LIBRO

URBAN KEITH LOVE PAIN & THE WHOLE CRAZY THING TABLATURE CHITARRA LIBRO

URBAN KEITH, LOVE, PAIN & THE WHOLE CRAZY THING. TABLABURE

LIBRO DI MUSICA PER CHITARRA CON TABLATURE.

Series: Play It Like It Is
Publisher: Cherry Lane Music
Softcover - TAB
Artist: Keith Urban

Matching folio to Urban's highly praised 2006 release. 14 exact note-for-note guitar transcriptions including, 160 pages

Can't Stop Loving You (Though I Try)
Everybody
Faster Car
God Made Woman
Got It Right This Time (The Celebration)
I Told You So
Once In A Lifetime
Raise The Barn
Shine
Slow Turning
Stupid Boy
Tu Compania
Used To The Pain
Won't Let You Down

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STERN MIKE THE BEST OF Guitar Recorded Version TABLATURE LIBRO SPARTITI CHITARRA ACCORDI

STERN MIKE, THE BEST OF. 184 Pagine. GUITAR TABLATURE

LIBRO DI MUSICA JAZZ.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Guitar Recorded Version TAB
Artist: Mike Stern

17 guitar transcriptions with tab from this jazz guitarist who got his start playing with Miles Davis in the '80s. Includes: Chromozone - Little Shoes - Mood Swings - Nardis - Sunnyside - There Is No Greater Love - Wing and a Prayer - and more. 184 pages

Chromozone
Jigsaw
Like Someone In Love
Little Shoes
Mood Swings
Nardis
Odds Or Evens
Play
Sunnyside
Swunk
That's What You Think
There Is No Greater Love
Time In Place
Tipatina's
Upside Downside
What I Meant To Say
Wing And A Prayer

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SPYRO GYRA THE BEST OF SCORE LIBRO SPARTITI CHITARRA BASSO PARTITURA FUSION

SPYRO GYRA, THE BEST OF. TRANSCRIBED SCORE . SHEET MUSIC BOOK . 

LIBRO DI MUSICA JAZZ FUSION. 

SPARTITI DI OGNI STRUMENTO: 

ACCORDI, PENTAGRAMMA. 

Series: Transcribed Score
Artist: Spyro Gyra

A chronology of the favorite tunes from this award-winning jazz group. Note-for-note scores for sax, keyboards, mallets, guitar, bass, percussion / drums. 8 tunes including: Shaker Song - Morning Dance - Catching The Sun - Joy Ride. 144 pages . 

TITOLI: 

Catching The Sun
City Kids
Freetime
Heliopolis
Incognito
Joy Ride
Morning Dance
Shaker Song

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RETRO '80s Guitar Recorded Version TABLATURE HOLD ME NOW Thompson Twins SPARTITI VOCE CHITARRA

RETRO '80s. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA POP ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Recorded Version TABLATURE
Artist: Various

Make your hair tall and asymmetrical, don your skinny leather tie, and play these 30 hot hits from the '80s! Includes notes and tab, 192 pages

Contents
Time After Time performed by Cyndi Lauper - 1983 
Whip It performed by Devo - 1980
One Thing Leads To Another performed by Fixx - 1983
Back On The Chain Gang performed by Pretenders - 1982
Alone performed by Heart - 1983
Heart And Soul performed by Huey Lewis - 1981
Your Love performed by Outfield - 1984
Hold Me Now performed by Thompson Twins - 1983
Our Lips Are Sealed performed by Go-Go's
Bang A Gong (Get It On) performed by Power Station - 1971
Centerfold performed by J. Geils Band - 1981
Don't Stand So Close To Me performed by Police - 1980
867-5309/Jenny performed by Tommy Tutone - 1981
Eye Of The Tiger performed by Survivor - Theme from Rocky III- 1982
Footloose performed by Kenny Loggins - 1984
The Heat Is On performed by Glenn Frey - 1984
Heaven Is A Place On Earth performed by Belinda Carlisle - 1987
I Love Rock 'N Roll performed by Joan Jett - 1975
In A Big Country performed by Big Country - 1983
Jack And Diane performed by John Cougar - 1982
Love Is A Battlefield performed by Pat Benatar - 1983
Love Shack performed by B-52's - 1989
Maniac performed by Michael Sembello - From FLASHDANCE - 1983
Owner Of A Lonely Heart performed by Yes - 1983
She Drives Me Crazy performed by Fine Young Cannibals - 1983
Voices Carry performed by Til Tuesday - 1985
Walk Of Life performed by Dire Straits - 1985
Walking On Sunshine performed by Katrina & The Waves - 1985
What I Like About You performed by Romantics - 1979
Working For The Weekend performed by Loverboy - 1981

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RICKENBACKER Richard Smith LIBRO ILLUSTRATO CHITARRE ELETTRICHE 12 CORDE BEATLES

RICKENBACKER, Richard Smith, 256 pagine. 

