LIBRO

BEST LATIN SONGS FingerStyle Guitar Hal Leonard TABLATURE LIBRO SPARTITI CHITARRA TICO TICO

BEST LATIN SONGS, Finger Style Guitar. TABLATURE

LIBRO DI MUSICA LATINA.

SPARTITI PER VOCE E CHITARRA FINGERSTYLE.

ACCORDI, PENTAGRAMMA, TABLATURE.

Composer: Various Composers

17 great songs arranged for fingerstyle guitar: Bésame Mucho - Frenesí - The Girl from Ipanema - Granada - How Insensitive - Inolvidable - Malagueña - Perfidia - Summer Samba (So Nice) - Tico Tico - What a Diff'rence a Day Made - You Belong to My Heart - more.

64 pages

Inolvidable - composed by Julio Gutierrez - 1944
Always In My Heart (Siempre En Mi Corazon) - composed by Ernesto Lecuona - 1942
Besame Mucho (Kiss Me Much) - composed by Consuelo Velazquez - 1941
A Day In The Life Of A Fool (Manha De Carnaval) - composed by Luiz Bonfa - 1966
El Cumbanchero - composed by Raphael Hernandez - 1943
Frenesi  - composed by Alberto Dominguez  - 1939
The Girl From Ipanema (Garota De Ipanema) - composed by Antonio Carlos Jobim - 1963
Granada - composed by Agustin Lara - 1932
How Insensitive (Insensatez) - composed by Antonio Carlos Jobim - 1963
It's Impossible (Somos Novios) - composed (English lyric) by Sid Wayne, Armando Manzanero - 1968
Malaguena - from the Spanish Suite "Andalucia" - composed by Ernesto Lecuona - 1928
Perfidia - composed by Alberto Dominguez - 1939
The Gift! (Recado Bossa Nova) - composed by Djalma Ferreira - 1959
So Nice (Summer Samba) - composed by Marcos Valle and Paulo Sergio Valle - 1965
You Belong To My Heart (Solamente Una Vez) - composed by Agustin Lara - 1941
Tico Tico (Tico No Fuba) - composed by: Zequinha Abreu, Aloysio Oliveira, Ervin Drake - 1943
What A Diff'rence A Day Made - composed by Maria Grever - 1934

Prezzo: €49,99
€49,99

ALTERNATE TUNING CHORD DICTIONARY A Complete Reference to Over 7,000 Chords Chad Johnson LIBRO

ALTERNATE TUNING CHORD DICTIONARY, A Complete Reference to Over 7,000 Chords, Chad Johnson. Open D, Open G, Open Gm, Open A, Open E, Open Em, Open C, Drop D, Double Drop D, Dsus4 e altre. 248 pagine. TAB.

Series: Guitar Educational
Author: Chad Johnson

An alternate tuning is created when one or more strings of the guitar are tuned to notes that differ from standard tuning. This book is designed to familiarize you with chord shapes while playing in some of the most common alternate tunings, such as: Open D, Open G, Open Gm, Open A, Open E, Open Em, Open C, Drop D, Double Drop D, Dsus4 and more. Includes info on chord construction, and easy-to-read diagrams. 248 pages.

Prezzo: €27,99
€27,99

CLASSICAL FAVORITES FOR GUITAR DUO, Nadal.

CLASSICAL FAVORITES FOR GUITAR DUO, Nadal.

Spanning the Renaissance through the twentieth century, this original collection features The Harmonious Blacksmith, selections from Bach's Art of the Fugue and Two-Part Inventions, plus works by Beethoven, Schubert, Granados, and others. Perfect for beginners as well as advanced players, it features several teacher-student duets. Pages 144.

This new collection of duos for classical guitar brings together a wide variety of pieces for beginning, intermediate and advanced players. Musical styles represented include a sampling from the Renaissance, Baroque, Classical, and Romantic periods, as well as arrangements of several popular folk melodies. I have organized the selections into four groups:

Folk and Traditional Music includes many favorites arranged in an easy-to-play format. The majority of the parts are fingered to minimize shifts of the fretting-hand's position. The textures are all straightforward with the melody or soloist in the top part and the accompaniment below.

The Easy Music section consists of some repertoire arranged for the student and teacher as well as music for second- and third-year players. The selections include Elizabethan music (Dowland and Byrd), famous simple dances by Bach, a charming Valse by the great 19th-century guitar composer Fernando Sor, Beethoven's Ode to Joy theme, Schumann's Melodie from Album for the Young, Justin Holland's period arrangement of the theme to Auber's Fra Diavolo, and a simplified arrangement of the ever popular Foster song, My Old Kentucky Home.

Intermediate Music includes increasingly advanced music for third- through sixth-year players. Repertoire includes: Dowland's curious Galliard originally written for two to play on one lute; Bach Inventions and a Bourrt?e from his second English Suite; duos by Sor and Giuliani (the most important guitar composers of the early 19th century); two graceful Schubert Llindler, and an adaptation of his famous Stlindchen; arrangements of piano music by the Spanish nationalists, Albeniz and Granados; and Joplin's ragtime two step, The Entertainer.

Advanced Music contains three virtuosic selections. Handel's Harmonious Blacksmith (a posthumously bestowed nickname for a portion of his Fifth Harpsichord Suite) and Bach's Canon at the Octave from Art of the Fugue will present many challenges to the advanced player, but the rewards well surpass the difficulties. The famous Barber of Seville Overture is my own adaptation of Giuliani's arrangement of Rossini's Elisabetta. Try to seek out the original orchestral version (also published by Dover) to better mimic the orchestral timbres.

It is hoped that this new collection will bring you much joy in your music making. New York City 2005. Dedicated to my students, past and present-especially those who studied with me during the summer of 2005: Bernard Barisic, Michael and Rachel Edery, Matthew Linder, Ronnie Spiewak and my CUNY classes. Table of Contents for Classical Favorites for Guitar Duo Folk and Traditional Music

