LIBRO

MAROON 5-IT WON'T BE SOON BEFORE LONG-GUITAR TABLATURE BOOK LIBRO SPARTITI CHITARRA

MAROON 5, IT WON'T BE SOON BEFORE LONG. SHEET MUSIC BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA POP. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.


Series: Recorded Version (Guitar)
Softcover - TAB

All 12 songs from the band's sophomore album: 88 pages.

Back At Your Door
Better That We Break
Can't Stop
Goodnight Goodnight
If I Never See Your Face Again
Kiwi
Little Of Your Time
Makes Me Wonder
Not Falling Apart
Nothing Lasts Forever
Wake Up Call
Won't Go Home Without You

Prezzo: €27,00
€27,00

MAROON 5-SONGS ABOUT JANE-GUITAR TABLATURE LIBRO SPARTITI CHITARRA-Recorded Version

MAROON 5, SONGS ABOUT JANE. SHEET MUSIC BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA POP. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 


Guitar Recorded Version TAB

All 12 songs from Maroon 5's hip debut, transcribed note for note with tablature. Includes their hit singles, 96 pages.

Harder To Breathe
Must Get Out
Not Coming Home
Secret
She Will Be Loved
Shiver
The Sun
Sunday Morning
Sweetest Goodbye
Tangled
This Love
Through With You

Prezzo: €27,00
€27,00

Garrone Mario LA COSTRUZIONE DELLA CHITARRA CLASSICA GOMMA LACCA-PONTICELLO-LIUTAIO-VERNICI

Garrone Mario, LA COSTRUZIONE DELLA CHITARRA CLASSICA. 116 pagine, LIBRO in italiano.

Mario Carrone è pervenuto alla liuteria in età non più giovane, forte della sua preparazione tecnica e della grande esperienza acquisita nei processi industriali di progettazione e di lavorazione. Ha dunque portato nell'arte di costruire la chitarra, non soltanto il suo formidabile bagaglio tecnico- scientifico, ma anche una mentalità e uno stile di lavoro basati sulla volontà e sulla capacità di prospettare i problemi in sintesi essenziali e concrete, e di escogitare, per ciascuno di essi, soluzioni dimostrabili e quindi ripetibili. Libero da ogni remora psicologica, egli ha sempre operato mescolando una sbrigativa condotta da imprenditore con la salda convinzione che tutti i misteri che avvolgono la macchinachitarra sono dissipabili; e, in questa sua convinzione, ha saputo, quando occorreva, frenare la sbrigatività e addentrarsi umilmente nell'esercizio della pazienza. Era du nque natu rale che un Iiutaio come lui non trovasse nulla di straordinario nello scrivere un manuale per la costruzione della chitarra, e che lo facesse semplicemente ignorando le difficoltà che avrebbero fermato molti altri. Inoltre, e non secondariamente, Carrone aveva avuto da un editore l'incarico di scrivere il libro. AI di là della sua buona sorte, e da accreditargli come non piccolo merito, sta il fatto che, se egli non era, forse, l'unico liutaio capace di non scomporsi dinanzi a siffatta richiesta editoriale, era – al meglio delle nostre conoscenze – l'unico in grado di interpretare il lavoro che ne sarebbe seguìto come un divertimento (come, in fondo, egli interpreta tutta la sua attività di costruttore di chitarre). Analogamente ai liutai, anche gli allievi- liutai e i chitarristi si possono (almeno rispetto all'argomento qui trattato dividere in due categorie: quelli che leggono e quelli che non leggono, ciascuna specie potendo esibire, a sostegno del proprio atteggiamento, una serie di ragioni più o meno convincenti e onorevoli. È del tutto prevedibile che un manuale come questo non debba incontrare i propri, potenziali lettori, tra i liutaistregoni, tra i loro allievi apprendististregoni e tra i chitarristi che di Iiuteria non si interessano. Ma la quantità di liutai-non-stregoni e relativi alunni, e di chitarristi che hanno la pretesa di capire com'è fatto e come funziona l'arnese che essi tengono in grembo per l'intera vita, sembra in continua, inarrestabile crescita. Non sappiamo esimerci dall'esprimere la nostra calorosa approvazione per questa piega assunta dagli eventi: i liutai alla Mario Carrone dovrebbero avere un futuro (anche tra i chitarristi), e i loro manuali una vasta e attenta schiera di lettori, non soltanto e non necessariamente liutai. Se non credessimo che così potrebbe essere, o che così sia, perché mai avremmo dovuto esporci nello scrivere queste righe?