LIBRO ILLUSTRATO SULLE CHITARRE E BASSI RICKENBACKER. 

TUTTAL LA STORIA DELLE FAMOSE CHITARRE USATE DAI BEATLES, ROGER McGUINN, TOM PETTY, ECC.,   

Series: Reference
Publisher: Centerstream Publications
Medium: Softcover
Author: Richard Smith

This 246-page soft-cover book gives a complete and illustrated history of the development of Rickenbacker instruments from 1931 to the present. Rickenbacker is the only book of its kind to chronicle the history of the company who in 1931 introduced electric instruments to the world. The book provides information and full-color photos of the many artists who have used and are using Rickenbacker instruments. Rickenbacker collectors will find this book invaluable as it contains recently discovered accurate facts previously unavailable to researchers. 246 pages

Prezzo: €36,99
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PIAZZOLLA ASTOR FOR VIOLIN & GUITAR HAL LEONARD LIBRO SPARTITI CHITARRA VIOLINO SHEET MUSIC BOOK

PIAZZOLLA ASTOR, FOR VIOLIN & GUITAR. SHEET MUSIC BOOK IN STANDARD NOTATION. 

LIBRO DI MUSICA. 
SPARTITI PER CHITARRA E VIOLINO, IN PENTAGRAMMA. 

Composer: Astor Piazzolla

Astor Piazzolla (1921-1992) was the foremost composer and ambassador of tango music, who carried the signature sound of Argentina to clubs and concert halls around the world. This folio gathers 35 of his finest and arranges them for violin and guitar duets. Includes bio. 80 pages
Titles include:

Astor Piazzolla (1921-1992) was the foremost composer and ambassador of tango
music, who carried the signature sound of Argentina to clubs and concert halls around
the world.
Piazzolla was born in 1921 in Mar del Plata, on the coast south of Buenos Aires, but
lived in New York City from 1924 to 1937. In New York the young Piazzolla tuned into the
vibrant jazz scene and bandleaders such as Duke Ellington and Cab Calloway. At age 12,
he received his first bandoneon, a type of button accordion that is the principal voice
of tango, and began playing music from the classical repertoire. Soon after his family
returned to Argentina in 1937, Piazzolla joined the popular tango orchestra of Anibal
Troilo and-while still a teenager-established himself as a talented bandoneon player
and arranger.
In Argentina, Piazzolla continued to study classical music, too, with the composer
Alberto Ginastera and others. In 1954, Piazzolla's composition "Buenos Aires" won
him a scholarship to study in Paris with Nadia Boulanger, who encouraged him to
find his own voice by tapping into his passion for tango. Back in Argentina in the
late 1950s, Piazzolla did just that, laying the groundwork for what become known as
tango nuevo-new tango.
In 1960 he formed his seminal group Quinteto Tango uevo, featuring bandoneon
alongside violin, guitar, piano, and bass. In the ensuing years Piazzolla's music increasingly
used dissonance, metrical shifts, counterpoint, and other techniques inspired
by modern classical composition and jazz orchestras. In Argentina, where tango is a
source of national pride and identity, some tango purists were incensed by these radical
departures from tradition, and in the late 1960s even Argentina's military government
criticized Piazzolla for being too avant-garde. Piazzolla left behind a huge body of music-more than 750 works-and classic recordings such as Adios Nonino and Tango:
Zero Hour, as well as collaborations with artists as diverse as poet/author Jorge Luis
Borges (El Tango), jazz vibraphonist Gary Burton (The New Tango), and the Kronos
Quartet (Five Tango Sensations). In 1986, Piazzolla's music was featured in the
Broadway hit Tango Argentino. In 2001 Amadeus Press published Astor Piazzolla: A
Memoir, the remarkable life story (as told to journalist Natalio Gorin) of one of the 20th
century's true musical iconoclasts.


