LIBRO CON CD

BANJO ENCYCLOPEDIA, Bluegrass Banjo from A to Z, Nickerson. CD TABLATURE.

SHEET MUSIC BOOK WITH CD & BANJO TABLATURE. 

LIBRO DI MUSICA BLUEGRASS CON CD.  

SPARTITI PER BANJO CON:

ACCORDI, PENTAGRAMMA-TABLATURE. 

The Banjo Encyclopedia è uno strumento completo, istruttivo e profondo che scopre le complessità della musica blugrass per banjo, completissimo i numerosi argomenti che a volte erroneamente potrebbero essere tralasciati nell'insegnamento del banjo di oggi. The Banjo Encyclopedia può far arrivare gli studenti dal livello principianti al livello intermedio e verso i più avanzati stili del banjo. Ross Nickerson usa la sua plurenale esperienza di insegnamento a centinaia di aspiranti musicisti offrendo l'opportunità di imparare in maniera pratica e diretta. Questo libro di insegnamento per banjo di largo raggio mette a fuoco molte tecniche che aumenteranno ogni aspetto della musicalità di chi suona il banjo, mentre semplificherà molti aspetti del processo educativo. Il CD con 99 tracce incluso permetterà agli studenti di imparare facilmente ascoltando l'autore Ross Nicherson che interpreta ogni canzone, e esegue molti frasi banjo e licks nella variante lenta e con la velocità normale. Nel CD è inclusa la sezione delle canzoni avanzate, dove Ross viene accompaniato da un gruppo bluegrass completo e delle canzoni di

livello intermedio per studenti. The Banjo Encyclopedia è indubbiamente una delle più complete raccolte per il banjo a 5 corde sul mercato di oggi e un must per la raccolta di libri di ogni musicista che suona il banjo.

The Banjo Encyclopedia is a comprehensive, in-depth banjo instructional tool that covers the any intricacies of bluegrass banjo playing, including numerous topics that may have been overlooked in banjo instruction to date. The Banjo Encyclopedia can take a student from the beginning, to intermediate, and right through to more advanced styles of banjo playing. Ross Nickerson uses his many years of experience helping hundreds of aspiring banjo pickers by offering the banjo student an opportunity to learn in a practical, straightforward manner. This wide-ranging banjo instructional book will focus on many techniques that will help every aspect of a banjo player's musicianship while simplifying many subjects in the learning process. The included 99-track CD recording will enable the student to learn easily by hearing author Ross Nickerson demonstrate each song, and perform many of the banjo licks and phrases included in the book slow, and up to tempo. The CD also includes an advanced song section with a full bluegrass band accompanying Ross along with additional intermediate songs for the student to learn. The Banjo Encyclopedia is undoubtedly one of the most complete five-string banjo books on the market today and a must for every banjo player's collection.

Product Number: 99443BCD
Formato: Book/CD Set
ISBN: 0786670746
UPC: 796279094214
ISBN13: 9780786670741
Serie: Encyclopedia
Editore: Mel Bay Publications, Inc.
Date Published: 9/24/2003

Contenuto:

