LIBRO

BAROQUE GUITAR IN SPAIN AND THE NEW WORLD, BY FRANK KOONCE.

THE BAROQUE GUITAR IN SPAIN AND THE NEW WORLD, BY FRANK KOONCE. 170 Pages.

Nel libro c'è anche una parte di storia sull'origine della chitarra ove troverete molte informazioni sulle accordature della vihuela e delle chitarre antiche a 5 corde doppie (non avevano il Mi basso), una guida per la lettura della Tablature italiana del 1500. La Tablature del 1732 di Santiago de Murcia, e quella di Giovanni Paolo Foscarini del 1629, avevano anche l'indicazione degli accordi per l'accompagnamento, lo strumming in giù e in sù, e gli accordi sono gli stessi che si usano nelle canzoni di oggi di Neil Young e Battioni, e poi i trilli e gli abbellimenti. Dopo 500 anni la Tablature italiana, quella che si usa nei libri di oggi, è ancora un sistema valido e immediato per la lettura della musica. Con 40 pagine di facsimile delle tablature originali.

Music transcribed and adapted for modern guitar, with facsimiles of the original tablatures.

Product Description:
A substantial amount of early music for the guitar remains unknown to modern performers and audiences. In recent years, however, musicologists, scholars and performers on period instruments have provided a wealth of accessible new source materials which players can now begin to interpret in convincing and effective ways. Nevertheless, many still feel intimidated by the prospect of sorting through and learning to use these resources for the first time. For the uninitiated, just knowing where to start can be difficult.

A substantial amount of early music for the guitar remains unknown to modem performers and audiences. In recent years, however, many fine musicologists, scholars, and performers of period instruments have provided a wealth of new materials - reprints of original manuscripts, translations of early treatises, scholarly transcriptions of tablatures, and other resources - with which players now can have access this music and begin to interpret it in convincing and effective ways. Nevertheless, many guitarists still may feel intimidated by the prospect of sorting through and learning to use these resources for the first time. For the uninitiated, just knowing where to start can be difficult. Scholarly transcriptions, for the most part, are not designed for easy use by guitarists. For example, many are in double-staff (keyboard) notation and, with regard to Renaissance vihuela and lute music, are not often transposed to guitar pitches. In other words, the open first string is usually written as G, not E. Guitarists who try to play from these editions essentially are faced with the task of transcribing the transcription! Furthermore, these editions sometimes do not offer realistic solutions - from a player's perspective - for voicing, note duration, and other considerations imposed by the technical limitations of an instrument. My idea to develop an anthology came about through my own need for easily accessible resource materials to teach repertoire or history/literature classes at the university level. I also wanted to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance on the modern guitar. I hope that my efforts may be of assistance to other teachers, as well as being simply an attractive collection of music for all to enjoy. The present collection contains representative selections from the publications and manuscripts of four important Spanish Baroque guitarists: Gaspar Sanz, Antonio de Santa Cruz, Francisco Guerau, and Santiago de Murcia. It must be emphasized, however, that this is only a sampling ofthe rich and varied repertoire from this era. The reader is strongly encouraged to seek out other sources, especially the many fine facsimile editions and other scholarly publications that are cited herein. Acknowledgements I am grateful to my friends, colleagues, and family who assisted in the preparation of this anthology: Michael Macmeeken, of Editions Chanterelle, shared images of original tablatures from Murcia's Resumen and Passacalles y obms; Brian Jeffery, of Tecla Editions, shared images from Guerau's Poema harmonico; Michael Lorimer shared images from his facsimile edition ofMurcia's Saldivar Codex No.4; and Richard Savino shared digital photographs of the unpublished Santa Cruz manuscript. James Tyler, Richard Long, Richard Savino, Kay Norton, Richard Troeger, Anthony Bez, Christopher Dorsey, Richard Brune, and Jan-OlofEriksson provided expertise on matters pertaining to the text and music. Babette Burns, Richard Burns, and Anne Loire assisted in translations and international communications. AlAbrams provided photographic services. Bernard Terlay, ofMusee Granet, provided the image for the cover portrait. Sylvain Lemay, of us Productions d'OZ, prepared the music engraving and text formatting, and patiently accommodated my many revisions. Leanne Koonce, my wife and partner, designed the cover, scanned and formatted all of the facsimile images, and provided her abiding love and support as always. Reading Baroque Guitar Tablature