1958 - Adios nonino  - Yves Paul Martial Puech, Asto Piazzolla
1957 - Boricua - Astor Piazzolla
1963 - Buenos Aires Hora Cero - Astor Piazzolla
1960 - Calambre - Astor Piazzolla
1960 - Decarisimo - Astor Piazzolla
1958 - Dernier lamento - Roger Auguste, Charles Desbois, Albert Abraham, Ben Soussan, Astor Piazzolla
1957 - Détresse - Astor Piazzolla
1962 - Extasis - Astor Piazzolla
1958 - Fièvre (Fiebre de Tango) - Albert Abraham, Ben Soussan, Albert Noel De Marigny Engeurrand
1963 - Fracanapa - Astor Piazzolla
1958 - Greenwich - Albert Abraham, Ben Soussan, Andre Psieto, Astor Piazzolla
1958 - Gulinay - Astor Piazzolla
1962 - Imàgines 676 - Astor Piazzolla
1963 - racundo - Astor Piazzolla
1960 - La Calle 92 - Astor Piazzolla
1962 - La fin del mundo - Oscar Nicolas Fresedo, Astor Piazzolla
1960 - Las Furias - Astor Piazzolla
1958 - Llueve Sobre Broadway - Raoul Cohzales, Astor Piazzolla
1961 - Los Poseidos -  Yves Paul Martial Puech, Astor Piazzolla
1960 - Made In USA  - Asto Piazzolla
1957 - Mi Exaltacion - Asto Piazzolla
1957 - Misteriosa VidaGuy Favreau, Astor Piazzolla
1957 - Nuevo Mundo - Astor Piazzolla
1957 - Presentania - Astor Piazzolla
1962 - Psicosis - Astor Piazzolla
1960 - Recuerdo New York - Astor Piazzolla
1963 - Revirado - Astor Piazzolla
1957 - Romantico Idilio (Sans ta presence) - Astor Piazzolla Gay Favreau, Albert Abraham, Ben Soussan, 
1964 - Se Termino (C'est fini) - Astor Piazzolla
1957 - Suavidad - Astor Piazzolla
1964 - Tango choc (Doudou) - Astor Piazzolla
1958 - Tanguisimo - Astor Piazzolla
1958 - Te quiero tango - Astor Piazzolla
1962 - Todo Fue - Diana Piazzolla, Astor Piazzolla
1958 - Yo canto un tango - Astor Piazzolla

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PRS GUITAR BOOK 3RD EDITION THE, A Complete History of Paul Reed Smith Guitars. Dave Burrluck

THE PRS GUITAR BOOK 3RD EDITION, A Complete History of Paul Reed Smith Guitars. Dave Burrluck, 174 pagine.

Series: Guitar Reference
Publisher: Backbeat Books
Medium: Softcover
Author: Dave Burrluck

The PRS Guitar Book details every facet of the wonderful electric guitars made by PRS, the Maryland-based company founded in 1985 by musician and guitar builder Paul Reed Smith. The paperback edition is updated to include all the latest information on the acclaimed Singlecut models, as well as the intriguing story of the Santana SE – the company's first venture into overseas manufacture. An inviting narrative describes the evolution of this internationally renowned guitar maker, while dynamic color photography spotlights outstanding PRS guitars such as the Signature, signed by Smith; the Dragon, sporting opulent shell inlays; the Swamp Ash Special and Rosewood Limited, using non-standard materials; and ultra-rare models from limited and custom runs. Other featured guitars include the latest acoustic-electrics, and the Santana models that celebrate the partnership between PRS guitars and their best-known player, Carlos Santana. A special section highlights the company's famed use of highly patterned maple woods, displaying the most stunning "flame-top" and "quilt-top" examples. This definitive book also provides an absorbing photo-essay on the making of a PRS guitar, plus specifications for identifying and dating PRS instruments.