Amazing Grace - Tradizionale
Aura Lee - Tradizionale
Bill Boy - Tradizionale
Cradle Song - Tradizionale
Danny Boy, Londonderry Air - Tradizionale
Greensleeves - Tradizionale
The Kerry Dance - Tradizionale
The Rose of Tralee - Tradizionale
Remon - Creole Song
Thanksgiving Prayer - Colonial Congregational
The Wayfaring Stranger - Appalachian Lament
Easy Music
Sleep, wayward thoughts from the first booke of songs (John Dowland 1563-1626)
Lesson for Two Lutes from the Dowland lute book (Anonymous late 16th century)
Sellinger's Round from The Fitzwilliam Virginal Book (William Byrd 1542-1623)
Awake, sweet love (John Dowland 1563-1626)
When Phoebus... (John Dowland 1563-1626)
Minuet in G from The Little Notebook for Anna Magdalena Bach (Johann Sebastian Bach 1685-1750)
Bourrée from Suite for Lute, BWV 996 (Johann Sebastian Bach 1685-1750)
Musette in D (J.S. Bach)
Minuet in G from The Little Notebook for Anna Magdalena Bach (Johann Sebastian Bach 1685-1750)
Valse in C N.1 from six Valses puor Deux Guitares, Op. 44 (Fernando Sor 1778-1839)
Ode to Joy from Symphony N.9, Op.125 (Ludwig van Beethoven 1770-1827)
Melodie N.1 from 43 Clavierstucke Fur Die Jugend, Op. 68 (Robert Schumann 1810-1856)
My Old Kentucky Home (Stephen Foster 1826-1864)
Fra Diavolo from Auber's Opera Comique (Justin Holland 1819-1887)
Intermediate Music
My Lord Chamberlin's Galliard "for two to play upon one Lute" from the first Booke of songs (John Dowland 1563-1626)
Invention No. 4 from fifteen two-part inventions (Johann Sebastian Bach 1685-1750)
Invention No. 8 from fifteen two-part inventions (Johann Sebastian Bach 1685-1750)
Invention No. 13 from fifteen two-part inventions (Johann Sebastian Bach 1685-1750)
Bourrée I from English Suite N.2 (Johann Sebastian Bach 1685-1750)
Andante N. 1 from Trois Dous, Op. 55 (Fernando Sor 1778-1839)
Souvenir de Russie Op. 63 (Fernando Sor 1778-1839)
Polonese and Trio N.1 from The Polonesi Concertanti, Op. 37 (Mauro Giuliani 1781-1829)
Ländler N.1 from Eight Ländler, D.378 (Franz Schubert 1797-1828)
Ländler N.8 from Eight Ländler, D.378 (Franz Schubert 1797-1828)
Ständchen from Schwanengesag (Franz Schubert 1797-1828)
Capricho Catalan N.5 from Espagna: 6 Hojas de Album, Op.165 (Isaac Albeniz 1860-1909)
Tango N.2 from Espagna: 6 Hojas de Album, Op.165 (Isaac Albeniz 1860-1909)
Spanish Dance No. 1 from Twelve Danzas Espagnolas (Enrique Granados 1867-1916)
Spanish Dance No. 2 from Twelve Danzas Espagnolas (Enrique Granados 1867-1916)
The Entertainer A Ragtime Two step (Scott Joplin 1868-1917)
Advanced Music
The Harmonious Blacksmith Air and Five Variations from suite in E major, (HG II/i/5) (George Frideric Handel 1685-1759)
Canon at the Octave Contrapunctus XII from The Art of the Fugue (J.S. Bach 1685-1750)
The Barber of Seville - Overture dall'Opera il Barbiere di Sivilia (Gioacchino Rossini 29 febbraio 1792 - 13 Novembre 1868)

Prezzo: €13,00
€13,00

CREED GREATEST HITS GUITAR TABLATURE CHITARRA LIBRO SPARTITI Authentic TAB BOOK

CREED, GREATEST HITS. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA METAL.

SPARTITI PER VOCE E CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Popular rock band Creed's greatest hits are now available to guitarists everywhere! Play along to some of the hottest songs from Creed's three albums including the Grammy Award-winning single "With Arms Wide Open" and other No. 1 hits such as "What's This Life For," "Higher," "My Sacrifice," and more! All songs include complete guitar TAB transcription.

Titles: Torn * My Own Prison * What's This Life For * One * Are You Ready * Higher * With Arms Wide Open * What If * One Last Breath * Don't Stop Dancing * Bullets * My Sacrifice * Weathered.

 

Creed: Greatest Hits
Creed
Item: 00-30593
UPC: 038081333267
ISBN 10: 0739054066
ISBN 13: 9780739054062
Category: Guitar Personality
Format: Book
Instrument: Guitar
Version: Authentic Guitar TAB
Creed: Greatest Hits features transcriptions of some of the band's hottest songs, in both guitar TAB and standard musical notation.

Titles: Torn * My Own Prison * What's This Life For * One * Are You Ready * Higher * With Arms Wide Open * What If * One Last Breath * Don't Stop Dancing * Bullets * My Sacrifice * Weathered.
TITLE COMPOSER


Are You Ready? Mark Tremonti (composer); Scott Stapp (composer)
Bullets Mark Tremonti (composer); Scott Stapp (composer)
Don't Stop Dancing Mark Tremonti (composer); Scott Stapp (composer)
Higher Mark Tremonti (composer); Scott Stapp (composer)
My Own Prison Mark Tremonti (composer); Scott Stapp (composer)
My Sacrifice Mark Tremonti (composer); Scott Stapp (composer)
One Mark Tremonti (composer); Scott Stapp (composer)
One Last Breath Mark Tremonti (composer); Scott Stapp (composer)
Torn Mark Tremonti (composer); Scott Stapp (composer)
Weathered Mark Tremonti (composer); Scott Stapp (composer)
What If Mark Tremonti (composer); Scott Stapp (composer)
What's This Life For Mark Tremonti (composer); Scott Stapp (composer)
With Arms Wide Open 

Prezzo: €29,99
€29,99

SANTANA CLASSIC 1969-1990 Authentic Guitar TABLATURE Song Of The Wind-Samba Pa Ti-Europa-SPARTITI

SANTANA, CLASSIC 1969-1990. 34 titles. SHEET MUSIC BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA ROCK,
SPARTITI PER CHITARRA E VOCE.
ACCORDI, PENTAGRAMMA E TABLATURE. 

 

All I Ever Wanted -Aqua Marine -Bella -Black Magic Woman/Gypsy Queen -Blues For Salvador -Brightest Star -Chill Out (Things Gonna Change) -Europa (Earth's Cry Heaven's Smile) -Every Now And Then -Everybody's Everything -Evil Ways -Flame Sky -Hannibal -The Healer -I Love You Much Too Much -I'll Be Waiting -In A Silent Way -Love Is You -Move On -Mudbone -Naima -Open Invitation -Oye Como Va -The River -Samba Pa Ti -Se Eni A Fe L'amo-Kere Kere -Somewhere In Heaven -Song Of The Wind -Soul Sacrifice -Sweet Black Cherry Pie -This Is This -Toussaint L'Overture -Waves Within -Wings of Grace.TABLATURE


CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Volume 1 of this collector's edition set covers 34 classic songs from Carlos Santana's early years (the '60s through the '80s), all faithfully transcribed in note-for-note guitar TAB.

Titles: All I Ever Wanted * Aqua Marine * Bella * Black Magic Woman * Blues for Salvador * Brightest Star * Europa (Earth's Cry Heaven's Smile) * Every Now and Then * Everybody's Everything * Evil Ways * Flame Sky * Gypsy Queen * Hannibal * The Healer * I Love You Much Too Much * I'll Be Waiting * In a Silent Way * Love Is You * Move On * Mudbone * Naima * Open Invitation * Oye Como Va * The River * Samba Pa Ti * Se Eni a fe L'Amo-Kere Kere * Song of the Wind * Soul Sacrifice * Sweet Black Cherry Pie * This Is This * Toussaint L'Overture * Waves Within.