Tablature and Transcription Anyone today who wishes to perform early music originally written for the guitar and other fretted instruments should learn to read tablature because it provides direct access to the original, unaltered, music. Performers also gain access to the vast majority of Renaissance and Baroque pieces that have not yet been transcribed. Those arguments notwithstanding, there are benefits to having tablature transcribed into modern notation: 1) Transcriptions facilitate the playing of music on instruments other than those for which it was written. 2) Modern notation enables performers to see functional aspects of the music such as pitch relationships, voicing, and harmonic structures. 3) Modern notation also provides an introduction to the performance of early music for those not yet accustomed to reading tablature. Nevertheless, the conversion of tablature into modern notation involves making many subjective choices on matters such as note sustain, voicing, and octave selection. Even the most conscientious transcriber cannot avoid imparting personal preferences into this process. The problem is compounded if a transcriber is also trying to take idiomatic differences between a period instrument and a modern instrument into account. Differences in tuning between a Baroque guitar and a modern guitar, for instance, make certain alterations unavoidable. I also must be understood that editors may have perspectives that fall anywhere between two diametric extremes. At one end, an editor may disregard information provided in the tablatures and try to "improve" the music by revising or even re-composing much of it. The result of such a process is a free arrangement, far removed from the original, not a true transcription. At the other end, an editor may try to represent an imagined ideal of performance that goes beyond the realistic technical capabilities of performance on the intended instrument. This often occurs in scholarly editions b musicologists who sometimes do not share the technical concerns of players. 16 In ummary, one must realize that any editorial solution may represent only one of many interpretative possibilities and may therefore may hinder the reader from exploring alternatives that are equally valid - or even more so. Given all of the ambiguities of tablature notation and the subjectivity associated with the transcription process, players should always consult the tablature for the most direct connection to the original music. 3.2. Punteado Notation Reading Italian Tablature, Baroque guitar music from Spain and Italy is written in "Italian" tablature. A five-line staff represents the five courses ofthe guitar, with the bottom line being the first course (the treble E). In this layout, the tablature projects a mirror image of the strings when the music is placed on a table for reading. Numbers placed on or between the lines indicate the frets that are to be stopped on a particular course. The number 0 represents the open course; 1 is for the first fret; 2 is for the second fret, and so on. The Roman numeral X represents the tenth fret instead of the Arabic 10 to avoid it being misread as two notes. Notes above this fret (although rare) (16 For an excellent article on the methods, philosophies, and evolution of transcription, see Matanya Ophee, "The History of Transcriptions of Lute Tablature - 1679 to the Present)

This anthology contains representative selections from the publications and manuscripts of four important Spanish Baroque guitarists: Gaspar Sanz, Antonio de Santa Cruz, Francisco Guerau, and Santiago de Murcia. In addition to being fun and entertaining music for all to enjoy, this collection is intended to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance on the modern guitar.

Contents:

Preface

Acknowledgements

Dedication

1. Evolution of the Five-Course Guitar

1.1. Transition from the Vihuela and Four-Course Guitar

1.2. Dominance of the Five-Course Guitar

2. Tuning of the Five-Course Guitar

2.1. Terms Pertaining to Stringing and Tuning

2.2. Different Tunings for the Baroque Guitar

2.3. Issues and Opinions on Tuning Practices in Spain

2.4. Relevance of Baroque Tuning Practices to Modern Performers

3. Reading Baroque Guitar Tablature

3.1. Tablature and Transcription

3.2. Punteado Notation

3.3. Rasgueado Notation

3.4. Mixed Tablatures

4. Interpretation and Performance

4.1. Octave Selection and Voice Leading

4.2. Punteado Ornaments

4.3. Campanelas

4.4. Meter and Tempo

4.5. Hemiola and Syncopation

4.6. Rasgueado Techniques

4.7. Rasgueado Ornaments

5. Editorial Procedures

5.1. Philosophy and Intent

5.2. The Voicing and Notation of Strummed Chords

5.3. Editorial Notation

6. Gaspar Sanz

6.1–9. La cavalleria de Napoles con dos clarines, Rujero, Paradetas, Folías, Las Hachas, Zarabanda, La Esfachata de Napoles,La Miñona de Cataluña, Canarios

