section. In addition, complete performances of all pieces can be heard on the accompanying audio. Enjoy! Includes: Jesu, Joy of Man's Desiring • The Harmonious Blacksmith • Ode to Joy • Lullaby • and more.

Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Inventory #HL 02500584
ISBN: 9781575606286
UPC: 073999887044
Width: 9.0"
Length: 12.0"
120 pages

Air - Composed by Johann Sebastian Bach

Bourree - Composed by Johann Sebastian Bach

March from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Minuet 1 - Composed by Johann Sebastian Bach

Minuet 2 - Composed by Johann Sebastian Bach

Minuet 3 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Minuet 4 - Composed by Johann Sebastian Bach

Minuet 5 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Minuet 6 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Air (Originally Untitled) from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

A Child Is Born in Bethehem - from Cantata n.65 - Composed by Johann Sebastian Bach

Chorale from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Jesu, Joy Of Man's Desiring - Composed by Johann Sebastian Bach

Jesu, Meine Freude (Chorale) - Composed by Johann Sebastian Bach

The Harmonious Blacksmith - Composed by George Frideric Handel

Gavotte - Composed by George Frideric Handel

Sarabande - Composed by George Frideric Handel

Minuet - Composed by George Frideric Handel

Adagio 1 - Composed by George Frideric Handel

Adagio 2 - Composed by George Frideric Handel

Adagio 3 - Composed by George Frideric Handel

Bourree 1 - Composed by George Frideric Handel

Bourree 2 - Composed by George Frideric Handel

Bourree 3 - Composed by George Frideric Handel

Allegro 1 - Composed by George Frideric Handel

Allegro 2 - Composed by George Frideric Handel

Andante - Composed by George Frideric Handel

Theme - Composed by Wolfgang Amadeus Mozart

Minuet 7 - Composed by Wolfgang Amadeus Mozart

Trio 1 - Composed by Wolfgang Amadeus Mozart

Trio 2 - Composed by Wolfgang Amadeus Mozart

Andante 1 - Composed by Wolfgang Amadeus Mozart

Andante 2 (2nd Movement) From Piano Concerto n.20 - Composed by Wolfgang Amadeus Mozart

Andante 3 (2nd Movement) From Piano Concerto n.15 - Composed by Wolfgang Amadeus Mozart

Allegro (1st movement theme) from Piano Concerto n.13 - Composed by Wolfgang Amadeus Mozart

Russian Folk Tune - Composed by Ludwig van Beethoven

Pretty Minka - Composed by Ludwig van Beethoven

German Dance 1 - Composed by Ludwig van Beethoven

German Dance 2 - Composed by Ludwig van Beethoven

Ecossaise - Composed by Ludwig van Beethoven

Country Dance - Composed by Ludwig van Beethoven

Landler (Tyrolean Air) - Composed by Ludwig van Beethoven

Ode to Joy - Composed by Ludwig van Beethoven

Dance - Composed by Ludwig van Beethoven

Bagatelle 1 - Composed by Ludwig van Beethoven

Bagatelle 2 - Composed by Ludwig van Beethoven

Lullaby - Composed by Johannes Brahms

Symphony No. 3 (3rd Movement) - Composed by Johannes Brahms

Waltz 1 (Op. 39, No. 02) - Composed by Johannes Brahms

Waltz 2 (Op. 39, No. 15) - Composed by Johannes Brahms

Like a Melody - Composed by Johannes Brahms

I pezzi di questo libro sono ordinati per difficoltà crescente.

Prezzo: €27,99

€27,99

101 TIPS & TRICKS FOR BLUES GUITAR. Chris Hunt CD TABLATURE

101 TIPS & TRICKS FOR BLUES GUITAR. CD TABLATURE

Series: Guitar Educational
Publisher: Cherry Lane Music
Softcover with CD - TAB

Educational director / project supervisor: Susan Poliniak

Author: Chris Hunt

54 corti Licks ispirati dai maestri del Blues e del Rock.

From tips on performing with a band to improving your tone to copping the essential techniques of the blues greats and beyond, this book is chock full of pointers to help everyone from the beginning student to the seasoned pro. Here, you'll learn how to: play with the band - become a strong rhythm player - use the full range of the guitar's natural tone - find the right kind of pickup - and much more. You'll also learn a multitude of techniques, licks and riffs. The CD includes demonstration tracks. 44 pages.