 

THEORY INTO PRACTICE

FEELINGS

Finivo sempre ad essere incompreso dai musicisti e specialmente i chitarristi quando dicevo che i musicisti di strada riescono ad emozionare di più che i musicisti da studio. Louis Armstrong era un musicista di strada. Non sapeva leggere la musica... come non lo sapeva Wes Montgomery. Non sto dicendo che l'ignoranza è la beatitudine. Miles Davis, Wayne Shorter, loro sapevano leggere la musica e sapevano sentirla. Penso che il criterio più importante della musica è che tu devi  imparare a suonare a "toccare l'accordo ombelicale" universale dell' ascoltatore. In questa ottica non importa come viene chiamata la tua musica: mariachi, rock, psichedelico o jazz, o in qualche altro modo. Non sono un'autorità per questo. Lo sono solo per quello che sento. Nella canzone "Goodness and Mercy", per esempio, ho iniziato a piangere mentre la suonavo. Per qualche motivo quando sono uscito davanti al publico, poi mi sono ritirato fuori dai monitors e quando ho suonato la prima nota, improvvisamente, sono stato sommerso dalle emozioni. Bene quando ti viene da ridere e da piangere contemporaneamente - Mi piace questa emozione. Questo fa' parte della musica.

 

FEELINGS

I get into a lot of trouble with musicians, especially guitar players, when I say that street musicians penetrate deeper than the studio-session musicians in feeling. Louis Armstrong was a street musician, He couldn't read music; neither could Wes Montgomery. I'm not saying that ignorance is bliss. Miles Davis, Wayne Shorter, they have everything: they can read and they can feel. But I think that the most important criteria in music is that you have to learn how to strike the universal umbilical chord of the listener. And that way they won't care what to call your music: psychedelic mariachi rock or blues or jazz: or anything. I'm not an authority on any of those things. I'm only an authority on what I feel. In "Goodness and Mercy," for example, I was crying when I played that song. For some reason, I went out in front of the PA; I walked out, away from the monitors, and when I hit the note, all of a sudden I started feeling that overspill of emotion. It's okay when you want to laugh and cry at the same time-I love that emotion. That's what music is about.

 

SOUND

Immaginiamo che tu sei un fotografo e vuoi fare la foto dello stagno. Quando tu fa la fotografia ci sono i riflessi del cielo e delle nuvole e poi i petali dei fiori che galleggiano sulla superfice. E dopo, vedi se guardi più nel profondo vedi un grande pesce, e tutto fino al fondo. Un bravo fotografo deve essere capace di catturare tutti e 4 i livelli. Imparare a suonare la chitarra ascoltando T-Bone e Wes Montgomery, e altri come loro, io ho percepito tutti e 4 i livelli in musica.   Oggi non li ricevo dalla maggioranza dei chitarristi, mi arriva soltanto il suono generico del pedale Bob Bradshaw, e la percezione rimane in superfice. Niente cielo, nessun pesce. Quando suoni con questi pedali suoni come chiunque altro e va via la tua personalità. Per me la personalità e individualità e unicità è il più grande dono che Dio ti ha dato. Questo ti fa riconoscere Yngwie Malmsteen o Buddy Guy da 2 note. Così evito di usare pedali che fanno diventare il mio suono come quello di chiunque altro. Io non uso batterie nella mia chitarra, e non uso transistors per  gli amplificatori. Uso valvole. Per me le valvole sono ancora vive. I transistor soffocati. Questo non è il mio suono, non  fatemi suonare così.

 

SOUND

Let's say you're a photographer, and you want to take a picture of a pond. When you take the picture, there's a reflection in the pond of the sky and the clouds. And then, you see flower petals floating on top, and if you look deep down, you see a big fish, and then you see all the way to the bottom. A good photographer should be able to capture all four levels. The way I learned guitar, through T-Bone and Wes Montgomery and people like that, I get all four in the sound. Today I don't get it from a lot of guitar players I only get the generic Bob Bradshaw pedal sound, where you only get the surface. You don't get the sky, and you don't get the bottom, and you don't get the fish. When you play through those pedals, you immediately sound like somebody else, and there goes your personality. To me, personality and individuality and uniqueness is the greatest thing that God gave to you; this is how you can tell Yngwie Malmsteen from Buddy Guy in two notes. So I avoid using pedals that make me sound like somebody else. I don't use batteries in my guitar, and I don't use transistors for amplifiers. I use tubes. To me, tubes are still flesh. Transistors are like saranwrap sound. That's not my sound, so don't make me sound like that.

 

TONE

Mi rivolgo ai cantanati più che ai chitarristi. Dal momento che sò del tono di testa, tono nasale, tono di gola, tono del petto, tono del diaframma. Questo è quello che devono conoscere della mia musica gl'ingenieri del suono. Allora io dico "apri la porta dello studio". Non appena si apre la porta, il suono esce come un prisma di vetro che si mette contro il sole e si vede tutto l'arcobaleno dietro. Io non voglio solo il giallo e l'arancio, voglio l'arcobaleno intero. Questo è il mio tono. Mi domando ora, se io sono l'ospite della registrazione di qualcun altro o è la mia registrazione.  Chiedo agli ingenieri di alzarsi dalle sedie e di lavorare insieme. Ho chiesto a loro di mettere 2 o 3 microfoni in diversi posti, uno sull'altoparlante diffusore, uno nella stanza e uno dietro, in modo da ottenere il modo complete. Faccio 4-7 note, sulla settima nota saltare fuori dagli altoparlanti. Quando io colpisco la sustain nota è l'equivalente del grappolo d'uva. Quando io spremo il grappolo d'uva, e io schizza e ti bagna, questo è quello che voglio. Non voglio un grappolo che lo schiacci e non esce niente. Io voglio riuscire a bagnarti con la mia emozione. E l'unico modo per ottenerlo è che l'ingeniere si emozioni con me. Per fare questo devi fare del tuo meglio. Non è una cosa facile, non è come andare a una festa. A volte è necessario mangiare gli avanzi di ieri. E' come fare delle immersioni con la stessa quantità d'aria, alcune volte trovi le perle, altre volte no. 

 

TONE
I relate to singers more than I do guitar players. Since I'm aware of singers' head tones, nasal tones, throat tones, chest tones and diaphragm tones, this is what I want the engineer to be aware of in my music. Engineers get really insecure. So I say, "Open the studio door." As soon as they open the door, the sound comes out like a prism of glass that you put up against the sun and you see all the rainbow behind. I don't just want the yellows and the oranges; I want the whole rainbow. That's what my tone is about. I demand it now, whether I'm a guest artist on somebody else's record or it's my record. I demand that the engineer get off his seat and go in and work with me. I ask them to put two or three microphones in different places; one on the speaker, one in the room, and one in the back, so you get the whole picture. I do four to seven notes; on the seventh note, I want it to jump out of the speakers. When I hit the sustain note-it's equivalent to a grape. When I squeeze that grape, and it squirts and it gets you wet, that's what I want. I don't want the grape that you squeeze and nothing comes out. I want to be able to get you wet with my emotion, and the only way to do it is to create a thing with the engineer that gets him wet. All you can do is do your best. Not every time you're going to have a feast. Sometimes you have to eat yesterday's leftovers. It's like you go diving, and you use the same amount of air to go down, aod sometimes you catch the pearls and sometimes you don't.