"The PRS Guitar Book is a must-have for any collector, PRS owner, or anyone who appreciates PRS guitars." Guitar Digest

"Masterful ... tons of gorgeous, full-color photos." Guitar Player

"This hefty volume of brilliantly colorful guitars made by Paul Reed Smith exemplifies the best and the brightest... " Dirty Linen

"A fitting tribute to a company which has, in a short time, come to symbolize a quality alternative to the 'big two' American electric guitar manufacturers." Vintage Guitar
174 pages

 

 

 

 

 

CONTENTS

FOREWORD By Tom WHEELER

 

PART ONE: THE EARLY YEARS

PALL REED SMITH: THE EARLY YEARS

 

PART TWO: VIRGINIA AVENUE 1985-95

CUSTOM, CUSTOM 22 AND 24, AND CUSTOM 22 SOAPBAR

EARLY PRS BASS GUiTARS

PRS GUITAR, STANDARD, SPECIAL, AND STUDIO

SIGNATURE AND LIMITED EDITlON

MATERIALS: FIGURER AND METAL

MATERIALS: FIGURED MAPLE TOPS

CLASSIC ELECTRIC, CE AND EG

ARTIST I, ARTIST II AND ARTIST LlMITED

MARKETING. COLLECTABILITY, AMPLIFIERS AND ACOUSTIC GUITARS

DRAGON I, II, III AND 2000

MCCARTY MODEL

PICKCPS AND ELECTRICS

SANTAN AND 10TH ANNIVERSARY

GUTARS OF THE MONTH AND EMPLOYEE GuiTARS

 

PART THREE: STEVESVILLE

SWAMP ASH SPECIAL AND ROSEWOOD LTD

PRIVATE STOCK ONE-OFF GUiTARS

ARTIST III AND ARTIST IV

McCART) STANDARD AND McCARTY SOAPBAR

McCARTY ARCHTOP

McCARTY HOLLOWBODY

SINGLECUT AND TREMONTI MODELS

ELECTRIC BASS AND ELECTRIC BASS MAPLE TOP

SANTANA III AND SANTANA SE (FIRST VERSION)

THE GROWTH OF PRIVATE STOCK

RETURN OF THE DRAGON, SINGLECUT TREM SE

513 AND MODERN EAGLE

SE EXPANSION

END OF THE SINGLECUT?

 

PART FOUR: 20 YEARS OF PRS

PRS's 20TH ANNIVERSARY

CE MOHOGANY, CARS, ROCK STARS

RETURN OF THE SINGLECUT

MAPLE MOVES TO SE

SATIN EXPANSION

MAPLE SATINS, MODER EAGLES AND MR JOHNNY HILAND

PRIVATE STOCK CELEBRATES 10TH ANNIVERSARY

EVOLUTION OF THE SINGLECUT

MORE SEs, A 'REISSUE', A NEW FACTORY

 

PART FIVE: MODEL KEY & REFERENCE

INDEX

ACKNOWLEDGEMENTS 

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MORSE STEVE, BEST OF BAND AND DIXIE DREGS. Cherry Lane Music Play It Like It Is TABLATURE

MORSE STEVE, BEST OF BAND AND DIXIE DREGS. TABLATURE

ARTIST APPROVED

Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Dixie Dregs
Artist: Steve Morse Band