 

Ben poco è stato scritto fino ad oggi sulla costruzione della chitarra
classica e non molto sulla liuteria in genere.
Molti anni fa, quando iniziai ad occuparmi di liuteria, decisi subito di
non seguire la normale "routine" di apprendimento, che prevede tempi
più o meno lunghi passati nella bottega di un liutaio esperto, oppure la
frequenza di una scuola di liuteria.
Scelsi piuttosto di sviluppare un mio metodo di costruzione, partendo
dalle scarne notizie che riusciia raccogliere dalle riviste italiane ed estere
e da qualche libro specifico sulla costruzione della chitarra.
A volte si inizia una attività per gioco o per curiosità e soltanto dopo un
certo tempo ci si accorge di come essa diventi parte della nostra vita,
concedendoci soddisfazioni che non riceviamo invece dal lavoro di tutti i giorni.
Infatti, dopo un primo periodo passato a costruire vari strumenti in modo
tradizionale, mi accorsi che la chitarra classica mi permetteva di esprimere
meglio le idee che avevo in mente da tempo: continuai quindi a
lavorare con passione crescente a questo strumento, trasformando
quello che era iniziato come un gioco nello scopo principale della mia vita.
Ho poi perfezionato un mio metodo di costruzione volto più all'innovazione
continua che al risparmio di tempo, allargando i miei interessi alla
scoperta e al successivo studio dei fenomeni acustici che si verificano nello strumento.
Con questo manuale mi rivolgo a tutti gli appassionati di liuteria, ai
chitarristi desiderosi di conoscere a fondo il loro strumento, ed anche ai
liutai professionisti, i quali potranno trovare molte informazioni utili
sull'acustica degli strumenti musicali, sui sistemi di costruzione e
sull'incatenatura delle tavole armoniche.
Sarò infine ben lieto di esaminare ogni eventuale osservazione che
potrebbe essere formulata dai lettori, in vista di successive edizioni di questo volume.
Mario Garrone
 
AI MIEI CARI Gianarosa, Oscar ed Eugenia
RINGRAZIAMENTI
Esprimo la mia viva gratitudine a tutti gli amici che mi hanno aiutato e incoraggiato nella stesura di questo manuale:
 
- Innanzitutto, al chitarrista-compositore Angelo Gilardino, che mi gratifica della sua amicizia da molti anni e che mi ha seguìto con pazienza fin dall'inizio della mia attività.
 
- A Sandro Francese,amico di gioventù e tecnico elettronico abilissimo, che ha costruito gran parte delle apparecchiature necessarie ai controlli di qualità dei miei strumenti.
 
- AlI'ing. Bruno Pizzigoni, docente universitario di grande valore, che ha approfondito i problemi connessi con la tastiera della chitarra, risolvendol i brillantemente.
 
- AlI'ing. Claudio Francese,che ha realizzato integralmente il software e parte dell'hardware per la creazione e la visualizzazione dei grafici relativi alle curve di risposta ottenute con il computer.
 
- AI dotto Francesco Rossi,che con passione, abilità ed infinita pazienza, ha realizzato tutte le fotografie inserite in questo libro, seguendo la costruzione dello strumento durante i mesi occorsi per il suo completamento.
 
- AI tecnico Gino Repetto, che mi ha assistito nella soluzione dei problemi relativi all'impiego del legno con grande competenza e amichevole collaborazione.
 
- Infine a mia moglie Gianarosa, per le ore che le ho sottratto a causa di questo hobby, diventato ormai parte importante della mia vita.
Mario Garrone
 

Capitolo n. 1
NOTIZIE STORICHE - MORFOLOGIA E NOMENCLATURA DELLA CHITARRA.

Capitolo n. 2
NOZIONI DI ACUSTICA APPLICATE AGLI STRUMENTI MUSICALI

Capitolo n. 3
LA SCELTA DEI LEGNI

Capitolo n. 4
IL LABORATORIO DEL LIUTAIO

Capitolo n. 5
UTENSILI ED ATTREZZI
- Utensili elettrici
- Utensili a mano

Capitolo n. 6
COME COSTRUIRE LE FORME E GLI ATTREZZI SPECIFICI

Capitolo n. 7
IL MANICO pago 41

Capitolo n. 8
LE FASCE E LE CONTROFASCE.

Capitolo n. 9
IL FONDO

Capitolo n. 10
LA TAVOLA ARMONICA E L'INCATENATURA

Capitolo n. 11
L'ASSEMBLAGGIO

Capitolo n. 12
LA FILETTATURA

Capitolo n. 13
LA TASTIERA 

Capitolo n. 14
LA FINITURA DEL MANICO

Capitolo n. 15
L'APPLICAZIONE DEI TASTI 

Capitolo n. 16
LA LEVIGATURA

Capitolo n. 17
LA VERNICIATURA 
-IL TAMPONE
-LA GOMMA LACCA
-RACCOMANDAZIONI IMPORTANTI
-VERNICI ADDITIVE

Capitolo n. 18
IL PONTICELLO

Capitolo n. 19
MESSA A PUNTO E MONTAGGIO DELLE CORDE

Capitolo n. 20
I CONTROLLI DI QUALITA'
- ACCORDATURA DELLA CHITARRA

SULLA PROFILATURA DELLA TASTIERA DELLA CHITARRA, Bruno Pizzigoni.

Bibliografia

Prezzo: €31,99
€31,99

CLASSICAL MASTERPIECES FOR ELECTRIC GUITAR TABLATURE LIBRO-Mussorgsky-GRIEG-BACH-SOR

CLASSICAL MASTERPIECES FOR ELECTRIC GUITAR. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE. 