6.10–14. Pavanas, Españoletas, Matachín, Villanos, Passacalles

7. Antonio de Santa Cruz

7.1–3. Jácaras, Villano, Canario

8. Francisco Guerau

8.1–4. Marionas, Villano, Canario, Passacalles in B minor

9. Santiago de Murcia

9.1. Resumen de acompañar

La Guastala, Menuet, Preludio in D minor

9.2. Códice Saldívar No. 4

Marionas, Fandango, Jácaras, Zangarilleja, Cumbées

9.3. Passacalles y obras

Passacalles in G minor, Suite in G Major, Suite in D minor

10. Facsimiles

Selected Bibliography

 

Music

 

Gaspar Sanz

La cavalleria de Napoles con dos clarines

Rujero

Paradetas

Folías

Las Hachas

Zarabanda

La Esfachata de Napoles

La Miñona de Cataluña

Canarios

Pavanas

Españoletas

Matachín

Villanos

Passacalles

Antonio de Santa Cruz

Jácaras

Villano

Canario

Francisco Guerau

Marionas

Villano

Canario

Passacalles in B minor

Santiago de Murcia

La Guastala

Menuet(s)

Preludio in D minor

Marionas

Fandango

Jácaras

Zangarilleja

Cumbées

Passacalles in G minor

Suite in G Major

Suite in D minor

Facsimile Reproductions

Gaspar Sanz

Instruccion de musica

Antonio de Santa Cruz

Libro donde se veran pazacalles

Francisco Guerau

Poema harmonico

Santiago de Murcia

Resumen de acompañar

Códice Saldívar No. 4

Passacalles y obras

Prezzo: €25,00
€25,00

LEARN TO PLAY LIKE THE GUITAR GREATS The Essential Guide to Chords Equipment Techniques TABLATURE 65 classic riffs from Stairway to Heaven to Smells like Teen Spirit 256 pages Charlotte Greig

LEARN TO PLAY LIKE THE GUITAR GREATS, The Essential Guide to Chords Equipment and Techniques, Charlotte Greig. 65 classic riffs from Stairway to Heaven to Smells like Teen Spirit, 256 pages. TABLATURE

LIBRO CON FOTOGRAFIE E BIOGRAFIE DI CHITARRISTI, CON BREVI FRASI IN TABLATURE

Ever wanted to play like a famous guitarist? Now's your chance! This entertaining and accessible guide to emulating the legends features: notation for more than 65 classic riffs from -Stairway to Heaven to -Smells like Teen Spirit clear, step-by-step annotated photographs showing how to play each riff - full-color features on more than 30 artists, their guitars, and equipment - hints and tips from expert musicians. Color photos throughout the 256 pages of this book!

Learn to Play Like the Guitar Greats
The Essential Guide to Chords, Equipment and Techniques
Series: Guitar Book TAB
Author: Charlotte Greig
Inventory #HL 00695906
ISBN: 9781423403005
UPC: 073999377149
Width: 8.75"
Length: 11.25"
256 pages

Prezzo: €20,99
€20,99

BURRELL KENNY BEST OF GUITAR TABLATURE LIBRO ALL NIGHT LONG-All Of You-Body Soul-Broadway Cheetah

BURRELL KENNY, BEST OF. TABLATURE

LIBRO DI MUSICA JAZZ,

SPARTITI PER CHITARRA .

ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: Guitar Recorded Version Softcover - TAB
Artist: Kenny Burrell

14 favorites from this legendary jazz bop guitarist. Includes:

All Night Long
All Of You
Body And Soul
Broadway
Cheetah
Everyday I Have The Blues
Freight Trane
Mood Indigo
Now See How You Are
Phinupi
Satin Doll
Tenderly
A Weaver Of Dreams

96 pages

Prezzo: €25,99
€25,99

JETHRO TULL FLUTE SOLOS As Performed by Ian Anderson Transcribed Jeff Rona SPARTITI FLAUTO

JETHRO TULL, FLUTE SOLOS.

LIBRO DI MUSICA ROCK.

SPARTITI PER FLAUTO.

