LIBRO

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

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

DADI MARCEL GUITAR LEGEND TABLATURE LIBRO Chattanooga-Swingy Boogie-Blueberry-FINGERPICKING

DADI MARCEL, GUITAR LEGEND. TOUS LES MORCEAUX DU DISQUE.

LIBRO DI MUSICA PER CHITARRA,

SPARTITI IN PENTA-BLATURE: PENTAGARMMA INSIEME ALLA TABLATURE. 

CON ACCORDI, TABLATURE. 

Swingy Boogie - Swingy Boogie (harmony) - My family in Massapequa - Cocktail party - Blueberry - Old time picking parlor - Pinewood road - Chattanooga train - Nous trios - Waltz for Paula - Song for Steve and Anne-Marie - To mom and Dad - Two days with Charlie - Holiday's with Samuel - Romantic Sauerkraut - Billy the Keith - Billy the Keith (Harmony) - Angelina B - Angelina B (Harmony) - My old friend Pat (Harmony) - Easy Rollin' - Easy Rollin' (Harmony) - When fingers dreams of you - When fingers dreams of you (Harmony) - Sonia - A letter from abi - Oh Dadi Blue - Winther's Waltz - The ballad of Greg Ladey - Song for ma femme - Le Derviche tourneur - Fluide Glacial - Lullaby for Stéphanie - Number one son - Big Chief - Prière pour Michel Lopez - Poor Lonesome Dadi - Song for Jerry - Marcel's Rag - Marcel's Rag (harmony) - Egged bus red - Egged bus red (harmony) - Old black piano - Old black piano (harmony) - Milk shaker - Nashville tops - From Paris with love - From Paris with love (harmony) - En attendant Joachim - Things we used to do - Marcel Samba - Song for Léo - Roger Chesterfield. TABLATURE ET GRILLES D'ACCORDS

Prezzo: €21,99
€21,99

Storti Mauro-IL DOMINIO DELLE CORDE-Lezioni di tecnica melodica e polifonica per chitarra-

Storti, Mauro, IL DOMINIO DELLE CORDE. LIBRO

LIBRO METODO DI MUSICA CLASSICA.

SPARTITI PER CHITARRA CON: PENTAGRAMMA.

STUDIO, TECNICA, 

 

Lezioni complementari di tecnica melodica e polifonica per chitarra. Quinta edizione riveduta ed ampliata. Possedere a fondo una tecnica significa possedere a fondo i mezzi per manifestarsi pienamente nell'arte. Tecnica, infatti, non è solamente eseguire la nota giusta al tempo giusto: tecnica è esprimere le più sottili sfumature del sentimento con un vibrato, un crescendo, un ritardo, una nota tenuta, un suono metallico, o dolce, o sfumato.