THE BLUES APPROACH

EQUIPMENT TIPS

BLUES GUITAR ESSENTIALS

CLASSIC LICKS AND RIFFS

START PERFORMING TONIGHT

Nothing pumps the adrenaline like performing in front of an audience. When you play live you find yomself

doing things you didn't know or think you could do. Find as many performing opportunities as possible,

and use them to really stretch out. If you feel you aren't ready for an audience, get over it-nobody really ever

feels ready-and just leam to be in the momento

BE A SUPPORTIVE PLAYER

Remember to be a supportive player when it isn't yom tum to solo. Put as much thought and effort into yom

rhythm playing as you do into your lead playing, and do ir ar an appropriate volume. Create an environment

where other soloists can sound good, feel comfortable, and thrive. Always listen to what rhey're trying to say.

If you do, folks will enjoy playing with you and you'll find yourself increasingly in demando Besides, one of

rhe grear joys of making music is blending with an ensemble. The whole is always greater rhan rhe sum of its

parts.

PLAY WITH THE BAND, NOT AGAINST IT

Don't be one of those guys who "noodles" between songs either ar a performance or in a rehearsal. Ir's unprofessional.

When rhe tune starts, be conscious of yom volume and yom tone whether you're playing lead or

rhyrhm. Try to tune out the noise in both the room and yom own head, ignore the attractive members of the

opposite sex in the audience (or in the band), and put yom focus on the needs of the ensemble. Never stop

listening, even when you're taking the lead. The best soloists respond to what the rhythm section is doing,

and vice versa, rather than simply tuning them out and wailing over the top.

BUILD YOUR SOLOS

Let a solo develop. The audience needs something to anticipate, so don't give it all away at once. If you begin

yom solo at maximum intensity, you will wear out yom welcome before you're halfWay through. "Pacing" a

solo may be as simple as starting out in a lower register and gradually moving higher. Or, it may mean leaving

longer spaces between phrases early on, and then slowly getting busier. You may also play at a lower volume

to start with, and then add the grit later. Any combination of these can help you to develop some "architectme"

to yom solo. Taking your time will allow the listener to digest what they've just heard, and can give

you a moment to hear where you'd like to go next as well.

DON'T OVERPLAY

The blues is avocaI tradition. People were singing the blues long before anybody got the notion to play a

blues lick on the guitar, and when they finally did, it was hardly with virtuoso technique. Keeping in mind

that a singer must take regular breaths between phrases, don't feel compelled to fill all of the available space

with yom solos. In the blues, the "feel" of yom solo is much more important than the number of notes it

contams.

Prezzo: €13,50

€13,50

MATTHEWS DAVE BAND Guitar Legendary Licks 1994-2001 CD TABLATURE Ants Marching-The Best of What's Around-Crash into Me-Crush-Don't Drink the Water-I Did It-Satellite-So Much to Say-Stay (Wasting Time)-Too Much - What Would You Say.

MATTHEWS DAVE BAND Guitar Legendary Licks 1994-2001. CD TABLATURE

Dave Matthews Band Guitar Legendary Licks 1994-2001
Series: Guitar Educational
Publisher: Cherry Lane Music
Format: Softcover with CD - TAB
Artist: Dave Matthews Band
Author: Lois Dilivio

The Legendary Licks series presents the music of a band or artist in a comprehensive play-along package. Each book contains note-for-note transcriptions and detailed performance notes on how to play with a multitude of classic licks, fills, riffs, and solos – complete with recorded demonstrations on CD. Slowed-down versions are also onthe CD for the fast and tricky passages. This pack teaches 12 of DMB's best: Ants Marching - The Best of What's Around - Crash into Me - Crush - Don't Drink the Water - I Did It - Satellite - So Much to Say - Stay (Wasting Time) - Too Much - What Would You Say.