ACCORDI, PENTAGRAMMA.

As Performed by Ian Anderson
Series: Artist Books
Artist: Ian Anderson
Artist: Jethro Tull

Flute solos from 18 Jethro Tull songs have been transcribed for this collection. Songs include:

 

These solos are transcribed from the albums on which the songs may be found and, as such, are difficult to play (in true Ian Anderson intense, dynamic fashion). As the solos are excerpts from the complete pieces, they are often improvisational passages, containing different melodic ideas and voicings, and may not always include the original melody.

 

EXPLANATION OF THE FLUTE SYMBOLS

To achieve some of the techniques Ian Anderson employs on his flute

we've added the following notations to the arrangements:

 

01 = first harmonic

02 = second harmonic

sing = sing into the flute

ord. = stop sing

fl. = flutter tongue

sing S = sing in the shape of the line

0/ = increasing harmonics

 

The harmonics are achieved merely by overblowing until the next higher note (overtone) sounds. For the second harmonic, blow until the second higher note sounds. The increasing harmonics are achieved by gradually blowing harder and harder to get as many harmonics as possible.

Singing into the flute may be awkward at first. It is recommended that you learn the pieces first without the singing, then add the effect later. Sing the written note in the octave most comfortable for your voice. It is important to keep the airstream moving fast so there will be a good balance between flute and voice. Ian Anderson has a distinct "dark" sound. In playing these pieces you may wish to play with the blow hole of your flute a little more covered than normal, and blow down into it more. The "dirty" passages should be played with a heavy tongue and almost overblown. You should, however, be careful not to let these techniques become habit.

 

 

Baker St. Muse

Big Dipper

Bouree
Bungle In The Jungle
Chequered Flag (Dead Or Alive)
Cross-Eyed Mary
Cup Of Wonder
Fire At Midnight
From Later
Living In The Past
Look Into The Sun
My God
Nothing Is Easy
Passion Play Edit #8
Thick As A Brick
Third Hurrah
The Whistler
The Witch's Promise

48 pages

Prezzo: €19,99
€19,99

PINK FLOYD: THE BLACK STRAT-History David Gilmour's Fender Stratocaster 3rd Edition Phil Taylor BOOK

PINK FLOYD: THE BLACK STRAT, A History of David Gilmour's Black Fender Stratocaster. 144 pagine.

LIBRO ILLUSTRATO CON FOTOGRAFIE A COLORI SULLA CHITARRA DI GILMOUR, FENDER STRATOCASTER NERA DEL CHITARRISTA DEI PINK FLOYD, DAL 1968 A OGGI.

THE STRAPS, PLETTRI, STRINGS, CORDE, CASES, EFFETTI, PEDALI, 

Series: Guitar Reference
Medium: Hardcover
Author: Phil Taylor

The Black Strat book is the first and only accurate and knowledgeable account of David Gilmour's favorite Stratocaster guitar. Written by Phil Taylor "David's personal guitar technician since 1974" to coincide with the release of the long awaited and much requested Fender 'David Gilmour Signature Strat': an instrument replicating the look, set-up, sound and feel of David's famous black guitar as it is today.

The chronological story begins with David Gilmour joining Pink Floyd in early 1968, his guitar at that time, his subsequent instruments leading to the purchase of the Black Strat in 1970, and the other guitars that have come and gone. The book details all of the changes and modifications made to the Black Strat, its use on Pink Floyd tours and iconic albums, David's solo projects, and various guest appearances throughout the years. 144 pages.

Prezzo: €139,99
€139,99

MAYER JOHN HEAVIER THINGS Play It Like It Is guitar TABLATURE Clarity-Daughters-Home Life-New Deep-

MAYER JOHN, HEAVIER THINGS. GUITAR TABLATURE

TRANSCRIPTIONS SUPERVISED BY JOHN MAYER.

LIBRO DI MUSICA ROCK,

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Transcribed by Jeff Jacobson under the Supervision by John Mayer 

John Mayer - Heavier Things
Series: Play It Like It Is TAB
Publisher: Cherry Lane Music
Artist: John Mayer
Inventory #HL 02500705
ISBN: 9781575607337
UPC: 073999975963
Width: 9.0"
Length: 12.0"
88 pages

Note-for-note tab transcriptions of the hit -Bigger Than My Body and 9 others from the sophomore release by singer/songwriter John Mayer: Clarity - Come Back to Bed - Daughters - Home Life - New Deep - Only Heart - Something's Missing - Split Screen Sadness - Wheel. Includes a fact-filled intro and a cool -emoticon guide to the songs.