I always consider the beginning of a new year a good time to think about what has worked well and what could stand some improvement. Since I've spent most of the last year seeing the world with Deep Purple, my perspective is definitely different now. Let me tell you some of the things that stick out as great foundations for new motivation. I'll put them in two categories. Things To Improve. Practicing habits. While I generally can find enough time in noisy environments to do some technical warmup and things that don't require too much concentration, I have found that my only truly quiet time is late after the gig in my hotel room. I should find a way to set aside more quiet time during the day to be with my guitar. My theory is that two small but effective sessions a day can be more productive than one longer single session. Sometimes when I'm having a problem getting ready to start a run of dates, I find that practicing twice a day provides more benefit than the total number of minutes spent might suggest. A more balanced diet. I definitely ate too much pizza in too many countries. But, on the other hand, it was the only thing I could recognize in many places. I should be more amazed at life itself instead of having to experience a nearly perfect gig to feel uplifted on the road. Many people within the group had friends or family fall ill or even die during the course of the last year. Since it eventually happens to everyone, I guess all of us get somewhat dulled to the fact that just being alive is miraculous. And often, the more you see someone and the more time you spend with them, the more you take them for granted. Sleep. I really must figure out how to get sleep like a normal person. Changing time zones as often as tempos from song to song just flips out my internal clock. On the other hand, I should look at the positive side of being a very light sleeper-I could be a great guard dog. I must remember what a reasonably priced nation the U.S. is. Everywhere else I go constantly reminds me of that fact. I will try hard to remember that this year, as I quickly adjust back to normal outrage at the prices of things today. Amazingly, the things that are available in the U.S. that come from abroad are almost always less expensive here. Our social interaction. Many other countries seem to have safe streets, where residents enjoy community events with no fear of walking or riding bikes in any part of their cities. It's up to us to say enough is enough. Writing a sentence about it won't change much, but what if everyone just suddenly knew that it didn't have to keep on getting worse? Someone once told me that we get what we settle for. Hmmrn .... Things That Were Cool. Getting to talk to my five-year-old son every day. He is at an age where he can entertain me on the phone with his unique views on the way things are. My favorite time was when he asked me to hold on while he got something to eat. I thought he was just going to grab something and come right back to the phone. But since I was paying the Moscow rate of eight dollars a minute from the hotel because of some problem with my carrier, of course he just forgot to return to the phone. After holding for ten minutes then trying back until they hung up the phone, he then requested that I make up another story to tell him. Well, I never will get tired of doing that. I have been surrounded by great, supportive people in the group. I will never again underestimate the importance of good chemistry between people. Two nights ago I had a terribly frustrating technical problem all through the show and I was not handling it very well, especially at first. Everyone was surprisingly helpful in getting me past the point of ruining the show for myself. Instead of getting upset at me for showing some frustration, vocalist Ian Gillan came over and said that he's really glad that I have that much passion for what I am doing. That made all the difference in the world. One minute life sucks, the next I'm feeling thankful. Everyone knew exactly what I was going through and naturally chose to help up one of their wounded. That's good chemistry, and I still don't know if it's luck or destiny or effort that makes it happen, but I'm glad it does. There's also plenty of stories like that from every group I've worked with. When I was a kid wanting to start a band, that was the main reason I was drawn to it. You know, the total really is greater than the sum of its parts. Foreign exchange. If you ever went to a club gig of the Dregs or my band, you could almost always talk to me afterwards. It's kind of normal to be somewhat accessible when you're playing clubs, especially if you're in a band that's doing multiple sets. I got into the habit of greeting those who stuck around after the show because of a guitarist who spent some time talking to me when I was a kid at one of my first shows. In the process of this last year, I've met and learned about a lot of people from many places, backgrounds, and professions. It has been some of the most valuable education in my whole life. Good will. I've met busloads of Croatians traveling a long way to see the show, and other hard-working people in nearly every country who travel great distances to be a part of it. People everywhere have brought gifts, good wishes, enthusiasm, and energy to those large places that our fearless crew has seen every day at setup time. I've seen opening bands bust their butts to get on and off stage on time after driving all night. I've seen people plan their vacations around the tour because they love the energy of live music. Yeah, again and again, I always have to agree that music can strike pretty deep.

13 rockin' guitar transcriptions of Steve's playing in Dixie Dregs and the Steve Morse Band. Plus a bio and notes from Steve Morse. 112 pages


Country Colors
Cruise Control
Flat Baroque
General Lee
Highland Wedding
Ice Cakes
Point Counterpoint
Punk Sandwich
Refried Funky Chicken
Road Expense
Southern Steel
Take It Off The Top
Twiggs Approved

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MORE OF THE 1950s Decade Series GUITAR TABLATURE Recorded Version CHITARRA SPARTITI LIBRO LA BAMBA

MORE OF THE 1950s, The Decade Series for Guitar. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK 'N' ROLL.

SPARTIOTI PER VOCE E CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

30 titoli famosi degli anni cinquanta trascritti nota per nota per chitarra, completi dei testi della canzoni. 

The Decade Series

Serie: Guitar Recorded Version TAB

 

CONTIENE:

Believe What You Say - RICKY NELSON - 1958
A Big Hunk 0' Love - ELVIS PRESLEY - 1959
Blue Suede Shoes - CARL PERKINS - 1956
Bluejean Bop - GENE VINCENT - 1956
Bye Bye Love - THE EVERLY BROTHERS - 1957
Chinatown, My Chinatown - CHET ATKINS - 1952
Don't Be Cruel (To a Heart That's True) - ELVIS PRESLEY - 1956
Foggy Mountain Special - FLATT & SCRUGGS - 1954
Forty Miles of Bad Road - DUANE EDDY - 1959
Hard Headed Woman - ELVIS PRESLEY - 1958
Honest I Do - JIMMY REED - 1957