Geared toward performers and students wishing to expand their knowledge of the classical repertoire, this newly engraved collection features famous and popular works. Special arrangements include pieces by Bach, Sor, Clementi, Byrd, Rameau, Grieg, Moussourgsky, and Paganini. Tablature, historical notes, and performance tips appear with each piece

Contents:
Introduction
Glossary
Caprice No.24 [Paganini, Niccolo]

In The Hall Of The Mountain King (Peer Gynt Suite) [Grieg, Edvard]

Invention In D Minor [J.S. Bach, Johann Sebastian]

Le Tambourin [Rameau, Jean-philippe]

Prelude (Partita No.3 For Violin, Bwv 1006) [Bach, Johann Sebastian]

Prelude [Tarrega, Francisco]

Sonatina In C [Clementi, Muzio]

Study In C [Sor, Fernando]

Study In G [Sor, Fernando]

Suite In G (Six Suites For Unaccompanied Cello, Bwv1007) [Bach, Johann Sebastian]

The Flute And The Droome [Byrd, William]

The Old Castle (Pictures At An Exhibition) [Mussorgsky, Modest]

Prezzo: €13,99
€13,99

PATITUCCI JOHN 60 MELODIC ETUDES Acoustic Electric Bass major scale-minor-dominant 7-LIBRO

PATITUCCI JOHN, 60 MELODIC ETUDES.

LIBRO METODO DI MUSICA JAZZ PER BASSO

About 60 Melodic Etudes
(for Acoustic and Electric Bass) By John Patitucci. Instructional book for string bass. 128 pages.
With fingerings. Instructional, Etudes and Scales. 9x12 inches.

This new book from one of the most popular bass players in the business brings players great tools to improve their skills. Bass players can advance their knowledge of the fingerboard, improve intonation and time, develop flexibility and work though modes and scales presented in the book. This work combines music and technique in one powerful package!

Contents:
John Patitucci Biography
Foreword
PART I:
PART II:

 


This book is designed for acoustic bassists, electric bassists and cellists who want to:

• Improve their knowledge of the fingerboard.
• Practice interpreting and phrasing melodies.
• Improve their intonation and time.
• Learn to play with more flexible time by practicing rubato passages.
• Strengthen their ears to hear the five basic chord sounds within the diatonic
major scale: major, minor 7, dominant 7,minor 7b5and major 7#11.
• Learn to hear and use various diatonic modes and scales against these five
basic chords: Major, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and
Locrian.
• Gain valuable experience on the use of the melodic-minor scale over the
minor-seventh b5chord.
As far as I know, this is the first book to have a separate melodic etude for each
of these five chord sounds in all twelve keys. I also left room on a few occasions
for you to try your hand at improvising for a few measures within an etude. The
etudes have tempo markings, but should be practiced at different tempos and
even rubato (i.e., elastic and flexible time with room for speeding up and
slowing down to enhance the freedom of the artist's expression). These etudes
also help the bassist and cellist tackle the common technical problems that all
must deal with, such as shifting on one string, string crossing and alternating
right-hand plucking and bowing. For acoustic bassists and cellists, every etude
can be played pizzicato and/or arco. I deliberately shied away from providing
fingerings and bowings because I would rather you explore many alternatives
for each passage.
In Part II of the book (pp. 69-128), I have included a complete fingering chart
for both acoustic and electric bass for all the scales. The scale examples are
given in two ways: 1) Starting on the root note and 2) starting on the lowest
note available on the fingerboard. The second example is provided to foster a
more comprehensive knowledge of the instrument.
If you have a teacher-which I feel is extremely important-s/he may want to
write down ideas for you as well. Also, as you vary the tempo of each etude, you
may have to alter fingerings and bowings.
In closing, I sincerely hope and believe that this book will help you grow as a
musician and be a useful tool for many years to come.
-John Patitucci


John Patitucci has been at the forefront of the jazz world for the last twenty
years and active in all styles of music. He is a two-time Grammy award winner
and has been nominated eleven times. He has won many magazine polls and
awards as a double bassist and bass guitarist, most recently as a member of
the Wayne Shorter Quartet which won the 2003 Downbeat critics' poll for Best
Acoustic Jazz Group and Best Jazz Recoding for Footprints - Live!. He has
performed and/or recorded with jazz giants such as Dizzy Gillespie, Wayne
Shorter, Herbie Hancock, Chick Corea, Stan Getz, Freddie Hubbard, Roy
Haynes, Wymon Marsalis, Michael Brecker, John Scofield, Joe Lovano, Kenny
Garrett, Victor Feldman and countless others.
John has been active as a composer with eleven solo recordings of his own. He
has also been commissioned to write for various chamber music groups, most
recently the New York-based string quartet Elements. John was nominated for
a Grammy in 2003 for Best Instrumental Arrangement Accompanying a Vocal
for his arrangement of In the Bleak Midwinter from his CD Song, Stories and
Spirituals. He was nominated for a Grammy in 2002 for Best Instrumental
Composition for a piece entitled Communion that featured Branford Marsalis,
Brad Mehldau and violist Lawrence Dutton of the Emerson String Quartet.
Mr. Patitucci has been involved in education for many years, writing books,
making instructional videos and giving master classes around the world. He
was formerly the Artistic Director of The Bass Collective, a specialized school
in New York. In 2002, he began teaching at The City College of New York
(CUNY) and was named Associate Professor of Music there in 2003.