Bigger Than My Body
Clarity
Come Back To Bed
Daughters
Home Life
New Deep
nly Heart
Something's Missing
Split Screen Sadness
Wheel

88 pages


JOHN MAYER GETS INTO SOME HEAVIER THINGS

When John Mayer emerged from the
Underground in 2001 with his debut album,
Room for Squares, he was a little-known 22-
Year-old with an acoustic guitar and
bundless energy. His ascent was rapid,
powered by nonstop touring and intensive
word of mouth, which reached critical mass
just as radio and the video channels were
discovering the young artist, Two years later,
Room for Squares was triple-platinum (the
album remained in the Top 100 after more
than 80 consecutive weeks on the Billboard
TOP 200 chart), spawning three hit singles,
one of which, "Your Body Is a Wonderland,"
earned him a Grammy in 2003 for Best Pop
Vocal Performance.
Mayer's much-anticipated Aware/Columbia
follow-up album, which bears the intriguing
title Heavier Things, demonstrates how far this
single-minded artist has come at this still-early
stage of his career.

''In some ways," Mayer says, "the stakes get
higher when you make a second major-label
record and everyone's looking. And in some
ways absolutely nothing is different, because
your voice still sounds the same, and your
hands still feel the same on the guitar, You just
write your songs, You're just a guy with a
guitar putting in a Thai food order at 9 p.m."

The 25-year-old Mayer possesses a
remarkable c1ear-headedness-fittingly, the
new album opens with a song titled
"Clarity"-and the rarefied level of
consciousness that distinguishes this artist's
songs has as much to do with their impact
as his gift for melody, elevated musicianship,
or disarming personality. All of these
elements, by the way, are present in spades
on Heavier Things.
The album was produced and mixed by Jack
Joseph Puig, whose credits include Sheryl
Crow, No Doubt, the Black Crowes, Hole,
and smart-pop progenitors Jellyfish,
"Jack understood what I wanted to do next,"
Mayer says of his decision to work with Puig.
"We had met by way of friendship, not
connections. I don't like pulling connections
in; I'd much rather make friends. He
understands the romance of making
records. Jack and I pushed each other to the
limits of our knowledge, and that's why the
record is as fresh as it is, There are raw
decisions made outside of the comfort zone
of past achievement."
Heavier Things was tracked in New York,
Mayer's present home, and completed at
Puig's longtime L.A. headquarters, Ocean
Way, In addition to the lead single, the
propulsive, hook-packed rocker "Bigger Than
My Body," the album contains several songs
Mayer performed live on his 2003 summer
tour of amphitheaters and arenas-songs
that became immediate crowd favorites.
These include the poignant "Daughters," the

smoldering, blues-based "Come Back to
Bed," the evocative "Wheel." and
"Something's Missing," which climaxes with a
timely and ingenious things-to-do-today
inventory.
Mayer's longtime bass player, David
LaBruyere, appears on all tracks apart from
the virtually solo acoustic "Daughters," while
keyboardist Jamie Muhoberac plays on
eight. Guest musicians include legendary
jazz trumpeter Roy Hargrove, drummers Matt
Chamberlain, Steve Jordan, and ?uestlove
from the Roots, percussionist Lenny Castro,
and horn player Jerry Hay. Also present are
guitarist Michael Chaves and drummer J,J.
Johnson from Mayer's touring band.