I Need You So Bad - B.B. KING - 1957
I'm Stickin' With You - JIMMY BOWEN - 1957
Jailhouse Rock - ELVIS PRESLEY - 1957
La Bamba - RITCHIE VALENS - 1959
Party Doll - BUDDY KNOX - 1957
Peggy Sue - BUDDY HOLLY - 1957
Ramrod - DUANE EDDY - 1958
Raunchy - BILL JUSTIS - 1957
Rawhide - LINK WRAY - 1958
Ready Teddy - LITTLE RICHARD - 1956
Red River Rock - JOHNNY & THE HURRICANES - 1959
Say Man - BO DIDDLEY - 1959
See You Later, Alligator - BILL HALEY & HIS COMETS - 1956
Singing the Blues - GUY MITCHELL - 1956
Sixteen Tons - TENNESSEE ERNIE FORD - 1955
That'll Be the Day - BUDDY HOLLY - 1957
Train Kept a-Rollin' - JOHNNY BURNETTE - 1956
Twenty Flight Rock - EDDIE COCHRAN - 1958
Yakety Yak - THE COASTERS - 1958
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MARTIN BOOK THE, A COMPLETE HISTORY OF MARTIN GUITARS. Walter Carter

THE MARTIN BOOK. 160 pagine. Walter Carter

A COMPLETE HISTORY OF MARTIN GUITARS, 
UPDATED EDITION WITH NEW PICTURES AND REVISED TEXT
MARTIN & CO. ET 1833

Series: Book
Publisher: Backbeat Books
Medium: Softcover
Author: Walter Carter
The Martin Book

For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s.

Inventory #HL 00331417
ISBN: 9780879308872
UPC: 884088064082
Publisher Code: 0879308877
Width: 8.5"
Length: 11.0"
160 pages

For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s. 160 pages

Martin is the oldest and most respected name among American instrument makers - not just guitar makers but makers of all instruments. The guitar world, Martin had been established for over 50 years when Orville Gibson started carving the tops and backs of mandolins in the 1890s, over 100 years when Leo Fender started putting pickups on solid guitar bodies in the 1940s. Martin carried on steadily as such important names as Washburn, Epiphone, Gretsch, National, Vega, Kay, and Harmony arose, flourished, and perished. Unlike most of the great names in the guitar world, Martin never became a big company. From a one-man shop, it grew into a small-town factory; even at its all-time height of production in the 1960s, Martin turned out less than 20 percent of the guitars that Gibson was producing at the time. Martin's quality fell off with the increased production of the late 1960s and 1970s, but the company learned its lesson well in the lean years of the late 1970s and early 1980s. In the 1990s, with respect and demand for Martins once again exceeding production capabilities, the company planned only a small, cautious expansion, refusing to sacrifice quality for quantity. At the summer 1993 National Association of Music Merchants (NAMM) trade show, dealers were told that Martin was back-ordered for one year. They still ordered Martins - a testament to the quality signified by the Martin name. Martin's longevity is not hard to explain. CF. Martin, who founded the company in 1833, transformed the European guitar into a new, uniquely American instrument. The flat-top guitar we know today is larger, and it has steel rather than gut strings, but otherwise it is not much different from the instruments Martin was making by 1850. All the company had to do was to keep on making guitars the same way that CF. did. Martin was enticed at times into unfamiliar markets by the surging popularity of mandolins, banjos, and electric guitars - but flat-top guitars remain the backbone of the company's fortunes. Unlike Gibson's mandolins and acoustic archtop guitars, unlike Fender's electric solidbody guitars, Martin's guitars did not effect any revolutionary changes in popular music. CF. Martin's X-braced flat-tops of 1850 were well accepted but they did not start everyone playing guitar (everyone was playing banjo at that time). Martin instruments played an important role in the guitar'S rise to prominence in the 1930s, but the innovations that sparked the movement should for the most part be credited to other makers. Martin guitars certainly epitomized the folk boom of the 1960s, but the guitars themselves had been developed decades earl ier. Rather than leading any musical movements, Martin guitars have provided a foundation for popular music - a consistent, solid base that has always been there, regardless of what style of music was the current rage. Consistency goes a long way in explaining Martin's success, but there is more. You don't have to walk into the factory to see that Martin is a different kind of company. From the outside it looks more like an elementary school from the 1960s than an industrial facility - an image underscored by its location in a residential area. Perhaps the key is a sense of humanness that comes from family. In 1833 the company was founded by a man named CF. Martin; in the twenty-first century the chairman is still a man named CF. Martin. In the context of family ownership, there is today no company quite like Martin. Neither Orville Gibson nor Leo ...

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