 

PRATICA

Io mi esercito con le scale, e senza le scale
Io suono una nota con il vibrato che suona come qualcuno che si lamenta. A volte quando una persona si lamenta è come un suono universale. Non c'è bisogno di conoscere il giapponese ma dal modo che John Lee Hooker suona tu capisci esattamente cosa sta dicendo. Così mi alleno nel non esprimere le note: do re mi  fa sol la si do. Mi mi alleno a esprime le emozioni umane. Forse penso a Aretha, io penso a Dionne Warwick, e a certe frasi che loro cantano. Così mi esercito l'ultima nota (canta modulazione), quella è la nota che pratico. Dimentico le altre note e ottengo la battuta finale, arrivo alla battuta finale, quindi se si sta suonando Blues o qualsiasi altra cosa sta suonando "Che nota, uomo !". Mi esercito dalle 22 alle 2 del mattino, perchè la mia famiglia si addormenta alle 22. Proseguo a suonare con rhythm machine che mi da un poco di spinta, e poi spengo guardo video di Hendrix o Wes Montgomery, e qualcun altro, poi suono e basta, ed è un poco come cambiare pelle. Nonostante ami molto Wes o T-Bone, Buddy Guy, suono per sbarazzarmi di tuute quelle persone che amo. Registro tutto, lascio girare il nastro, e il mattino dopo ascolto quello che ho registrato, ascolterò solamente, perchè quello é totalmente inconscio. Non sò se quello che ascolto l'ho suonato io.  E mi dico "ho suonato questo stanotte ? e' buono questo, ci sono 4 battune che sono buone. E gli do un voto da 1 a 10. C'è una canzone lì. Poi inizio a lavorarci sopra, e poi tutto d'un tratto trovo qualcosa che quando la gente lo ascolterà dirà "questo è Carlos". Filmo in video-tape le mie performance. Nei concerti quando suoni una nota, e senti quelle grida penetranti come nei vecchi dischi di James Brown, dove tu sai di dare a quella donna di più del suo amante, psichiatra, o rabbino, può fare per lei

(amore, amico, religione. Spesso le isteriche calmano uno poco la loro nevrosi nella prima e nella terza)

 

PRACTICE

I practice scales, and I practice nonscales which get inside the note. I play one note that when you vibrate it, it sounds like somebody holding you and moaning. Sometimes, when a person moans, it's like a universal sound. You don't have to hear lyrics in Japanese or Italian or English or anything; by the way John Lee Hooker moans, you know exactly what he's saying. So I practice not to articulate notes, do-re-mi-fa-sol-Ia-ti do: I practice to articulate human emotions. Maybe I think of Aretha; I think of Dionne Warwick, and certain phrases that they sing. So I practice the last note (sings modulation) - that's the note that I practice. I forget the other notes, and I get to the punchline, if you will, how I deliver the punchline, so, whether you're playing blues or whatever you're playing, they go, "Man, that note!" I practice from 10 o'clock to 2 o'clock in the morning, most of the time, 'cause my family falls asleep by 10. I go through a process of playing with a rhythm machine to give me that momentum, then I turn it off or I'll watch Jimi Hendrix or Wes Montgomery or somebody on video, and after a while I turn everything off and I just play, and it's kind of like a snake shedding its skin. As much as I love Wes or T-Bone or Buddy Guy, I play to get rid of all those people that I love. I tape everything. I just leave it running, and I'll play both sides of the cassette the next morning. I won't play anything; I'll just listen to what I did the night before, because it's totally unconscious. I don't even know that I played it. And I go, "Damn, I played this last night? Ooh, right here, these four bars right here," and I mark it, from 0 to 10. "There's a song right there." Then I start working on it, and then all of a sudden I've found out that thing where I know if people hear, they're gonna say, "That's Carlos." I also tape my performances-and videotape. I listen to the ones that, from one to ten, I got 15. I know which concert spilled over, where you hit a note and you hear those piercing screams that sound like those old James Brown records, where you know you got to that woman beyond what her lover, or the psychiatrist, or the rabbi can do for her. '

 

INSTRUMENT

Paul Reed Smith è ancora la casa. Fondamentalmente suonare le prime tre chitarre che ho comprato da lui nel '79. Le vecchie suonano divinamente, e rimangono in accordate. Hanno ancora quel tono di T-Bone, Wes Montgomery, quel tono di Jimi. Non suono le cose nuove. Uso un vecchio ampli Boogie. La cosa principale è, che entrambi si sono impegnati a dire: 'Noi amiamo la tua onestà, e ti ringraziamo per aver utilizzato la nostra roba'. Paul ha fatto un impegno che egli farà una chitarra ne nel modo in cui lo ha fatto in origine, così, quando io suonerò la chitarra, con o senza amplificatore, il sustain, quando suoni un'accordo, o una nota, con l'amplificatore, avrai una durata molto lunga dellaq notaNon ho bisogno di una certa chitarra o un preciso amplificatore per ottenere il mio tonoAnche con una Stratocaster, o con un Fender o un Pignose, posso raggiungere il mio tono. E' nella sensibilità delle tue dita, e il bagaglio di tutto ciò che si prende dalla vitae si esprime attraverso questo pezzo di legno e le corde, e questa scatola con le manopole. Naturalmente, certe cose rendono più facile tutto, ma a questo puntopenso che anche se prendo una chitarra classica, o una chitarra acustica hollowbody, la gente può dire: "Questo è ancora Carlos."

 

INSTRUMENT

Paul Reed Smith is still the home. I basically play the first three guitars that I bought from him in '79. The old ones sound like they've got the Father, the Son, and the Holy Ghost tone, and they stay in tune. They've still got that T-Bone tone, that Wes Montgomery tone, that Jimi tone. I don't play nothing new. I use old Boogie amps. The main thing is, they both made a commitment to say, 'We love your honesty, and we thank you for using our stuff.' Paul made a commitment that he's gonna make a guitar to go back the way he did it originally, so when I strike the guitar, amplifier or no amplifier, it sustains; when you hit the chord, or the note, beyond the amplifier, you're already sustaining. I don't need a guitar or a certain amplifier to get my tone. Even with a Stratocaster, or with a Fender, or a Pignose, I can get to my tone. It's in the feeling of your fingers, and the content of everything that you take from life, that you express through this piece of wood and the strings, and this box with knobs in it. Of course, certain things make it easier, but at this point, I think that even if I grab an acoustic nylon guitar, or an acoustic hollowbody guitar, people can say, "That's still Carlos."