About the Author
Foreword by Ross Nickerson
Tips On Learning The Most From The Book
Chapter 1: The Basics
Holding the Banjo, Using the Picks
How to Read Tablature
Parts on a Standard Five-String Banjo
Tuning Your Banjo
Right-Hand Postioning
Overcoming diffitculties
Final tips on right-hand positioning
Left-Hand Positioning
Do's and don'ts for common problems with left-hand technique
Photos of left-hand positions
Final Note
Chapter 2: The Right Hand
Rhythm & Timing
Rhythm and timing exercises
Learning the Basic Rolls
More tips on rolls
Earl Scruggs' contribution
Examples of basic rolls
Timing Review
Using a metronome
Some suggestions about using a metronome
Timing exercises using a metronome
Advanced Rolls
Working with and learning some advanced rolls
Working with the thumb
Working with the index and middle fingers
Middle finger exercises
Index finger exercises
Exercising the index and middle fingers together
Developing Tone and Dynamics
Angle of attack
Balance of tone
More about positioning
The effect of picks on tone
Dynamics in your banjo playing
Dynamic examples
Developing Speed
Technique factors in speed building
Psychology of speed
What if I make a mistake?
How hard should I pick?
Should I use a metronome?
Always use a metronome?
Speed-building metronome?
Tone Exercises
Advanced Rolls for Practice
Final Note
Chapter 3: The Left-Hand
Overview
Finger Exercises
Several reminders for practicing the exercises in this chapter
Memorize
A reminder before you start the exercises
Left-Hand Exercises
Left-hand exercises using thirds
Exercises for learning the notes on the fretboard in the G scale
Learning tips
Ways to Improve Slides, Hammer-ons, Pull-offs, and Chokes
Tips and reminders on slides, pull-offs, chokes and hammer-ons
Improving slides
Improving hammer-ons
Improving pull-offs
Improving chokes or bends
Adding and Improving Slides, Hammer-ons, Pull-offs, and Chokes in a Song
Banks of the Ohio - basic version
Banks of the Ohio - with slurs (slides, pull-offs, etc.)
Bury Me Beneath the Willow - basic version
Bury Me Beneath the Willow - with slurs (slides, pull-offs, etc.)
Final Note
Chapter 4: Practice Habits and Practicing Priorities
Overview
Practice builds confidence
Practice priorities and making the best use of practice time
How often should I practice and for how long?
Your practice area
Setting goals
Lesson Plans
Practice outline
Practice outline example
Splitting up practice time in the lesson plan
Working on Physical Challenges and Overcoming Obstacles
Isolating areas of practice
Tablature Discussion
Using CD, Video or DVD
Memorizing
Suggestions for memorizing
Working on the left and right hand separately while memorizing
A few more general suggestions on memorizing
Final Note