A partire dalla fine del secolo scorso, l'arte chitarristica è stata soggetta a due svolte decisive: la prima è il sorgere della Scuola di Tarrega consistente, dal punto di vista musicale ma con le conseguenze tecniche derivanti, nell'abbandono del sistema delle posizioni similari a quelle del violino, reso necessario dall'esigenza di una più precisa configurazione timbrica delle parti nello spirito della musica romantica; la seconda, già iniziata da tempo e ancora in atto, è l'arricchimento della letteratura chitarristica con l'abbondante produzione di musica contemporanea ispirata all'arte di Andrés Segovia e dei suoi più valenti discepoli. A questi due fenomeni, la cui portata enorme sta alla base dell'attuale rinascita della chitarra, fa riscontro una paradossale stasi della didattica che ancora oggi si basa quasi esclusivamente sulle opere dei grandi esecutori dell'Ottocento. Lungi dal volere in alcun modo sminuire il valore storico-artistico dei metodi di Carulli, Carcassi, Giuliani, Aguado e Sor, è incontestabile che essi, esaminati alla luce dell'attuale situazione tecnico-musicale, presentano gravi insufficienze. Concepiti entro i ben precisi limiti dello stile classico, essi hanno via via perso della loro attualità ed efficaCia, rispondendo sempre meno alle necessità sorte nelle successive fasi dell'evoluzione musicale, mentre poco o nulla veniva ad aggiungersi a questo fondamentale gruppo di opere. Il grande apporto di Tarrega alla scuola della chitarra si è tradotto solo raramente in una chiara enunciazione scolastica, preferendo egli, nella sua eletta natura di artista, dare una forma alle sue intuizioni traducendole in studi e preludi, sull'esempio dei suoi contemporanei. È purtroppo doloroso constatare che laddove il genio artistico è più grande, il senso didattico fa spesso difetto: troppo intento a vivere la propria arte, il grande artista non ha il tempo di soffermarsi a farne l'analisi. Che pensare oggi di un Carcassi o di un Carulli che impostano il loro metodo sulla successione delle tonalità passando con disinvoltura da un quanto mai succinto esercizio melodico ad uno studio a più voci, ignorando quasi totalmente la mano destra? Che pensare del metodo di Giuliani che, pubblicato sotto il mistificante numero di Op. 1, rivela un ben scarso senso didattico, chè se il povero principiante sopravviverà alla noia dei suoi 120 arpeggi, difficilmente non soccomberà di fronte alle difficoltà delle pagine seguenti! Che pensare infine di Aguado e di Sor che, saltando a piè pari tutta la fase preparatoria, propongono allo studente, fin dalle prime pagine, quei deliziosi ma non facili brani degni di un ben più felice destino che quello di essere maltrattati da mani inesperte? Ancora oggi lo studente di chitarra cercherebbe invano un «filo d'Arianna» che possa guidarlo infallibilmente «dai primi timorosi passi fino alle altezze della perfezione» (Segovia). I due punti deboli dell'incoerente filone didattico cui attingono oggigiorno per la maggior parte insegnanti ed allievi sono l'avviamento allo studio ed il passaggio dalla tecnica classica a quella contemporanea. L'esigenza di un nuovo e più razionale metodo di iniziazione è tanto più sentita oggi in quanto l'età media degli studenti si è notevolmente abbassata. Fino a non molti anni fa si riteneva che lo studio della chitarra potesse essere intrapreso con profitto non prima degli 11-12 anni d'età, ma era in realtà la mancanza di testi e di strumenti adeguati a rendere quasi sempre infruttuoso un accostamento più precoce. Quanto al passaggio dalla scuola classica a quella moderna e contemporanea, che di solito si verifica intorno al IV-Vanno, esso può essere fonte di considerevoli difficoltà e talvolta di amare delusioni specie per quegli allievi che, per essere più diligenti, hanno meglio assimilato impostazioni e formule tecniche inadeguate o sorpassate. È bene ricordare, a tal proposito, che gran parte degli studi classici, soprattutto della scuola italiana, come pure arpeggi e scale in prima posizione, si prestano ad essere eseguiti agevolmente (forse più agevolmente!) con una errata impostazione della mano sinistra. L'uso del pollice sulla sesta corda, che lo stesso Carulli praticava, era allo stesso tempo causa e conseguenza della posizione obliqua della mano sinistra. Sui larghi manici delle moderne chitarre, tale posizione, che impedisce l'importante azione a largo raggio del mignolo, si rivela un serio impedimento, capace di rimettere in discussione tutto il lavoro svolto in anni di studio. La mano destra, dal canto suo, irrigidita da un lavoro quasi esclusivamente di arpeggio, manca di leggerezza, di mobilità, di agilità e di precisione negli attacchi. L'unico modo di aggirare questi gravi ostacoli consiste nell'affiancare agli studi tradizionali, che pur conservano, se intelligentemente selezionati e riveduti, una insostituibile funzione formativa, adeguati esercizi di tecnica capaci di prevenire l'uso errato delle mani e di familiarizzare l'allievo, fin dal primo anno, con le formule ed i procedimenti propri dell'esecuzione moderna.

L'odierna produzione chitarristica, opera di compositori in gran parte non chitarristi e quindi libera da ogni condizionamento strumentale, richiede da parte dell'esecutore un possesso totale dello strumento che può realizzarsi, a mio avviso, solo al di là del sistema tonale in quanto, proprio perché sistema, esso esclude infinite altre possibilità musicali e quindi tecnico-strumentali. Solo la pratica di esercizi atonali può consentire l'approfondimento di certi aspetti nuovi della tecnica che, apparentemente marginali, si rivelano a posteriori come fondamentali per l'esecuzione di alto livello.

Le lezioni che presento in questo volume, sono ispirate a questi concetti e mirano a sviluppare, in maniera armonica e interdipendente, tanto le facoltà fisiche (elasticità, velocità, forza ugualmente ripartita fra le varie dita, sicurezza negli attacchi e nei cambi di posizione) quanto le facoltà mentali (esatta percezione delle distanze, visione interiOre della tastiera, sensibilizzazione ai rapporti fra lo spazio della tastiera e lo spazio musicale, memoria e potere di concentrazione). Solo l'assimilazione di questi elementi può far compiere il miracolo di trasformare quell'oggetto inerte che è lo strumento musicale in una parte viva e animata dell'esecutore.