DIRECTION

Quando ascolto a John McLaughlin o Pat Metheny o Mike Stern, sento come loro espongono così bene, non vorrei suonare  così, a meno che io potessi fare qualcosa che quei ragazzi non hanno fatto. Ho appena ricevuto un video di John Coltrane suonando "Love Supreme", mi ha proprio devastato. Il mio cervello è come un'ameba, come un bambino che sta imparando a scarabocchiare e lui è Leonardo da Vinci, o Michelangelo che dipinge il soffitto della Cappella Sistina. La cosa che vorrei per me, e sarebbe ancora più impegnativa, è quello di andare a scuola e imparare l'armonia, come Miles e Wayne, perché quello è il loro forte, quello che fanno è incredibile. Come Stravinsky, sentono armonicamente. Ti spaventano a morte con il loro contenuto armonico. Suonano una nota, ma gli mettono tutti quegli accordi attorno, e la gente dice: "Buon Dio, come fanno a farlo?" Io Non sento così, mi piacerebbe poter sentire di più, ogni tanto vorrei andare a scuola, come Tony Williams ha fatto, e imparare che, perché questo è affascinante per me. 

 

DIRECTION

When I listen to John McLaughlin or Pat Metheny or Mike Stern, I feel like they cover it so well, I wouldn't play like that, unless I could do something that those guys haven't done. I just got a video of John Coltrane playing "A Love Supreme"-it just devastates me. My brain is like an amoeba, like a kid who's learning how to doodle and he's Leonardo da Vinci, or Michelangelo painting the ceiling. To me, the thing that would be even more challenging is to go to school and learn harmonics, like Miles and Wayne, because that's their forte; what they do is incredible. Like Stravinsky, they hear harmonically. They'll scare you to death with their harmonic content. They play one note, but they put all those chords around it, and people say, "Good God, how do they do that?" I don't hear that; I wish I could hear that more, so I want to go to school sometime, like Tony Williams did, and learn that, because that's fascinating to me.

 

Tony Williams is Born in Chicago and growing up in Boston, Williams began studies with drummer Alan Dawson at an early age and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's "Second Great Quintet." Williams was a vital element of the group, called by Davis in his autobiography "the center that the group's sound revolved around". His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures).

 

TITLE COMPOSER

1981 - All I Ever Wanted - Carlos Santana; Chris Solberg; Alex Ligertwood  - dall'album Marathon

1979 - Aqua Marine - Carlos Santana; Alan Pasqua - dall'album Marathon

1981 - Bella - Carlos Santana; Chester Thompson; Sterling Crew  - dall'album Blues for Salvador

1968 - Black Magic Woman - Peter Green  - dall'album Abraxas

 1987 - Blues for Salvador - Carlos Santana; Chester Thompson  - dall'album Blues for Salvador

1981 - Brightest Star - Carlos Santana; Alex Ligertwood - dall'album Zebop!

1976 - Europa (Earth's Cry Heaven's Smile) - Carlos Santana; Tom Coster - dall'album Amigos

1995 - Every Now and Then - Vernon Reid - dall'album Dance of the Rainbow Serpent

1971 - Everybody's Everything - Carlos Santana ; Milton L. Brown; Tyrone Moss - dall'album Santana III

1967 - Evil Ways - Clarence "Sonny" Henry - dall'album Santana

1973 - Flame Sky - John McLaughlin; Carlos Santana; Doug Rauch - dall'album Welcome

1966 - Gypsy Queen - Gabor Szabo - dall'album Abraxas

1987 - Hannibal - Carlos Santana; Alex Ligertwood ; Alan Pasqua; Raul Rekow - dall'album Zebop!

1940 - I Love You Much Too Much - parole Don Raye; musica Alex Olshanetsky; Chaim Towber - dall'album Zebop!

1977 - I'll Be Waiting - Carlos Santana - dall'album Moonflower

1969 - In a Silent Way - Josef Zawinul -  dall'album Dance of the Rainbow Serpent

1987 - Love Is You - Carlos Santana ; Chester Thompson - dall'album Freedom

Move On - Carlos Santana; Chris Rhyne - dall'album Inner Secrets

1983 - Mudbone - Carlos Santana -dall'album Havana Moon

1973 - Naima - Jone Coltrane; Dennis Lambert; Greg Walke; David Margen; David Potter - dall'album Love Devotion Surrender

1978 - Open Invitation - Carlos Santana; Greg Walker; David Margen; Dennis Lambert; Brian Potter  - dall'album Inner Secrets

1963 - Oye Como Va - Tito Puente - dall'album Abraxas

1970 - Samba Pa Ti - Carlos Santana - dall'album Abraxas

1996 - Se Eni A Fe L'amo-Kere Kere - Babatunde Olatunji  - dall'album Dance of the Rainbow Serpent

1972 - Song of the Wind - Carlos Santana; Gregg Rolie; Neal Schon - all'album Caravanserai

1970 - Soul Sacrifice - Carlos Santana; Gregg Rolie; Marcus Malone; David Brown - all'album Santana

1995 - Sweet Black Cherry Pie-  Carlos Santana; Chester Thompson; Alex Ligertwood - all'album Dance of the Rainbow Serpent

1989 - The Healer - Carlos Santana; John Lee Hooker; Chester Thompson; Roy Rogers - all'album Dance of the Rainbow Serpent

1976 - The River - Carlos Santana; Leon Patillo - all'album Festival

1986 - This Is This - Josef Zawinul - all'album Dance of the Rainbow Serpent

1971 - Toussaint l'Overture - Gregg Rolie; Michael Shrieve; Michael Carabello - all'album Santana III

1972 - Waves Within - Gregg Rolie; Doug Rauch - all'album Caravanaserai 

Prezzo: €199,99
€199,99

SANTANA-CONTEMPORARY 1992-2006 Authentic Guitar TABLATURE LIBRO SPARTITI CHITARRA Maria

SANTANA, CONTEMPORARY 1992-2006. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK / LATIN ROCK. 