I would like to thank God, my wife Sachi, and my daughters-Gracie
and Bella, and all the other members of my family especially my
brother Thomas, my Mom and Dad, and sisters. Thanks are also
due to Chris Poehler, David Baker and all of the other teachers I
have had in my musical journey to this point (whose names could
take up as many pages as this book). Thanks also to the many
musicians I have worked with who have inspired me and taught me
(another very long list) and to Sandy Feldstein and John Castellano
for urging me to write this book.
Special Thanks to Mindy Sax, for the preliminary music copying.
Finally, thanks also to all the folks at Carl Fischer for the fine work
and support, especiallyAlexTeploff.
Cover photo by Bill Bytsura.


John Patitucci Biography .
Foreword
Part I: 60 Melodic Etudes
C Major Scale
F Major Scale
Bb Major Scale
Eb Major Scale
Ab Major Scale
Db Major Scale
Gb Major Scale
B Major Scale
E Major Scale
A Major Scale
D Major Scale
G Major Scale
C Aeolian Scale (Ballad) (Cm7)
F Dorian Scale (Ballad) (Fm7)
Db Aeolian Scale (Bbm7)
Eb Dorian Scale (Ebm7)
G# Phrygian Scale (G#m7)
C# Phrygian Scale (C#m7)
F# Phrygian Scale (F#m7)
B Phrygian Scale (Bm7)
E Dorian Scale (Em 7)
Aeolian Scale (Am 7)
D Dorian Scale (Dm7)
G Phrygian Scale (Gm7)
C Lydian Scale (Cmaj7# 11)
F Lydian Scale (Fmaj7#l1)
Bp Lydian Scale (Bbmaj7# 11)
Eb Lydian Scale (Ebmaj7# 11)
b Lydian Scale (Abmaj7#11)
Db Lydian Scale (Dbmaj7# 11)
Gb Lydian Scale (Gbmaj7#l1) .
B Lydian Scale (Bmaj7# 11) .
E Lydian Scale (Emaj7# 11) .
A Lydian Scale (Amaj7# 11) .
D Lydian Scale (Dmaj7# 11) .
G Lydian Scale (Gmaj7#11) .
C Mixolydian Scale (C7)
F Mixolydian Scale (F7) .
Bb Mixolydian Scale (Bb7)
Eb Mixolydian Scale (Eb7)
Ab Mixolydian Scale (Ab7) .
Db Mixolydian Scale (Db7)
Gb Mixolydian Scale (Gb7)
B Mixolydian Scale (B7)
E Mixolydian Scale (E7) .
A Mixolydian Scale (A7)
D Mixolydian Scale (D7)
G Mixolydian Scale (G 7)
C Loerian Scale (Cm7b5) .
Ab Melodic-minor Scale (Fm7b5)
Db Melodic-minor Scale (Bbm7b5)
Gb Melodic-minor Scale (Ebm7b5) .
G# Loerian Scale (G#m7b5) .
C# Loerian Scale (C#m7b5) .
F# Loerian Scale (F#m7b5) .
B Loerian Scale (Bm7b5) .
G Melodic-minor Scale (Em7b5) .
C Melodic-minor Scale (Am7b5) .
F Melodic-minor Scale (Dm7b5) .
G Loerian Scale (Gm7b5) .

Part II: 60 Melodic Scales
C Major Scale
F Major Scale
Bb Major Scale
Eb Major Scale
Ab Major Scale
Db Major Scale
Gb Major Scale
B Major Scale
E Major Scale
A Major Scale
D Major Scale
G Major Scale
C Aeolian Scale (Ballad) (Cm7)
F Dorian Scale (Ballad) (Fm7)
Db Aeolian Scale (Bbm7)
Eb Dorian Scale (Ebm7)
G# Phrygian Scale (G#m7)
C# Phrygian Scale (C#m 7)
F# Phrygian Scale (F#m7)
B Phrygian Scale (Bm7)
E Dorian Scale (Em7)
Aeolian Scale (Am 7)
D Dorian Scale (Dm7)
G Phrygian Scale (Gm 7)
C Lydian Scale (Cmaj7h1)
F Lydian Scale (Fmaj7# 11)
Bb Lydian Scale (Bbmaj7# 11)
Eb Lydian Scale (Ebmaj7# 11)
Ab Lydian Scale (Abmaj7# 11)
Db Lydian Scale (Dbmaj7#1)
Gb Lydian Scale (Gbmaj7#11) .
B Lydian Scale (Bmaj7#11) .
E Lydian Scale (Emaj7# 11) .
A Lydian Scale (Amaj7# 11) .
D Lydian Scale (Dmaj7# 11) .
G Lydian Scale (Gmaj7#11) .
C Mixolydian Scale (C7) .
F Mixolydian Scale (F7) .
Bb Mixolydian Scale (Bb7) .
Eb Mixolydian Scale (Eb7) .
Ab Mixolydian Scale (Ab7) .
Db Mixolydian Scale (Db7) .
Gb Mixolydian Scale (Gb7) .
B Mixolydian Scale (B7) .
E Mixolydian Scale (E7) .
A Mixolydian Scale (A7)
D Mixolydian Scale (D7) .
G Mixolydian Scale (G7) .
C Locrian Scale (Cm7b5) .
Ab Melodic-minor Scale (Fm7b5) .
Db Melodic-minor Scale (Bbm7b5) .
Gb Melodic-minor Scale (Ebm7b5) .
G# Locrian Scale (G#m7b5) .
C# Locrian Scale (C#m7b5) .
F# Locrian Scale (F#m7b5) .
B Locrian Scale (Bm7b5) .
G Melodic-minor Scale (Em7b5) .
C Melodic-minor Scale (Am7b5) .
F Melodic-minor Scale (Dm7b5) .
G Locrian Scale (Gm7b5) .
 