"I came off the road after two years of
straight touring and knew exactly what kind
of record I wanted to make-it wasn't an
accident," Mayer says of the process that led
to the creation of Heavier Things. "I wanted
to write songs this time that always felt good
under my hands, no matter what. The only
real criterion for the record was, 'Is it fun to
play? Is it physically fun to feel the vibration
of the strings or the feel of my throat when
I'm singing it?' If an idea didn't meet that
criterion, it got dumped.
"This record isas different from the last one as
I am from the last time I made a record," he
adds. "What that amount is, I don't know,
and I'm really interested to find out"

Song List:

Bigger Than My Body - Words and Music: JOHN MAYER - 2003
Clarity - Words and Music: JOHN MAYER - 2003
Come Back To Bed - Words and Music: JOHN MAYER - 2003
Daughters - Words and Music: JOHN MAYER - 2003
Home Life – Words: JOHN MAYER - Music: JOHN MAYER, DAVID LaBREYURE - 2003
New Deep - Words and Music: JOHN MAYER - 2003
Only Heart - Words and Music: JOHN MAYER - 2003
Something's Missing - Words and Music: JOHN MAYER - 2003
Split Screen Sadness - Words and Music: JOHN MAYER - 2003
Wheel - Words and Music: JOHN MAYER - 2003

Prezzo: €29,99
€29,99

MAYER JOHN, CONTINUUM Play It Like It Is guitar TABLATURE Gravity-Waiting on the World to Change-Bold as Love

MAYER JOHN, CONTINUUM. TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOHN MAYER IN PERSON.

 

Continuum 

Music by John Mayer

Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - 
Guitar TAB
Artist: John Mayer

Mayer was recently lauded by Rolling Stone for his massive guitar talent. This folio features notes & tab for all 12 songs from his third CD, including the hits “Gravity” and “Waiting on the World to Change,” plus his cover of Hendrix's “Bold as Love.” Also includes an intro on the making of the album.

Grammy Winner! Best Pop Vocal Album

Inventory #HL 02500986
ISBN: 9781575609447
UPC: 884088129477
Width: 9.0"
Length: 12.0"
100 pages

Belief
Bold As Love
Dreaming With A Broken Heart
Gravity
The Heart Of Life
I Don't Trust Myself (With Loving You)
I'm Gonna Find Another You
In Repair
Slow Dancing In A Burning Room
Stop This Train
Vultures
Waiting On The World To Change

 


... musician, and get to a point somewhere between
the Trio record and Room for Squares-and
that's a really good place to be."
While the Trio tour showcased Mayer's blazing
fretwork, he says he learned lessons from those
shows about restraint. "When I made my first
record, there was no trust in space because it was
all me; everything was just on those six strings," he
says. "With Steve and Pino it was all about space,
using a whole different palette. When your tone is
good on the guitar, you need, like, four notes. The
more concise and right you have it, the less you
need around it." One listen to such spare, carefully
crafted songs as "Slow Dancing in a Burning
Room" or "I Don't Trust Myself (With Loving You)"
instantly reveals this new approach.
Mayer points to one song in particular as
the turning point for Continuum. "I wrote 'Gravity'
last summer, and it changed everything," he
says. "You talk less when you trust that people
understand you. 'Gravity' had to be sparse. And
when I listened to it for the first time, holding
back, it was a whole new game. That might be
the most important song I ever wrote."
Armed with this outlook, Mayer knew
Continuum would tackle larger ideas than
those that defined his previous albums. "A big
challenge was writing about big themes," he
says. "I'm not a better writer in terms of sitting
down in front of a pad, but I'm better in terms
of receiving inspiration and converting it into
something 'real' quicker. I'm better equipped to
deal with those moments."
The hard-hitting "Belief" tackles an
infinitely complex subject. Over a slinky,
hypnotic guitar groove, he sings, "We're never
gonna win the world, we're never gonna stop
the warlWe're never gonna beat this if belief is
what we're fighting for," questioning the power
and the limitations of faith and convictions.
"It's an intellectuallandmine-how do you
write a song about what people believe without
impugning their belie s?" he asks. I wanted
to get right next to people's beliefs and look at
them without threatening them. It's tricky. You
only get x number of syllables and you have to
write something you can defend."
With "Waiting on the World to Change,"
Mayer shot for something even more ambitious something
like an attempt to explain his
generation's attitudes about politics. "It's
meant to shed a little light on inactivity and
inaction," he says, "because I don't believe that
inaction is a lack of interest. I think inaction is
preservation-nobody wants to get involved in a
debate in which the rules and facts will change
so that they'll lose. So we end up with this other
option, which is, I guess we'll just have to wait
for things to get better.
Continuum also includes the first cover
Mayer has put on an album, his version of "Bold
As Love" by the incomparable Jimi Hendrix. "To
me, it's the quintessential Jimi Hendrix song,"
says Mayer. "The sensitivity, the imagery, the
power. I also think the third record is the time
when you challenge everybody. It's your throwdown.
Ilike inviting the challenge of, Should
this guy even touch Hendrix's music? To which I
answer, Well, everybody should. Why not?"
Ultimately, Continuum represents maturity,
both musically and thematically, for John
Mayer-a concept that he wasn't comfortable
with until now. "A lot of these songs are about
coming to terms with getting older," he says.
"My generation was never told we were going to
get older. We thought we were going to hear our
names on Romper Room for the rest of our lives.
For a long time, I was really upset about getting
older, worried that things were just going to level
out. But then I realized that everyone around me
was getting older at the same time. We're all
fighting it together, and we're always going to
be those kids, the first really emotionally aware
generation. When I realized that, I could relax
about it a little bit. And I thought that maybe I
can be the guy to sing about it.