Chapter 5: Earl Scruggs' Style
Overview
Learning the Basics of Scrugg's Style Picking
Accenting Notes
Accenting Exercise
Bringing out the Melody
Sitting on Top of the World
Blues in the Scruggs' Style
Nine Pound Hammer
Learning a Breakdown in Scruggs' Style
Banjo Students' Breakdown
Final Note
Chapter 6: The Melodic Style
Overview
Melodic Style Exercises
Learning Songs in the Melodic Style
Sailor's Hornpipe
Turkey in the Straw
John Hardy
Playing in Harmony in the Melodic Style
Devil's Dream - Lead part
Devil's Dream - Harmony part
Playing the Blues in the Melodic Style
Blues Scale Melodic Exercise
Final Note
Chapter 7: The Single-String Style
Overview
Exercises Using the Single-String Style
Learning Some Scales in the Single-String Style
Chord shape single-string exercises
Don Reno Style Exercise
The Darktown Stutters' Ball
Learning Songs in the Single-String Style
Wildwood Flower - basic single-string version
Wildwood Flower - more complex single-string version
Arkansas Traveler
Whiskey Before Breakfast
Chapter 8: Mixing the Scruggs', Melodic and Single-String Technique, Learning to Play
Up the Neck, and Learning More About the Blues
Overview
Mixing the Scruggs', Melodic and Single-String Styles
Banjo licks that serve a similar purpose in each style
A Song Mixing the Three Styles With Some Blues
The Scruggs, Melodic, Single String Blues
Playing Up the Neck
Licks serving the same purpose, up and down the neck
Learning Both Down and Up the Neck Versions of a Song, for Comparison
She'll Be Coming Around the Mountain - lower neck version
She'll Be Coming Around the Mountain - up the neck version
Bonus Song, Mixing the Styles
Oh, Susanna
Learning More About the Blues
Blues Scales
Making Common Banjo Licks "Bluesy"
Blues comparison licks
Learning the blues scale exercise
The Blues Scales Blues
Another Song Mixing the Styles
Whiskey Before Breakfast
Final Note
Chapter 9: Rhythm, Chords and Playing Backup
Overview
Learning Chords and More About Them
F form chords
D form chords
Barre form chords
More about chords
Chromatic scale for finding any chord
Chord Inversions for G, G7 and G Minor
Chord Inversions for D, D7 and D Minor
Chord Exercises - Blackberry Blossom
Chord Progressions for Practice
Augmented, Diminished and More on Seventh Chords
Augmented chords
Diminished chords
Learning More About Scruggs' Style Backup
Scruggs' style backup lick examples
Passing Tones
An exercise using bass run passing tones
Bass Run Passing Tone Exercises With Chords
Four Examples of Playing Backup
Backup example for verse and chorus
Song Example for Verse and Chorus Backup
Playing backup on a slower tempo song
Slow Backup Song Example
Backing up a fiddle
Fiddle Backup Example
Waltz backup
Waltz Backup Example
Using Seventh Chords
Seventh chord form chart
Seventh Chord Exercise
Final Note
Chapter 10: Improvising and Learning to Play by Ear
Overview
Improvising
Taking what you know and turning it into ten things
Improvising in small steps
Thinking in terms of playing by the chords
Improvising practice assignments
Sample Chord Progression Using a Specific Roll
Reverse Roll Chord Breakdown
Building Up Your Chord Changing and Locating Ability
Sliding into the Chord Exercises
Tip on changing chords
Recovering from mistakes
Knowledge of the neck
Notes on the fretboard chart
More on Improvising
Plugging in licks that work with the chord changes in the song, and other
Options
Comments on improvising
Improvising using chords
Writing your own arrangements and playing songs that you have never
Heard before
Learning to play without tablature
Cautions when improvising
Importance and joy of not using tab
Final Note
Chapter 11: Beginnings, Turnarounds and Endings
Overview
Beginnings
Common bluegrass song beginnings or "kickoffs"
Bluegrass Song Kickoff Example
Pig in a Pen
"Bluesy" Kickoff Example
Kickin' Blues
Turnarounds
Basic turnarounds
Endings
Some common endings to bluegrass songs
Final Tips on Beginnings, Turnarounds and Endings
Final Note
Chapter 12: Jamming
Overview
Priorities in Preparation for Jamming
Preparation and practice
Practice timing
Know you chords and how to back others up
Learn songs that others should know and standard bluegrass
Arrangements
Taking the scare out of it
Learning How Standard Bluegrass Arrangements Work
Typical bluegrass vocal arrangement
Popular Vocal and Instrumental Songs at Jam Sessions
Other Tips and Suggestions for Learning How to Jam with Others
No One is Perfect and Everyone Makes mistakes
Final Note
Chapter 13: Adapting an Easy Melody to a Bluegrass Banjo Arrangement
Overview
Music Reading Basics Made Easy
Learning the notes
Counting time
Rests
Creating a Bluegrass Banjo Arrangement Using Quarter and Eighth Notes
When the Saints Go Marching In
Red River Valley
Final Note
Chapter 14: Playing in Different Keys, Tunings and Using a Capo
Overview
Using a Capo
Types of capos and tips on using them
Capoing the fifth string
Playing Chords in Different Keys
The I - VII chords in seven different keys - chart
Playing a song using roman numerals rather than chord names
Chord Progression Practice
Learning to Play the Same Song in Three Different Keys
Don't This Road Look Rough and Rocky - Key of G
Don't This Road Look Rough and Rocky - Key of C
Don't This Road Look Rough and Rocky - Key of D
C Tuning
Wildwood Flower
D Tuning
Home Sweet Home
Jesse James
G Minor Tuning
Pretty Polly
Chapter 15: Playing at Slower Tempos and ¾ Time
Overview
Different Techniques Used in Playing Slower Songs
Learning Some Songs in ¾ Time
Some suggestions for learning the songs
Silent Night
Amazing Grace
The Streets of Laredo
Chapter 16: Banjo Maintenance by Mike Munford
Introduction by Ross Nickerson
Preface by Mike Munford
Bridges
Bridges and tone
Tuning, intonation and setting the bridge
Changing the Strings
More on Strings
Tailpieces
The Nut
The 5th string nut
5th String Spikes
Actual spike location
The head
Action Adjustments
Neck and Resonator Woods
Good Tools
General Maintenance Tips
Cases
Final Note
Chapter 17: Advanced Song Section
Overview
John Henry
Train 45
Glossary of Common Banjo Terms
Acknowledgements
Closing Comments and Credits
CD Track Sheet

50 SOLOS FOR IRISH TENOR BANJO. O' Connor. SHEET MUSIC BOOK WITH CD & TABLATURE
A unique collection for C G D A and G D A E tuning.

LIBRO DI MUSICA IRLANDESE CON CD. 

SPARTITI PER BANJO CON: 

PENTAGRAMMA E TABLATURE.