Prezzo: €19,99
€19,99

SCARLATTI DOMENICO-MUSIC OF FOR TWO GUITARS-VOLUME 1-Julian Gray & Ronald Pearl SPARTITI

SCARLATTI DOMENICO, MUSIC OF FOR TWO GUITARS, VOLUME 1. by Julian Gray & Ronald Pearl.

LIBRO DI MUSICA CLASSICA.

SPARTITI PER DUE CHITARRE CON PENTAGRAMMA. 

LIBRO CON 2 PENTAGRAMMI E CON LE PARTI STACCATE DI OGNI CHITARRA. 


Product Description:
Domenico Scarlatti's wealth of invention and the immediacy of his emotional appeal - from darkest tragedy to bold farce - have long attracted guitarists to make his music their own. This collection of nine sonatas arranged by the Gray/Pearl Duo gathers music displaying both Scarlatti's virtuosic dash and lyrical poignancy. The volume contains an un-edited score as well as performance-ready parts with suggested fingerings, technical solutions and interpretive articulations. This is the first book in an exciting new series from the eminent American guitar duo of Julian Gray and Ronald Pearl.

Song Title: Composer/Source:
K. 115 Domenico Scarlatti
K. 119 Domenico Scarlatti
K. 147 Domenico Scarlatti
K. 175 Domenico Scarlatti
K. 213 Domenico Scarlatti
K. 227 Domenico Scarlatti
K. 234 Domenico Scarlatti
K. 33 Domenico Scarlatti
K. 531 Domenico Scarlatti

Prezzo: €24,99
€24,99

PACHELBEL JOHANN CANON IN D GUITAR SOLO TABLATURE CHITARRA CLASSICA SPARTITO PAUL HENRY

PACHELBEL JOHANN, CANON IN D GUITAR SOLO. TABLATURE

SPARTITO DI MUSICA CLASSICA,

PER CHITARRA CON PENTAGRAMMA E TABLATURE

Series: Guitar Sheet
Composer: Johann Pachelbel
8 pages

Prezzo: €7,99
€7,99

TCHAIKOVSKY NUTCRACKER FOR GUITAR IN TAB Arr. Ken Hummer TABLATURE SPARTITI CHITARRA LIBRO

TCHAIKOVSKY, NUTCRACKER FOR GUITAR: IN TAB. Arr. Ken Hummer.
SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA CLASSICA. 

SPARTITI PER CHITARRA CON : 

PENTAGRAMMA E TABLATURE. 

Intermediate Solo Arrangements of the Complete Suite. 


About Nutcracker for Guitar: In TAB
Arranged by Ken Hummer. For Guitar. Classical Guitar Folio. Book. 48 pages. Every piece from Tchaikovsky's Nutcracker ballet is expertly arranged for guitar, including the holiday favorites "Waltz of the Flowers" and "Dance of the Sugar Plum Fairy." This collection is a must for guitarists planning a holiday recital and all who enjoy playing for friends and family. Each piece is clearly written in standard music notation and TAB for easy reading.

TITOLI: 

MINIATURE OVERTURE

MARCH

DANCE OF THE SUGAR PLUM FAIRY

RUSSIAN DANCE

ARABIAN DANCE

CHINESE DANCE

DANCE OF THE FLUTES

WALTZ OF THE FLOWERS

 

ENGLISH

DEUTSCH

ESPAGNOL

FRANCAIS

 

 

Prezzo: €14,99
€14,99

BONAMASSA JOE BEST OF Play It Like It Is TABLATURE CHITARRA Blues Deluxe-Faux Mantini-Had To Cry Today

BEST OF JOE BONAMASSA. GUITAR TABLATURE

LIBRO DI MUSICA ROCK BLUES.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. ù

 

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOE BONAMASSA IN PERSON

Best of Joe Bonamassa

Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - TAB
Artist: Joe Bonamassa

11 artist-approved note-for-note guitar transcriptions from this guitar mastermind, complete with an interview and photos. Includes: Blues Deluxe • Miss You, Hate You • New Day Yesterday • Pain and Sorrow • The River • So, It's like That • Woke up Dreaming • and more.
Inventory #HL 02500921
ISBN: 9781575608945
UPC: 884088089481
Width: 9.0"
Length: 12.0"
116 pages
 