Prezzo: €29,99
€29,99

GALLAGHER RORY THE ESSENTIAL GUITAR TABLATURE LIBRO CHITARRA-Edged in Blue-Laundromat-Philby

GALLAGHER RORY, THE ESSENTIAL. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE. 

Fourteen songs from the album arranged for Guitar tab complete with full lyrics.

"As if fated to live the blues he studied so deeply, Rory Gallagher was beautiful, talented and doomed. He was just 47 years old when died after a liver transplant surgery in 1995. But in a career that spanned from 1969 until his death, Gallagher compiled one hell of a legacy. The Irish guitarist was a prolific music maker, recording 17 albums under his own name, and two studio albums with his early blues-rock trio, Taste. He also appeared on two seminal blues recordings: Muddy Waters' The London Sessions in 1972, and Albert King Live in 1977."
- Michael Molenda (Editor, Guitar Player Magazine), 2004.

1975 - Bad Penny - Parole e Musica: Rory Gallagher
1975 - Bought And Sold - Parole e Musica: Rory Gallagher
1971 - Crest Of A Wave - Parole e Musica: Rory Gallagher
1976 - Edged In Blue - Parole e Musica: Rory Gallagher
1979 - Follow Me - Parole e Musica: Rory Gallagher
1972 - I Could've Had Religion (Live) - Traditional arrangiato da Rory Gallagher
1972 - Laundromat - Parole e Musica: Rory Gallagher
1987 - Loanshark Blues - Parole e Musica: Rory Gallagher
1979 - Philby - Parole e Musica: Rory Gallagher
1973 - A Million Miles Away - Parole e Musica: Rory Gallagher
1973 - Tattoo'd Lady (Live) - Parole e Musica: Rory Gallagher
1973 - They Don't Make Them Like You Anymore - Parole e Musica: Rory Gallagher
1973 - Walk On Hot Coals - Parole e Musica: Rory Gallagher
2002 - Wheels Within Wheels - Parole e Musica: Rory Gallagher

Prezzo: €30,99
€30,99

DE LUCIA PACO-ALMORAIMA-TABLATURE SPARTITI LIBRO CHITARRA RIO ANCHO FLAMENCO MUSICA

DE LUCIA PACO, ALMORAIMA. BOOK WITH TABLATURE

LIBRO DI MUSICA FLAMENCO. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Transcripción por el maestro Enrique Vargas, director de la colección "Biblioteca Grandes Guitarras Flamencas de Hoy", quien ha afrontado la tremenda dificultad de transcribir de forma fiel y pormenorizada una obra de tamaña complejidad e importancia.

Paco de Lucía, emplea en "Almoraima" varias innovaciones sin precedentes hasta la fecha: Cada uno de los ocho temas del disco tienen más de una, y a veces hasta cinco pistas de guitarra; bajo eléctrico; percusión; una pista de guitarra tapá y, de vez en cuando, laúd y cante. Todos estos elementos han dificultado tremendamente la tarea de la transcripción. A pesar de ello, el maestro Enrique Vargas ofrece en cada tema diferentes soluciones siempre con la máxima fidelidad al original.

Todas las piezas son perfectamente ejecutables tanto para un solo como para un dueto (con excepción de la rumba y sevillanas que sólo son aptas para dueto). Cada tema viene además precedido por anotaciones explicativas bilingües castellano/inglés. Las partituras están presentadas en solfeo y en cifrado. Tanto las digitaciones de ambas manos como los matices dinámicos y técnicos se presentan de la forma más pormenorizada posible.

A continuación, una descripción técnica de cada partitura de esta obra.

Almoraima, (Bulerías)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra y el bajo. Donde la segunda guitarra se limita a tocar acompañamiento genérico se ofrecen símbolos armónicos. La pista de laúd, interpretada por el maestro Paco de Lucía ha sido transcrita íntegramente. Esta pieza es apta para solo y dueto.

Cueva del Gato, (rondeña)
La parte de la guitarra de acompañamiento interpretada por Ramón de Algeciras está transcrita íntegramente lo que hace la pieza ideal tanto para un dueto como para un solo.

Cobre, (sevillanas)
Este tema es un dueto donde la guitarra principal interpreta cada sevillana en una tonalidad y, a veces, afinación distinta. La segunda guitarra mantiene la misma afinación sin cejilla, es decir, al aire. En la tercera copla de cada sevillana el maestro Paco de Lucía grabó la segunda pista del solo haciendo una especie de contrapunto con la guitarra principal. Esta segunda pista también ha sido transcrita íntegramente.