SPARTITI PER VOCE E CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book Contemporary Santana 1992-2006

Carlos Santana
Category: Guitar Personality
Format: Book
Instrument: Guitar

This collector's edition covers great songs from the 3rd and 4th decades of Carlos Santana's amazing four-decade career (the '90s through 2006), covering the albums Milagro, Supernatural, Shaman, and All That I Am. All songs are faithfully transcribed in note-for-note guitar TAB. Titles: Adouma * Africa Bamba * Aye Aye Aye * Brown Skin Girl * The Calling * Chill Out * Con Santana * Corazon Espinado * El Farol * Foo Foo * El Fuego * The Game of Love * Hermes * I Don't Wanna Lose Your Love * I'm Feeling You * Just Feel Better * Life Is for Living * Love of My Life * Make Somebody Happy * Maria Maria * Migra * Novus * Put Your Lights On * Saja/Right On * Smooth * Somewhere in Heaven * Twisted * Victory Is Won * Wings of Grace * Wishing It Was * (Da Le) Yaleo * Your Touch.
TITLE COMPOSER

(Da Le) Yaleo Carlos Santana (composer); Shakara Mutela (composer); Herve Bastien (composer); Christian Polloni (composer)

Adouma Angelique Kidjo (composer); Jean Hebrail (composer)

Africa Bamba Carlos Santana (composer); Ismalia Toure (composer); Tidiane "Sixu" Toure (composer); Karl Perazzo (composer)

Aye, Aye, Aye Carlos Santana (composer); Raul Rekow (composer); Michael Shrieve (composer); Karl Perazzo (composer)

Brown Skin Girl Jamie Houston (composer)

Chill Out (Things Gonna Change) Carlos Santana (composer); John Lee Hooker (composer); Chester Thompson (composer)

Con Santana Carlos Santana (composer); Ismalia Toure (composer); Tidiane "Sixu" Toure (composer)

Corazon Espinado Fher Olvera (composer)

El Farol Carlos Santana (composer); K. C. Porter (composer)

El Fuego Carlos Santana (composer); Jean Sheperd (composer); Richard Shepherd (composer)

Foo Foo Yvon Andre (composer); Roger M. Eugene (composer); Jean Claude Jean (composer); Yves Joseph (composer); Herman Nau (composer)

Hermes Carlos Santana (composer); Simon Jurad (composer)

I Don't Wanna Lose Your Love Henry Garza (composer); Jojo Garza (composer); Ringo Garza (composer)

I'm Feeling You Michelle Branch (composer); Kara Dioguardi (composer); John Shanks (composer)

Just Feel Better Jamie Houston (composer); Damon Johnson (composer); Buck Johnson (composer)

Life Is for Living Pat Sefolosha (composer)

Love of My Life Carlos Santana (composer); Dave Matthews (composer)

Make Somebody Happy Carlos Santana (composer); Alex Ligertwood (composer)

Maria Maria Carlos Santana (composer); Wyclef Jean (composer); Jerry Duplessis (composer); Raul Rekow (composer); Karl Perazzo (composer)

Migra Carlos Santana (composer); Rachid Taha (composer); Tony Lindsay (composer)

Novus Carlos Santana (composer); Gabor Szabo (composer); Walter Afanasieff (composer); Greg Digiovine (composer); Richard Dicicco (composer)

Put Your Lights On Erik Schrody (composer)

Right On composer: Gaye, Marvin; composer: De Rouen, Earl

Saja Joe Roccisano (composer)

Smooth Rob Thomas (composer); Itaal Shur (composer)

Somewhere in Heaven Carlos Santana (composer); Chester Thompson (composer)

The Calling Carlos Santana (composer); Chester Thompson (composer); Larry Graham (composer)

Twisted Dante Ross (composer); Nandi Willis (composer)

The Game of Love Rick Nowels (composer); Gregg Alexander (composer)

Victory Is Won Carlos Santana (composer)

Wings of Grace Carlos Santana (composer); Chester Thompson (composer)

Wishing It Was Eagle-Eye Cherry (composer); John King (composer); Michael Simpson (composer); Mark Nishita (composer)

Your Touch Carlos Santana (composer); Chester Thompson (composer)

Prezzo: €69,99
€69,99

CONSTRUCTING A 5-STRING BANJO A Complete Technical Guide Roger H. Siminoff. Hal Leonard LIUTERIA

CONSTRUCTING A 5-STRING BANJO A Complete Technical Guide. H. Siminoff. 200 photos.

LIBRO DI LIUTERIA

CON PROGETTI COMPLETI. 

 

Siminoff vi insegnerà come fare il Rim la cassa armonica del Banjo, con il freno a tamburo di un camion.

Series: Reference
Publisher: Hal Leonard
Medium: Softcover
Composer: Roger H. Siminoff

Just as in his other book, Constructing a Bluegrass Mandolin, Roger's simple and concise step-by-step instructions show you the how and the why of it all, leading you on a path that blends discovery with pure joy. Over 200 photos and illustrations provide the kind of valuable reference no other book in the field can offer. Roger has used his technical knowledge on design, sound, and all of the important stages of construction that go into the building of a musical instrument, and has incorporated these ideas into one text. The end result is this valuable book of information that will help you to learn more about the makeup of a 5-string banjo, and more importantly, will give you the satisfaction and pride in being able to accomplish the building of a banjo that you can play and enjoy for years to come. 64 pages.

+ 7 PAGINE APRIBILI DI PROGETTI

Roger H. Siminoff has been building and playing musical instruments for almost 30 years. During that time, he has had far more than a cursory interest in music, graphic arts, and industrial design - a combination that has made him one of America's foremost authorities on string instruments and their design, a leading music journalist, and a highly respected inventor. Born in 1940 in Newark, New Jersey, Siminoff showed an early interest in mechanical things. That laid an important foundation for his creative career. As a teenager Roger built his first instrument, a roughly crafted - but playable - 5-string banjo. The first led to a second, and that led to a whole series of instruments, and ultimately to a catalog full of Siminoff-crafted instrument parts. By the early 1960's, Roger was building custom banjo necks and parts for musicians in the New York metropolitan area. Before the end of the decade, his mail-order parts business, Siminoff Banjos, was providing special equipment and accessories to instrument makers in every part of the world. During that time, Roger was attending the Parsons School of Design in New York City. He majored in Industrial Design and then started a graphic arts company in New Jersey that specialized in photography, art services, and printing. Not limiting his mechanical interests to instrument construction, in 1963 he developed and built a prototype for a major East Coast printing equipment manufacturer, of an offset printing machine capable of printing the faces and flaps (at the same time) of envelopes at 18,000 impressions per hour - a rate unprecedented in the ihdustry. Having branched out into the building of guitars and mandolins in early 1970, Siminoff conceived and built special carving machines needed to do the exact shaping of instrument necks, and of mandolin top and back plates. By early 1973, he had developed a unique truss rod system to counteract the forces of string tension on musical instrument necks. For this design, he was awarded a U.S. patent in 1974. During the following year, that design was licensed to Gibson Incorporated, an internationally prominent musical instrument manufacturer now based in Nashville, Tennessee. With printing facilities readily available to him, Siminoff channeled his banjo expertise into the writing and preparation of an instruction book for bluegrass and banjo playing. The book established itself as a success in a matter of months. Then Roger embarked on an even more ambitious publishing project: the creation of a monthly music magazine that focused on bluegrass and old-time country music. In February 1974, PICKIN' MAGAZINE made its debut. Within two years, it was hailed as the most influential publication of its kind. By mid 1975, Roger had several other musical instrument and accessory designs in progress. These included the invention of a special fast-wind turning knob for string instruments (for which he was granted a U.S. And several foreign patents). The knob, dubbed the "CRANK," has been licensed to Gibson and to Schaller, (W. Germany) a world reknowned manufacturer of tuning machines. A unique nut, with adjustable slots for each string, also won Siminoff a U.S. patent and subsequently was Iicensed:to Dunlop Manufacturing. Then his frustrations at the inconvenience of changing strings won him a few more patents: he invented two methods to change instrument's strings without cutting, twisting, or knotting them. Both designs received U.S. Patents; and one, a string with a special pin_at its peg head end, was licensed to Gibson under the name "GRABBERS." In early 1984, Roger was granted another U.S. Patent for an unusual modular guitar, with interlocking parts that permit a musician to assemble an instrument to suit his or her tastes in much the same way a photographer might change camera bodies and lenses. Several other music-related designs are in progress on the Siminoff workbench, and simmmering with them on the burner are many projects not related to music, such as a radical design for a new valve system for the common gasoline engine. As a consultant to Gibson, Roger assisted in the reissuance of several instruments originally produced by Gibson in its earlier years. Among these were the Earl Scruggs model banjo (a replica of Scruggs' Granada model). Another was the reintroduction of the famed F-5 mandolin produced by Gibson in the 1920's. This instrument has been enthusiastically received since making its successful "comeback" in 1978. Doing consulting work for several other instrument manufacturers, Siminoff has been responsible for the development of special hand-finishing techniques, improved structural designs, and compatability "tuning" of the acoustic properties inherent in individual instrument parts. As an author, Siminoff's writings include literally hundreds of articles on instrument construction and repair, musical acoustics, and the history and craftsmanship of musical instruments. In 1978, Roger was invited to join GPI Publications in Cupertino, California, to head the staff of the newly founded magazine FRETS. As the magazine's editor, Roger helped build FRETS into a highly respected enterprise, boasting an international circulation, within a twoand- a-half-year period that saw FRETS purchase and absorb Roger's first magazine venture, PICKIN'. In the years that followed, Roger also became GPI's Production Director. In that capacity, he developed and installed a major computer system for all of the company's complicated subscription, advertising, and newsstand data processing. Now, in his capacity as GPI's Assistant Publisher, Roger Siminoff is helping to shape the music industry of tomorrow.