Blues Deluxe - WORDS AND MUSIC BY: JEFFREY ROD - 1967
Faux Mantini - WORDS AND MUSIC BY: JOE BONAMASSA - 2004
Had To Cry Today - WORDS AND MUSIC BY: STEVE WONWOOD - 1969
If Heartaches Were Nickels - WORDS AND MUSIC BY: WARREN HAYNES - 1995
Miss You, Hate You - WORDS AND MUSIC BY: JOE BONAMASSA, RICHARD FELDMAN - 2000
My Mistake - WORDS AND MUSIC BY: JOE BONAMASSA, MARK LIZOTTE - 2002
New Day Yesterday - WORDS AND MUSIC BY: IAN ANDERSON - 1970
Revenge Of The 10 Gallon Hat - WORDS AND MUSIC BY: JOE BONAMASSA - 2004
The River - WORDS AND MUSIC BY: JOE BONAMASSA, ROBERT HELD - 2004
So, It's Like That - WORDS: MICHAEL HIMELSTEIN - MUSIC BY: JOE BONAMASSA - 2004
Woke Up Dreaming - WORDS AND MUSIC BY: JOE BONAMASSA, WILL JENNINGS - 2003

116 pages.

... emulating some of my favorite singers-Paul Rodgers,
Gregg Allman, Rod Stewart. Sometimes it was
frustrating. I'd been playing guitar for so long, and
had gotten control over that, but this was uncharted
territory. Ultimately, it's allowed me a freedom as an
artist I hadn't felt before."
Joe's muscular fusion of righteous playing
and keenly etched vocals has never been more
seamless than on his latest solo album, You & Me.
Produced by South African-born studio ace Kevin
Shirley-whose credits include Led Zeppelin, the
Black Crowes, Aerosmith, and Joe Satriani-the
disc potently blends a "big rock sound," intense British
blues (about which Joe's especially passionate),
and gritty Delta roots. It's packed with standouts,
including an interpretation of Charley Patton's "High
Water Everywhere" (a tribute to New Orleans), "So
Many Roads" (a blues classic made famous by Otis
Rush), and "Tea for One," a Zeppelin gem embellished
with a full orchestra-and Jason Bonham
on drums. Bonamassa, who's been getting deeper
into songwriting, also cites the originals "Bridge to
Better Days" and the Ray Charles-inflected "Asking
Around for You" as favorites.
You & Me is mature work that continues to
unspool the artistic thread that began with Bonamassa's
solo debut, 2000's Top 10 Blues disc A New Day
Yesterday, named for the 1969 Jethro Tull classic
that Joe makes his own with (as allmusic.com calls
it) "a jaw-dropping performance." Produced by the
legendary Tom Dowd-whose career included work
with Aretha Franklin, Ornette Coleman, Eric Clapton
Ray Charles, John Coltrane, Rod Stewart, and
scores of others-the album features guest shots
by Gregg Allman, Rick Derringer, and Leslie West,
among other greats. The powerhouse original song
“miss You, Hate You" remains a cornerstone of Joe's
repertoire, as does the slide guitar showcase "Cradle
rock." In 2002 Bonamassa released So, It's Like
that, a brew of dead-on blues and classic pop-rock
production featuring all originals, including the tour
de force "Pain and Sorrow." The album was his first to
hitr 1 on Billboards Blues chart.
In 2003-designated "Year of the Blues" by
congress-Bonamassa returned with his heartfelt
tribute to the genre, Blues Deluxe, packed with nine
classics and three originals. In the liner notes, Harrris
Cohen observes that Joe "never loses touch with
the raw emotion that makes the blues what it is."
Reviewing Blues Deluxe, former Creem editor Jaan
Uhelszki added, "New York guitar phenom walks tall
in the blues tradition ... jettisoning fiery riffs inspired
by John Lee Hooker, B.B. King, Elmore James, and
Albert Collins into the future with furious playing, a
hard-rock sensibility, and a grizzled voice that owes
a debt to Gregg Allman. Equally inspired by the
Delta blues and the mid-'60s British blues boom,
the young firebrand ... is able to fuse those two
schools together, creating edgy blues-rock." Bonamassa
further honed that fusion on 2004's Had to
Cry Today, another sweat-soaked mix of innovative
and classic sounds made electrifying through his
gale force playing.
Bonamassa is also deeply committed to Blues
in the Schools, developed by the Memphis-based
Blues Foundation to educate students about the
legacy of the blues and to promote and preserve its
heritage. Joe has helped bring the program into over
100 schools across the country, and response has
prompted the Foundation to indefinitely extend it. "I
love the way the kids' eyes light up," says Joe. "We introduce
them to Muddy Waters, Robert Johnson, and
other legends. I explain this amazing musical family
tree to them, and talk about how almost every artist
today can be traced back to the origins of blues and
jazz." In 2005 Bonamassa became the youngest-ever
member of the Blues Foundations' 25-person Board
of Directors. "When they told me my name was in
the hat for it," he remembers, "I had that 'it's nice just
to be nominated' feeling. Then I was on a plane to
Memphis to actually become a part of it, and it was
an incredible honor."
Currently, when not performing shows as one of
the hardest-working artists on the road today, Bonamassa
is writing material for an acoustic album he's
planning to release in 2007. "I'm known as an electric
guitar player," he says, "but a big part of my music
started on the acoustic end, and I want to also show
that side of me." Born on May 8, 1977 (the day that
would have been blues icon Robert Johnson's 66th
birthday), Joe lives in Los Angeles with his evergrowing
collection of vintage and custom-made guitars
(now reaching the 200 mark). "I still feel like same
four-year-old who just got his first guitar for Christmas,"
says Joe-with a passion that's heard in every
note he plays.
 