A la Perla de Cádiz, (cantiñas)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra. Donde el acompañamiento es genérico se suministran símbolos armónicos. En la parte final el maestro Paco de Lucía desarrolla una brillante improvisación sobra la salida del cante por cantiñas . La melodía de esta salida ha sido transcrita para que sirva de referencia y también por si se desea interpretarla utilizando voces u otros instrumentos musicales. Apto tanto para solo como para dueto.

Olé, (jaleos)
A pesar de ser un dueto con las dos guitarras transcritas íntegramente, esta pieza es perfectamente ejecutable como un solo de guitarra.

Plaza Alta, (soleá)
Al final de este tema entra la segunda guitarra cuyas partes más importantes han sido transcritas íntegramente y en las partes genéricas se ofrecen símbolos armónicos. Puede ser interpretada como solo y como dueto.

Rio Ancho, (rumba)
Esta conocidísima rumba se presenta en el siguiente formato: la guitarra principal; las partes más importantes de la segunda guitarra y los símbolos armónicos.

Llanos del Real, (minera)
En la parte final de esta pieza entran la segunda y tercera guitarra que han sido transcritas íntegramente.

Formato A4
307 Páginas

At last, a long-awaited transcription book of the emblematic CD Almoraima by Paco de Lucía published by Gestión de Lucía (the artist management company) has arrived. This time the author of these charts has been no other than maestro Enrique Vargas, also the director of the collection The Great Flamenco Guitars of Today Library, who had to face the tremendous difficulty of transcribing accurately every little detail of this historic work of art.

In the process of an intense search for a new expressive melodic, structural and harmonic forms in flamenco, the genius guitarist from Algeciras implements in Almoraima various innovations unprecedented for the times: every one of the eight cuts of the CD has more than one - and some times up to five - guitar tracks; electric bass; percussion; a muted guitar track, and, sometimes, oud and singing. All of these elements made the task of transcribing this work tremendously difficult. In spite of this, maestro Enrique Vargas offers in every piece the solutions based on maximum fidelity to the original.

All of these pieces are perfectly playable by solo guitar and a duo (with the exception of the rumba and sevillanas than are only suitable for a duo). Every piece is preceded by annotations in Spanish and English. The charts are presented in notation and tab. The fingerings for both hands and dynamic and technical characteristics are explained in the smallest detail.

Contents:

"Almoraima" (bulerias)
In this piece the most important parts of the second guitar and the bass have been transcribed entirely. Where the second guitar plays generic accompaniment the chord symbols are provided. The oud track recorded by maestro Paco de Lucía has been transcribed entirely. This piece is playable as a solo as well as a duo.

"Cueva del Gato" (rondeña)
The guitar accompaniment played by Ramón de Algeciras has been transcribed entirely, which makes this piece ideal for a duo as well as a solo.

"Cobre" (sevillanas)
This piece is a duo where the main guitar interprets each sevillana in a different key and, sometimes, different tuning. The second guitar maintains the same tuning without a capo. In the third copla of each sevillana maestro Paco de Lucia recorded a second solo guitar track which does a sort of counterpoint with the main guitar. This track is also been transcribed.

"A la Perla de Cadiz" (cantiñas)
In this piece the most important parts of the second guitar have been transcribed. Where the accompaniment is generic chord symbols are supplied. In the final part of this piece maestro Paco de Lucía plays a brilliant improvisation over a sang melody that has been transcribed to be used as a reference or played by some other musical instrument if so desired. Can be played as a solo as well as a duo.

"Ole" (jaleos)
Despite this piece being a duo with both guitars completely transcribed, is perfectly playable as a solo, too.

"Plaza Alta" (soleá)
In the final part of this piece enters the second guitar whose more important parts have been transcribed entirely. In the generic parts chord symbols are supplied. Can be played as a solo as well as a duo.

"Rio Ancho" (rumba)
This famous rumba is presented as a guitar duo with the accompaniment explained and transcribed in its most important parts. Chords symbols are supplied throughout the whole piece.

"Llanos del Real" (minera)
In the final part of this piece enter the second and third guitars that also have been transcribed.

 

 

Thirty five years have passed since I saw for the first time on a black and white screen of an ancient TV set a
young man, almost a teenager with a face of angel who, with the exuberance of youth, was doing the unthinkable on the guitar. Those brief moments impacted my life forever, making me embark on a journey I still pursue.
Since then I've known other styles of music; have enjoyed the enormous genius of Bach and cool elegance
of Miles Davis, beauty and sophistication of Indian raga .... Nevertheless, the music of the genius maestro
from Algeciras impacts me today as it impacted me for the firs time, those many years ago. Time left its white marks in my hair and changed the expression of the maestro's eyes, transfonning the youthful exuberance of his music into quiet and somewhat sad wisdom (what kind of wisdom isn't somewhat sad?) of maturity.
ow, by the Providence of the Lord, the time has come for me to render my homage to the maestro with this
humble work, thanking him for so much joy and so many tears, so many sleepless nights with a good Rioja
and the sound of his guitar, whether solo or with a group, or with another immortal genius from Cadiz, Jose
onge Cruz, Camaron de la Isla.
Every genre, every field of human activity renders every now and then an incomparable genius who, with his
arrival to the scene, changes everything and after that nothing is the same anymore. Their work transcends
the confines of space-time continuum and becomes immortal, blending itself into the endless Sea of the
beauty and harmony of the Creator. I've been fortunate enough to share the planet with one of them.
Francisco Sanchez Gomez. Paco de Lucia.
The sound in the Eternity ... The Eternity in the sound ... The great poet Joseph Brodsky dedicated the
following laconic but beautiful words to Bach:
Good morning, says Bach
Good morning, says God
I like to think that the poet could have said something like that about the guitarist form Algeciras:
Paco de Lucia played, inspired
God and Bach were moved,
They were teary-eyed
Enrique Vargas Molina, Madrid, 2008
Prezzo: €79,99
€79,99