Constructing A Bluegrass Mandolin (Hal Leonard Publishing)

 

INTRODUCTION

FOREWORD

ABOUT THE AUTHOR

PREFACE

 

CHAPTER ONE

THE INSTRUMENT

TOOLS

HARDWARE

 

CHAPTER TWO

ACOUSTICS OF THE BANJO

 

CHAPTER THREE

WOOD

mahogany

walnut

ebony

rosewood

Availability Of Woods 

 

CHAPTER FOUR

GLOSSARY

 

CHAPTER FIVE

BUILDING THE NECK

The Truss Rod

Attaching The Ears

Locating The Fretboard Plane

Shaping The Neck

Attaching The Peghead Veneer

Finalizing The Peghead Thickness

Shaping The Peg head

Drilling The Peg head

 

CHAPTER SIX

THE FRETBOARD

Binding The Fretboard

Installing The Fretboard

Position Markers

Shaping The Neck To The Fretboard

Drilling The Fifth Peg Hole

DECORATION 22

Creating The Designs

Cutting The Pearl

Inlaying The Pieces

Cementing The Pieces In Place

Finishing The Inlaid Surface

INSTALLING THE FRETS

FINISHING TOUCHES TO THE NECK

 

CHAPTER SEVEN

CONSTRUCTING THE RIM

Types Of Rim Constructions

Three-Ply Rims

Pie-Shaped Laminated Rims

Flat-Board Laminated Rims

STEAMING AND BENDING MAPLE

Steam Bending, Step By Step

LAMINATING THE 1/4" STRIPS

CONSTRUCTING RIMS WITH PIE-SHAPED PIECES

CONSTRUCTING FLAT-BOARD LAMINATED RIMS

CONSTRUCTING VENEER LAMINATED RIMS

MACHINING THE RIMS

ADDING A LIP FOR TUBE-AND PLATE FLANGES

 

CHAPTER EIGHT

THE RESONATOR .

Constructing The Rim .

Constructing The "Dish" .

Assembling The Resonator .

Adding The Outer Side Veneer .

Machining The Resonator .

Installing The Binding .

Cutting The Neck Opening In The Resonator Rim .

 

CHAPTER NINE

PRE-FITIING ALL THE PARTS

Shaping The Neck Heel .

Fitting The Nut .

 

CHAPTER TEN

FINAL SANDING 

FILLING THE WOOD'S PORES 

 

CHAPTER ELEVEN

COLORING .

Curly Maple Grain Contrast .

Sunburst Shading .

Coloring The Rim .

CLEANING THE BINDING .

 

CHAPTER TWELVE

FINISHING .

Preparation For Spraying .

Wet Sanding .

Polishing .

 

CHAPTER THIRTEEN

ASSEMBLING THE INSTRUMENT .

Dressing The Fretboard .

Dressing The Frets .

Truss Rod Cover .

Installing The Geared Machines .

Installing The Fifth-String Peg .

Installing The Fifth-String Nut .

Attaching The Neck .

Attaching The Tailpiece .

Attaching The Armrest .

Resonator Hardware .

Filling The String Slots In The Nut .

MAINTENANCE AND MINOR ADJUSTMENTS .

PARTING THOUGHTS .

 

APPENDIX I

SUPPLIERS 

 

APPENDIX II

FRETIING SCALES 

 

APPENDIX III

HARDWARE 

DIAGRAMS 1-7 .

Prezzo: €19,99
€19,99

CAKE, THE BEST OF. Authentic Guitar TAB TABLATURE

CAKE, THE BEST OF. TABLATURE

The Best of Cake
Cake

ITEM: 00-28973
UPC: 038081315089
ISBN 10: 0739049488
ISBN 13: 9780739049488

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Learn the best songs ever released from popular alternative rock band Cake. Compiled from all six of Cake’s albums, this 17-song collection is a must-have for guitarists. Songs include lyrics and authentic guitar TAB.

TItles:

- Arco Arena

- The Distance

- Guitar

- I Will Survive

- Jolene

- Love You Madly

- Mahna Mahna

- Never There

- No Phones

- Rock ‘N’ Roll Lifestyle

- Satan Is My Motor

- Shadow Stabbing

- Sheep Go to Heaven

- Short Skirt/Long Jacket * Stickshifts and Safetybelts

- War Pigs- Black Sabbath

- Wheels

Prezzo: €22,99
€22,99

CONSTRUCTING A BLUEGRASS MANDOLIN Roger H Siminoff Hal Leonard liuteria LIBRO COSTRUZIONE LIUTERIA

Constructing a Bluegrass Mandolin

LIBRO DI LIUTERIA PER LA COSTRUZIONE DEL MANDOLINO.