This collection of fifty jigs, reels and hornpipes is arranged for two types of tuning; the standard C G D A used by Gerry O'Connor, and the traditional G D A E tuning used by David McNevin. The first 25 tunes are played by Gerry O'Connor, whose creative and individual style has earned him the reputation of being one of Ireland's finest banjo players. The remaining 25 tunes are arranged and played by David McNevin, an extremely skillful player in the traditional style, who has received major awards for his achievements on the banjo. As David McNevin's solos are arranged for traditional tuning, the tablature may also be used for the mandolin.

In Irish traditional music playing it is not unusual to start a tune with an introductory note or two which are not part of the tune. It is also quite common to finish a tune with a long note or chord which is not part of the tune. If the tune was played in the middle of a set these notes would not be used. Usually they are not written, but in an effort to have the written music as close as possible to what is played on the companion CD they are included in this book. A finishing flourish is written as a note or chord in a small open-ended bar after the end of the tune. This note or chord does not indicate any specific duration for the finishing note or chord.

Product Description:
This book is the most comprehensive collection of banjo tunes currently available by two of the finest banjo players in Irish traditional music. Contains 50 tunes, featuring jigs, reels, and hornpipes arranged for E,A,D,G and A,D,G,C tunings. CD included.

The early origins of the instrument, now known as the banjo, are obscure. That its precursors came from Africa to America, probably via the West Indies, is by now well established. Yet the multitude of African peoples, languages and music make it very difficult to associate the banjo with any specific African prototype. From various historical references, however, it can be deduced that the banjar, or bangie or banjer, or banza, or banjo was played in early 17th-century America by Africans in slavery, who constructed their instruments from gourds, wood and tanned skins using gut or hemp for strings. This prototype was eventually to lead to the evolution of the modern banjo in the late 18th and early 19th centuries. Until 1800 the banjo remained essentially a black instrument, although, at times, there was considerable interaction between blacks and whites in enjoying music and dance - whites usually participating as observers. What brought the instrument to the attention of the nation, however, was a grotesque representation of black culture by white performers in minstrel shows. The very essence of minstrelcy was black-face caricatures, which became increasingly popular towards the end of the 18th century, leading to fully fledged black-face skits and songs on stages throughout white America by the middle of the 19th century. It was during this time that the banjo, in all probability, was introduced to Ireland, when the Virginia Minstrels toured in England, Ireland and France in 1843, 1844 and 1845. The leader of the Virginia Minstrels was Joel Walker Sweeney, who was born in Buckingham County, Virginia in 1810. Sweeney, whose antecedents came from Co. Mayo, has become one of the most controversial characters in the history of the banjo, having been credited with introducing the 5^th string, or chantarelle, to the instrument. In fact, there are early watercolour paintings well before Sweeney's time that show the 5th string in plantation banjos. So Sweeney most certainly did not invent the 5-string banjo. What he did, however, was extend the popularity of the banjo to an enormous audience all over the United States and Europe. This leads to the question of what kind of banjo was initially introduced to Ireland. The overwhelming likelihood is that it was the 5-string banjo of the minstrels 4 and not the earlier 3- or 4-string variety which was common on the plantations. This is supported by a late 19thcentury sketch in Captain Francis O'Neill's Irish Minstrels and Musicians of piper Dick Stevenson and banjoist John Dunne, where the 5th string and peg on Dunne's banjo are clearly visible. By this tilll<' the banjo had undergone several transformations of a technological nature. Instead of tacking the skin head directly to the wooden hoop or gourd body, a thin metal band had been added, which sat on top of the wooden rim over the head by means of hooks and nuts which fastened through 'shows' mounted around the side of the body. The tightness of the skin could be adjusted. Factory-made gut string replaced the old homemade strings and round wooden hoops were used instead of hollow gourds, giving the instrument more durability. The minstrel banjo also lacked frets and as a result, playing above the 5th-string peg position posed a lot of severe intonation problems. It wasn't until 1878 that frets were added to the commercially produced banjo, a development credited to Henry Dobson of New York State. It took three decades of animated controversy for the idea to catch on. So the earliest Irish banjos were, it would appear, definitely fretless. Up to the turn of the 19th century banjos were plucked and strummed by the fingers. So the evidence, though it is circumstantial, would indicate that the banjo was used in Ireland for rudimentary accompaniment of songs and tunes with, perhaps, some of the simpler melodies being plucked out by the fingers. This all changed dramatically at the turn of the century when steel strings were invented. Influenced by the use of the plectrum in mandolin playing, banjo players started experimenting with different plectral playing styles. The idea of tuning the banjo in fifths, just like the mandolin, caught on around this time as well. Many players started to remove the short drone 5th string from the banjo, and before long banjo makers started manufacturing 4-string banjos, originally called plectrum banjos, which were full size 22-fret banjos just like the 5-string banjo, but lacking the 5th string. Then around 1915 the tango, or tenor banjo, was invented, coinciding with the popularity in America of this new dance form imported from Latin America, which was sweeping America at the time. The tenor banjo had 17 or 19 frets, a shorter neck tuned in fifths, just like the mandolin or fiddle, though not necessarily at the same ...