Continuum
Series: Play It Like It Is TABLATURE Guitar
Song List:

Belief - Words and Music: John Mayer - 2006
Bold As Love - Words and Music: Jimi Hendrix - 1968
Dreaming With A Broken Heart - Words and Music: John Mayer - 2006
Gravity - Words and Music: John Mayer - 2005
The Heart Of Life - Words and Music: John Mayer - 2006
I Don't Trust Myself (With Loving You) - Words and Music: John Mayer - 2006
I'm Gonna Find Another You - Words and Music: John Mayer - 2006
In Repair - Words and Music: John Mayer, Charlie Hunter - 2006
Slow Dancing In A Burning Room - Words and Music: John Mayer - 2006
Stop This Train - Words and Music: John Mayer, Pino Palladino - 2006
Vultures - Words and Music: John Mayer, Pino Palladino, Steven Jordan - 2006
Waiting On The World To Change - Words and Music: John Mayer - 2006

Prezzo: €28,99
€28,99

KNOPFLER MARK KILL TO GET CRIMSON GUITAR TABLATURE SPARTITI LIBRO ACCORDI CHITARRA VOCE

KNOPFLER MARK, KILL TO GET CRIMSON. TABLATURE

 

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

 

All the songs from the album arranged for Guitar tab, complete with full lyrics.
In this, his fifth studio album, Knopfler brings together everything he's done since his last major release in 2004.

Behind With The Rent
Heart Full Of Holes
In The Sky
Let It All Go
Madame Geneva's
Punish The Monkey
Secondary Waltz
The Fish And The Bird
The Fizzy And The Still
The Scaffolder's Wife
True Love Will Never Fade
We Can Get Wild

Prezzo: €33,99
€33,99

METALLICA DEATH MAGNETIC PLAY IT LIKE IT IS NOTE FOR NOTE TRANSCRIPTIONS BASS TABLATURE

METALLICA, DEATH MAGNETIC. BASS TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY METALLICA


Bass Transcriptions
Series: Bass
Publisher: Cherry Lane Music TAB
Artist: Metallica

Projectcoordinator: Rebecca Skidmore

Exact bass transcriptions for all of Robert Trujillo's wicked licks from this smash hit CD. Includes artist-approved notes & tab for the hit single "The Day That Never Comes" and 9 more:

All Nightmare Long
Broken, Beat & Scarred
Cyanide
The Day That Never Comes
The End Of The Line
The Judas Kiss
My Apocalypse
Suicide & Redemption
That Was Just Your Life
The Unforgiven III

116 pages

Prezzo: €23,00
€23,00

3 DOORS DOWN GUITAR TABLATURE CHITARRA SPARTITI ACCORDI CANTO LIBRO PENTAGRAMMA

3 DOORS DOWN. TABLATURE

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

Series: Guitar Recorded Version Softcover - TAB
Artist: 3 Doors Down

104 pages, Matching folio to the chart-topping 2008 album featuring "Citizen/Soldier," "Train" and ten more:

Citizen/Soldier
Give It To Me
It's Not My Time
It's The Only One You've Got
Let Me Be Myself
Pages
Runaway
She Don't Want The World
These Days
Train
When It's Over
Your Arms Feel Like Home

Prezzo: €20,00
€20,00
Condividi contenuti