DE LUCIA PACO-FUENTE Y CAUDAL-TABLATURE CHITARRA SPARTITI LIBRO Entre dos aguas FLAMENCO

DE LUCIA PACO, FUENTE Y CAUDAL. TABLATURE

LIBRO DI MUSICA FLAMENCA. 

SPARTITI PER CHITARRA. 

ACCORDI, PENTAGRAMMA E TABLATURE. 
 

Partitura en nota y cifra transcritas por Juan Manuel Cañizares.
Temas:

FOREWORD

This book is the transcription of the work "Fuente y Caudal" of the master Paco
de Lucia, in which the rhythms, harmonies and melodies are gathered of deep
way. Basically it is written for guitar but not for that reason exclusively for
guitarists. Instrumentalist of different instruments and styles they could also use
it, since when containing harmonic coding, the themes songs could be
interpreted by different musicians in formation instrumental.
One of my priorities when transcribing these works has been to be most faithful
possible to the interpretation that the master Paco de Lucia made in the
recording of "Fuente y Caudal". In order to obtain this intention I have used
myself new symbols that at its moment I will explain widely. I believe that these
symbols and the concept that there is behind such, will help the guitarists what
is passing in both hands when making different musical passages. In certain
way this book could be considered a hidden "treaty" of flamenco technique.
At no moment I have tried to reflect in the stave the soul of musical notes (it
would be an impossible work) but I think to have approached myself enough to
the dynamic movement of both hands in its flight by the mast.
Music is a language and as so it is learned by imitation. I firmly recommend
imitating the shades of meaning (not only the notes) of the master Paco de
Lucia in the original recording. To play jointly with the disc is an excellent
method to obtain this intention.
In the "free" touches as taranta "Fuente y Caudal" and the granafna "Reflejo de
la Luna" is advisable to imitate the rhythmical space, to give character and
structure to these touches. There are things that musically cannot be written
and single they are had outside the score, in these cases of listening to the
recording is indispensable.
The education of the musical ear is of a high importance for a musician. A good
exercise which I advise is that before reading the score, to try to remove from
ear one melody or any part that wishes of the original recording, to make their
own transcription and soon they compare it with the transcription of this book.
I want to thank to the teacher Ramon de Algeciras and my friend Juan Estrada
to make this great project and for his patience. Also, thanks to Mariko Ogura to
copy and to order all the manuscripts and to design and to organize all the
material contained in this book.
Special thanks to the master Paco de Lucia for entrusting totally me to
transcribe this work. From very young I began to play its music, soon I had the
honour to share during many tours, scenes and recordings next to him. Thanks
to all those wonderful experiences I have learned many things that have
enriched my musical life for better.
June 2005
Juan Manuel Caiiizares
 

Product Description:
Third in a series of OFFICIAL chronological transcriptions of the recordings of renowned flamenco guitarist Paco de Lucia, this book presents eight pieces from his album, Fuente y Caudal de Paco de Lucia. Meticulously transcribed in standard notation and tablature, selections include: Entre dos agues; Aires choqueros; Reflejo de Luna; Solera; Fuente y caudal; Cepa andaluza; Los Pinares and Plaza de San Juan. A foreword, explanation of notation symbols, helpful tips and generous performance notes are provided in English, Spanish and French.

Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías).

Formato A4
220 Páginas

Prezzo: €65,99
€65,99

STING, SONGS FROM THE LABYRINTH TABLATURE EDIN KARAMAZOV LUTE SONGS RENAISSANCE JOHN DOWLAND

STING, SONGS FROM THE LABYRINTH, Walsingham. TABLATURE


... From thenc I went to the Landgrave
of Hessen, (who gav me the gretest we1come
that myght be for on of my qualyty) who sent a
ringe into England to my wiff valued at xx £
sterlinge, and gave me a great standing cupe
with a cover of gilt, full of dolers with many
great offers for my service ...

... And from thence I had great desire to
see Italy and cam to Venyce and from thence to
Florence whear I plaid befor the Duke and got
great favors ...

(LETTER TO SIR ROBERT CECIL)


This book is filled with John Dowland's haunting lute songs, as performed by Sting and Edin Karamazov. After his introduction to Dowland's music in the 1980s, Sting has continually returned to the music of this 'original English singer-songwriter' for inspiration, culminating in this spectacular album. Also included in the album and the songbook are excerpts from John Dowland's letters, bringing us even closer to the man behind the masterpieces.