Song Title: Composer/Source:
An tAthair Jack Walsh, An
Bag of Spuds, The
Bill Harte's Jig
Boys of Blue HIll, The
Collins' Reel
Contradiction Reel, The
Crehan's Reel
Eddie Kelly's Reel
Entertainer, The
Fearghaill O'Gara
Finbar Dwyer's Reel
Flogging Reel, The
Flowers of Red Hill, The
Galway Hornpipe, The
Geese in the Bog, The
Glenbeigh Hornpipe
Groves, The
Harding's Jig
Hornpipe in G
Independent Hornpipe, The
Josie McDermott's Reel
Kelly's Reel
King of the Pipers
King's Fancy Jig
Kitty's Wedding
Lark in the Morning, The
McDonagh's Reel
McGann's Reel
McIntyre's Hornpipe
McKenna's Hornpipe
Mist Covered Mountain, The
Moloney's Reel
Moving Cloud, The
O'Dowd's Reel
Paidin O'Rafferty's Jig
Pay rthe Reckoning
Peacock's Feather, The
Peter's Street
Richard Dwyer's Reel
Roche's Reel
Sally Gardens, The
Silver Vale, The
Sonny Brogan's Jig
Star of Munster, The
Strand Jig, The
Swedish Jig, The
Three Sea Captains, The
Tipperary Hornpipe, The
Tom Ginley's Favourite
Tom Ward's Downfall

RIFFS, How to Create and Play Great Guitar Riffs. Rikky Rooksby. 176 pagine. CD TABLATURE

LIBRO DI MUSICA ROCK CON CD.

SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Book
Publisher: Backbeat Books
Softcover with CD - TAB
Author: Rikky Rooksby

This book identifies 30 distinct guitar riff types, and goes on to illustrate them with 150 inspired examples, examining how they have been developed and used by great rock musicians from Cream and The Beatles, through Nirvana and Soundgarden, to Metallica, Limp Bizkit, The Strokes and The White Stripes. The first half of the book analyzes classic rock riffs and reveals the stories behind their creation, supported by illustrations and a 30-track CD of audio examples. The second section shows how to construct great riffs. Readers learn how to shape a melody, integrate a guitar riff with the rest of a song, enhance it with effects, and work with intervals and scales. Includes an exclusive interview with Led Zeppelin's John Paul Jones. 176 pages.

LEARN TO PLAY! POP CHORD RIFFS. LIBRO CD E TABLATURE

LIBRO DI MUSICA POP - ROCK CON CD.

SPARTITI PER CHITARRA. ACCORDI E TABLATURE.

Alan Warner. 50 "manifesti" della musica pop. 

GUITARONE PRESENTS LESSON LAB, The Best of 1995-2000. 24 GREAT LESSONS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA ROCK BLUES CON CD.  

SPARTITI PER CHITARRA CON:

ACCORDI, DIAGRAMMA DELLA TASTIERA, PENTAGRAMMA E TABLATURE.

METODO, TECNICA, ARMONIA, 

24 Lezioni della rivista GUITAR ONE: scale, accordi, teoria, tecnica e altro.

Series: Book
Publisher: Cherry Lane Music TAB
Artist: Various

Are your guitar experiments at a standstill? Has your musical research reached an impasse? Step into Guitar One's "Lesson Lab," where new breakthroughs happen every day! This top-notch book/CD pack features 24 great lessons from the pages of Guitar One magazine's most popular department. Tackle in detail a variety of pertinent music- and guitar-related subjects, such as scales, chords, modes, tones, theory, guitar technique, songwriting, recording and so much more! 176 pages.