Prezzo: €23,99
€23,99

ACOUSTIC GUITAR SONGS FOR DUMMIES. TABLATURE

ACOUSTIC GUITAR SONGS FOR DUMMIES. 34 songs. 256 PAGINE. TABLATURE

Acoustic Guitar Songs for Dummies
Series: Guitar Collection TAB
Artist: Various

This songbook will have even beginning guitarists playing 34 of the best acoustic rock songs ever with the help of performance notes and guitar tab arrangements. Songs include: About a Girl • Angie • Blackbird • Crazy Little Thing Called Love • Drive • Dust in the Wind • Free Fallin' • Iris • Landslide • Layla • Leaving on a Jet Plane • Maggie May • Tears in Heaven • 3 AM • You've Got a Friend • and more.
Inventory #HL 00699767
ISBN: 9781423407775
UPC: 884088035570
Width: 9.0"
Length: 12.0"
256 pages
 

- About A Girl - NIRVANA - Kurt Cobain - 1989

- Across The Universe - BEATLES - John Lennon, Paul McCartney - 1968

- Angie - ROLLING STONES - Mick Jagger, Keith Richards - 1973

- Annie's Song - JOHN DENVER - 1974

- Behind Blue Eyes - THE WHO - Pete Townshend - 1971

- Best Of My Love - EAGLES - John David Souther, Don Henley, Glenn Frey - 1974

- Blackbird - BEATLES - John Lennon, Paul McCartney - 1968

- Crazy Little Thing Called Love - QUEEN - Freddie Mercury - 1979

- Drive - INCUBUS - Brandon Boys, Michael Einziger, Alex Katunich, Jose Pasillas II, Chris Kilmore - 1999

- Dust In The Wind - KANSAS - Kerry Livgren - 1977

- Fly To The Angels - SLAUGHTER - Mark Slaughter and Dana Strum - 1990

- Free Fallin' - TOM PETTY - Tom Petty, Jeff Lynne - 1989

- I'd Love To Change The World - ALVIN LEE - 1971

- Iris - GOO GOO DOLLS - John Rzenznik

- Landslide - FLEETWOOD MAC - Stevie Nicks - 1975

- Layla - Eric CLapton, Jim Gordon - 1970

- Leaving On A Jet Plane - PETER, PAUL & MARY - John Denver - 1967

- Love Of A Lifetime - FIREHOUSE - Bill Leverty, Carl Snare - 1990

- Maggie May - ROD STEWART, Martin Quittenton - 1971

- Night Moves - BOB SEEGER - 1976

- Norwegian Wood (This Bird Has Flown) - The BEATLES - John Lennon, Paul McCartney - 1965

- Patience - GUNS N' ROSES - W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan, Steven Adler - 1988

- Pink Houses, John MELLENCAMP - 1983

- Signs - TESLA - Les Emmerson - 1970

- Space Oddity - David Bowie - 1969

- Tangled Up In Blue - Bob DYLAN - 1974

- Tears In Heaven - Eric CLAPTON, Will Jennings - 1992 

- Thick As A Brick - JETHRO TULL - Ian Anderson - 1976

- 3 AM - MATCHBOX 20 - Lyrics: Rob Thomas - Music: Brian Yale, John Leslie Goff, John Joseph Stanley - 1996

- Time In A Bottle - JIM CROCE - 1971 

- To Be With You, Mr. BIG - Eric Martin, David Grahame - 1991

- Wanted Dead Or Alive - BON JOVI - Jon Bon Jovi, Ritchie Sambora - 1986

- When The Children Cry -  WHITE LION - Mike Tramp, Vito Bratta - 1987

- You've Got A Friend - JAMES TAYLOR - Carole King - 1971

TABLATURE

Series: Guitar Collection TAB
This songbook will have even beginning guitarists playing 34 of the best acoustic rock songs ever with the help of performance notes and guitar tab arrangements. 256 pages.

Prezzo: €20,99
€20,99
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