MUSIC BY JOHN DOWLAND PERFORMED BY STING AND EDIN KARAMAZOV

BOOK TO ACCOMPANY STING'S LATEST ALBUM OF LUTE SONGS BY RENAISSANCE COMPOSER JOHN DOWLAND.
ARRANGED FOR GUITAR AND VOICE IN BOTH STANDARD NOTATION AND TABLATURE.

 

NOTE ON THE GUITAR ARRANGEMENTS.

This songbook aims to present the lute music of Songs From The Labyrinth as faithfully as possible in a version playable on acoustic guitar.

The renaissance lutes used on the recording have bass strings which give them a considerably
larger range than a guitar in standard tuning, and in adapting the music for guitar it has
occasionally been necessary to omit some bass notes or to raise notes by an octave.

Capos and alternate tunings have been used to evoke the resonance of the lute when playing in keys that would otherwise lack resonance and playability on the guitar. Where capos are used in the vocal pieces, or where the whole guitar is to be de-tuned, the standard notation shows the sounding pitch of the Sting recording and therefore matches the key of the vocal parts. However in the instrumental pieces the use of capos or de-tuning has been left optional, with the standard notation written as if no capo or de-tuning is being used.

Originally, lute music was most commonly written in a form of tablature rather than in standard notation, and-just as in modem guitar tablature-the system has limitations in the level of rhythmic detail that it is possible to show. For example, if a melody in semiquavers is played together with a bass note for each four melody notes, lute tablature will commonly only show that the following passage is to be played in emiquavers, with the bass notes shown in the appropriate vertical alignment; the decision as to whether each bass note should ring for a full crotchet or be cut shorter is left to the performer. (Note also that it is standard practice to double the note durations when converting to modem notation, so that modem semiquavers will actually be demi-semiquavers in the original, as in the example below.) The standard notation in this collection should therefore not be seen to represent the original or definitive version of the music and, although it does have the advantage of making the overlapping voices within the guitar part easily distinguishable, the performer is not necessarily obliged to hold all notes for their written durations.

Although the majority of the pieces on Songs From The Labyrinth keep closely to the original versions, some tracks have been creatively arranged, incorporating the performers' original adaptations as well as more standard variations and ornamentation. It should be remembered that the scores in this book are adapted transcriptions of the recorded performances, rather than editions of the original scores, and for in-depth study of this music it may be useful to consult an edition based directly on the original scores, and showing the original notation.

Jonathan Preiss, December 2006
John Dowland, Fantasy, bar 4 Lute (original tablature)
Guitar (standard notation)
Guitar (modem tablature)

Ryght honourable: as I have bin
most bounde unto your honor, so I
most humblie desire your honor to
pardon my boldness, and mak my choic of
your honor to let you understand my
bounden duty and desire of Gods preservation
of my most dear soveraingne Quene
and con try: who I besech God ever to bless
and to confounde all their enemies what and
whomsoever.
Your honors most bounden for ever
John Doulande
(LETTER TO SIR ROBERT CECIL, NUREMBERG, 10 NOVEMBER 1595)

 

S T I N G
SONGS FROM THE LABYRINTH
Walsingham

Can she excuse my wrongs - 1597
"Ryght honorable ... "

Flow my tears (Lachrimae)
Have you seen the bright lily grow - 1616
"... Then in time passing on ... "

The Battle Galliard
The lowest trees have tops - 1603
"... And accordinge as I desired ther cam a letter ... "

Fine knacks for ladies - 1600
"... From thenc I went to the Landgrave of Hessen ... "

Fantasy

Come, heavy sleep - 1597

Forlorn Hope Fancy
"... And from thence I had great desire to see Italy ... "

Come again - 1597
Wilt thou unkind thus reave me - 1597
"... After my departure I ealed to mynde ... "

Weep you no more, sad fountains - 1600

My Lord Willoughby's Welcome Home

Clear or cloudy - 1600
"... men say that the Kinge of Spain ... "
In darkness let me dwell - 1610
 

All songs are arranged for Guitar and Voice in both standard notation and tablature.

Can She Excuse My Wrongs


Clear Or Cloudy

Come Again

Come, Heavy Sleep

Fantasy

Fine Knacks For Ladies

Flow My Tears (Lachrimae)

Forlorn Hope Fancy

Have You Seen The Bright Lily Grow

In Darkness Let Me Dwell

My Lord Willoughby's Welcome Home

The Battle Galliard

The Lowest Trees Have Tops

Walsingham

Weep You No More, Sad Fountains

Wilt Thou Unkind Thus Reave Me

Prezzo: €31,00
€31,00

DADI MARCEL LALANNE JEAN-FELIX COUNTRY ET GENTLEMAN GUITAR TABLATURE Six cordes pour deux amis

DADI MARCEL / LALANNE JEAN-FELIX, COUNTRY ET GENTLEMAN.

LIBRO DI MUSICA PER CHITARRA CON TABLATURE. 

Je te veux - Je and Jean Felix - Me and Marcel - Circus rag - L'ècho des savanes 89 - Parque del Plata - Ballade pour Nini - Country symphonie - Blues for Lenny - En attendent Joachim - Destination voyage - Six cordes pour deux amis. TABLATURE

Prezzo: €19,99
€19,99
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