Inventory #HL 02500374
ISBN: 9781575604497
UPC: 073999185140
Width: 9.0"
Length: 12.0"
64 pages

gear setup

Ants Marching
The Best Of What's Around
Crash Into Me
Crush
Don't Drink The Water
I Did It
Satellite
So Much To Say
The Space Between
Stay (Wasting Time)
Too Much
What Would You Say

Introduction

The 12 singles represented here reveal the depth and breadth of the Dave Matthews Band's ideas and sounds from Under the Table and Dreaming to Everyday. From the philosophical "The Best of What' Around," to the pop perfection of "Too Much," to the soulful "Stay (Wasting Time)," straight on into the plugged-in and stripped-down "I Did It," the Dave Matthews Band has proved time and again the true nature and level of their artistty, as well as their personal drive to express themselves via whatever means necessary.
Dave Matthews Band has collectively walked a career path very different from many of its contemporaries.
Dave himself was born in South Africa in 1967 and grew up in not just that part of the world, but in England and Westchester, New York, as well. While the family was residing in Westchester, Dave's father John, a physicist, died; his mother Val moved the family back to South Africa not long after. Dave continued to reside there until he was called to serve in the army of the Apartheid government. Rather than join this army, he returned to the States, passing through New York before finally joining his family in Virginia.
After spending some time in a community college, Dave found himself working as a bartender at Miller's, a bar in Charlottesville. He had played some piano as a child, and had begun to play the guitar at about age nine. He was inspired by the musicians he heard and met in the community-Peter Griesar, Carter Beauford, Stefan Lessard, LeRoi Moore, and Boyd Tinsley. He also met guitar whiz Tim Reynolds, who would become a virtual "sixth" band member, contributing heavily to the first four albums as well as eventually touring with Dave as a duo. Dave wrote several songs, and with the encouragement and guidance of friends, he cut a demo with five of the local musical heavyweights. These musicians "clicked" from day one.
It soon became clear that the combination of Dave on vocals and guitar, Carter Beauford on drums, Stefan Lessard on bass, LeRoi Moore on sax, and Boyd Tinsley on violin was formidable-the Dave Matthews Band juggernaut had started to roll. The band made it dear that they allowed and even welcomed the bootlegging of their shows. In return, their fans rewarded them with devotion. At the time they were about to release their independently produced Remember Two Things in ovember of 1993, the band's reputation had grown so great that they essentially had their pick of major label deals. They signed with RCA.
The 1994 release Under the Table and Dreaming entered the Billboard charts at #34, went to #11 on the Billboard 200, and received a Grammy nomination for "What Would You Say." Two years later, Crash debuted atfr'2 and received Grammy nominations for the album itself and for the songs "So Much to ay."
"Crash into Me," and 'Too Much." Steve Lillywhite was the producer of these two releases plus the next- Before These Crowded Streets-which shipped at #1 on the Billboard charts.
In January of 2000, the band assembled to record. In June, three months behind schedule, the band and the record company listened to the material and agreed that they needed to rework their efforts. To paraphrase Dave, they were songs about dying, not songs about living. regardless of the fact that we're all going to die. Dave was subsequently introduced to Glen Ballard who had interned with Quincy Jone and produced for Alanis Morrissette, No Doubt, and Aerosmith, among many others. Dave and Glen holed themselves up for ten days and wrote the 12 new songs that became Everyday. It debuted at #1 on the Billboard charts, selling more than 700,000 copies in its first week of release.
Jot content to confine their activities to the musical area, the Dave Matthews Band established the Barna Works Foundation, an institution through which the band contributes to charities such as the American Diabetes Association, the Boys and Girls Clubs of America, the Southern Environmental Law Center. And various Charlottesville-area clinics and community centers.

Dave Matthews Band 1994-2001

- NOTE-FOR-NoTE TRANSCRIPTIONS
- CD WITH RECORDEDDEMONSTRATIONS
- PERFORMANCE NOTES
- GEAR SETUPS

CHERRY LANE MUSIC COMPANY

Prezzo: €20,99

€20,99

HARD ROCK BASS PLAY-ALONG Volume 7. CD TABLATURE

HARD ROCK BASS PLAY-ALONG Volume 7. Am I Evil? -Crazy Train -Detroit Rock City -Iron Man -Living After Midnight -Peace Sells -Rock You Like A Hurricane -The Trooper. CD TABLATURE

Series: Bass Play-Along
Softcover with CD - TAB

Artist: Various

The Bass Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the bass should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch!

Songs:
Am I Evil? - Metallica
Crazy Train - OZZY OSBOURNE
Detroit Rock City - KISS
Iron Man - BLACK SABBATH
Living After Midnight - JUDAS PRIEST
Peace Sells - MEGADETH
Rock You Like A Hurricane - SCORPIONS
The Trooper - IRON MAIDEN

63 pages

Prezzo: €15,00

€15,00