CON PROGETTI COMPLETI. SCALA 1:1


The Ultimate Bluegrass Mandolin Construction Manual
Series: Book
Publisher: Hal Leonard
Format: Softcover
Author: Roger H. Siminoff

The Ultimate Bluegrass Mandolin Construction Manual is the most complete step-by-step treatise ever written on building an acoustical string instrument. Siminoff, a renowned author and luthier, applies over four decades of experience to guide beginners to pros through detailed chapters on wood selection, cutting, carving, shaping, assembly, inlays, fretting, binding and assembly of an F-style mandolin. A special highlight is an in-depth chapter on the art of tap tuning. This fully-illustrated manual boasts more than 250 photos, a full-color section on the staining and finishing processes, numerous detailed illustrations, and a bonus set of 20 full-size blueprints. Spiral bound.
Inventory #HL 00331088
ISBN: 9780634062858
UPC: 073999323030
Width: 9.0"
Length: 12.0"
160 pages

Mandolin Reference
Series: Reference
Publisher: Hal Leonard Corporation
Format: Softcover
Composer: Roger H. Siminoff

This beautifully detailed manual gives clear, step-by-step directions from raw materials to a magnificently finished mandolin through the use of simply-stated texts, photos and templates. Written by one of America's foremost authorities on acoustic instruments. 56 pages, spiral bound, including 19 full-sized blueprints covering each phase of construction. Also features a glossary of terms which enable the reader to more easily follow the instructions.

145 pagine più 20 pagine di progetti a grandezza naturale.

 

A COMPLETE TECHNICAL GUIDE by ROGER H. SIMINOFF

Contents:

FOREWORD
ABOUT THE AUTHOR
INTRODUCTION
The Instrument
Woods
Wood Species
The Structure
Properties
Tools
Fixtures
Templates
Glossary

CHAPTER 1 - THE NECK
The Truss Rod
Squaring The Neck
Peg head Scroll Strengthener
Peghead Veneer
Squaring The Back Of The Peghead
Peghead Venner (Back)
Shaping The Peghead
Machine Holes

CHAPTER 2 - THE BODY
The Block Set
The Body Form (jig)
The Rim (sides)
Locking Up The Rim
The Top Plate
Gluing The Backs
Cutting The Proper Shape
Carving The Plates
Carving Concept
Carving The Scrolls
Preparing The F-holes
Tone Bars
The Lining
Attaching The Lining
Neck Location (top plate)
Attaching The Top Plate
Removing The Body From The Form
Tap Tuning

CHAPTER 3 - ATTACHING THE NECK
Cutting The Neck Joint
Gluing On The Bottom Lining
Gluing In The Neck
Locking In The Neck
The Dovetail Method
Attaching The Backboard

CHAPTER 4 - PREPARATION FOR BINDING
Remove Excess Wood
Sanding The Instrument
Preparation For Binding
Binding
Peg head Binding Notch
15th Fret Cross Piece
The Corner Protectors
Applying The Binding

CHAPTER 5 - INLAY DECORATION
Decorations
Cutting Pearl
Installation Of Pearl Inlay

CHAPTER 6 - THE FRETBOARD
Fretboard Preparation
Inlaying The Fretboard
Installing The Frets
Binding The Fretboard
Position Dots

CHAPTER 7 - ATTACHING THE FRETBOARD
Fretboard Extender
Corner Fillers
Attaching The Fretboard
Dressing Up The Frets

CHAPTER 8 - PRE·FINISH ADJUSTMENTS
Final Sanding
Final Tuning
CHAPTER 9 - COLORING
Staining Procedure
Curly Maple Grain Contrast
Sunburst Shading
Cleaning The Binding

CHAPTER 10 - FINISHING
Lacquer
Preparation For Spraying
Wet Sanding
Polishing

CHAPTER 11 - HARDWARE
Scraping The Fretboard
The Nut
String Notches
The Bridge
Fitting The Bridge
String Notches (bridge)
The Tailpiece
The Tuning Machines
The Pickguard
Adjustments

HAL LEONARD PUBLISHING CORPORATION
 

Prezzo: €37,99
€37,99

CLASSIC TANGOS FOR GUITAR-Òle Halen Mel Bay TABLATURE SPARTITI CHITARRA 'O sole mio LIBRO

CLASSIC TANGOS FOR GUITAR. BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA TANGO.

SPARTITI PER CHITARRA CON:

PENTAGRAMMA E TABLATURE.  

Product Description:
Due to some deep-seated cultural irony known only to its native population, the Argentine tango has a profound grip on Finland where dance clubs and popular singers thrive on this particular style of music. In this collection, Finnish guitarist Òle Halen shares his enthusiasm for the genre by presenting tangos for solo guitar by some of the best Latin American and Spanish tango composer/guitarists, plus transcriptions and arrangements by such luminaries as Francisco Tárrega and Daniel Fortea of Spanish and Italian works originally composed for instruments other than the guitar. Written in standard notation and tablature. 128 Pages.

Product Number: 97066

Format: Book
ISBN: 0786646888
UPC: 796279061254
ISBN13: 9780786646883
Series: Non-Series
Publisher: Mel Bay Publications
Date Published: 6/20/2007


Contents:

Lagrima -- Francisco Tarrega
Danza Espanola No. 5 -- E. Granados
Don Perez Freire -- Agustin Barrios Mangore
Ayer se la IIevaron -- Daniel Fortea
Musa Argentina (Celebre Tango Argentino) -- Espiga - Fortea
Tango -- Francesco Tarrega
La Paloma -- S. Yradier and F. Tarrega
O sole mio -- Musica: Edoardo di Capua - Transcription by Francisco Tarrega - Lyrics: Giovanni Capurro - 1898
Del Ferrol a La Habana (Coll. of Tangos for Guitar) -- J. Parga
A ti solita...(Habanera) -- F. P. Spreafico
Clarita (Tango, Opus 3) -- Julian Ortiz
Anhelando -- Julian Ortiz
Junta al Farol (Tango Criollo) -- Vincente Caprino M.
Don Martin (Tango Criollo) -- Vincente Caprino M.
D. Juan Carlos (Tango Criollo) -- Vincente Caprino M.
Romero -- A. Galluzo
El Alero (Tango Pajuerano) -- Juan Maglio
Tango Espanol -- Isaac Alneniz
Tango No. 2 -- Agustin Barrios Mangore

 
Che bella cosa e' na jurnata 'e sole
n'aria serena doppo na tempesta!
Pe' ll'aria fresca pare già na festa
Che bella cosa e' na jurnata 'e sole
Ma n'atu sole,
cchiù bello, oje ne'
'O sole mio
sta 'nfronte a te!
'O sole, 'o sole mio
sta 'nfronte a te!
sta 'nfronte a te!
Quanno fa notte e 'o sole se ne scenne,
me vene quase 'na malincunia;
sotto 'a fenesta toia restarria
quanno fa notte e 'o sole se ne scenne.
Ma n'atu sole,
cchiù bello, oje ne'
'O sole mio
sta 'nfronte a te!
'O sole, 'o sole mio
sta 'nfronte a te!
sta 'nfronte a te!
Prezzo: €21,99
€21,99
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