HAL LEONARD

HAYNES WARREN, GUIDE TO SLIDE GUITAR. CD TABLATURE

Learn the slide guitar stylings of Warren Haynes from the man himself! The legendary guitarist of Gov't Mule, Phil Lesh and Friends, the Grateful Dead, and the Allman Brothers Band offers instructions on choosing a slide, perfecting left- and right-hand techniques, playing rhythm, and blues soloing-on electric and acoustic. The Warren Haynes Guide to Slide Guitar will give you the most in-depth and personal lessons ever on how to play slide guitar in the style of Warren Haynes. Also includes a split-channel CD of the exercises, played by Warren himself with a full band. Listen to the master or solo along to the backing tracks!

Description

A unique book and CD from the hands of a true slide guitar legend - Warren Haynes. As guitarist with The Allman Brothers Band and The Grateful Dead, Haynes has forged himself a reputation as one of the greatest slide players in rock history, and you can now get a candid guide to his style from the man himself!

Haynes covers every part of your development as a slide guitarist, from choosing the best slide for you and perfecting the basic techniques to playing rhythm parts and blues soloing. A CD is included that features split-channel recordings of Warren performing all examples with a full band... either listen to the master at work, or solo along to the backing track and get your slide licks really cookin'. 48 pages

Acoustic Slide
Advanced Soloing
Approaching The Neck
Beyond The I-IV-V
Getting Started
Playing The Blues

... them, all of which paved the way for the new in-concert set. "I think we've always wanted to do a live album since we got together," says Haynes. "We're just happier in a concert situation, though it wasn't intentional that we'd do two studio discs first, just like the original ABBdid before Fillmore East. But just like then, our songs sound better in concert and, in fact, the Allman Brothers are and will always be a live band. We even cut our studio albums live, with everybody set up in the room and playing all at once. Most of the guitar solos that Dickey and I cut in the studio are live on the tape as they went down, which is very unusual. Of course, we go for that same spontaneity live and instead of just trading straight solos, sometimes we just bob and weave, leaving spaces for the other to fill in with harmonies, unison bits or counterpoint - it's all unplanned and experimental, like Miles Davis and John Coltrane improvising together or 'Trane and Cannonball Adderly. And we leave the mistakes and mishaps in while recording live, too. Like when I'm soloing in the first half of 'Blue Sky,' I start playing straight lead and then you can hear where I switch to slide and finish the lead playing bottleneck. The funny thing is that there's about a five or six beat pause in between them because the slide got kinda stuck in my vest pocket and it took a while to get the darn thing on my finger!" Given his broad listening tastes and keen melodic intuition, it shouldn't be surprising that Haynes also has a wealth of good advice to impart to younger players. As proof, just sample this tidbit of universal guitar wisdom, one which cuts to the heart of the matter just as fast as one of his always inventive solos: "Awhile back, I used to play country music for a living with David Allan Coe and, while I don't think I'd be happy playing country every day, I learned a lot from the experience because whenever you step outside your genre, you're bound to expand your horizons. When I used to read interviews with some of the truly great players, there was always one influence they'd mention that was a complete surprise, like B.B. King saying he dug jazzers like Django Reinhardt and Charlie Christian, which in turn gave him his own special voice as a blues player. In my mind, whether you're into blues or heavy metal, listening to and also playing other styles of music can only make you a better guitar player." 

RAGTIME GUITAR, 14 Songs Arranged for Solo Guitar. Allan Jaffe. Al's Slow Rag [Jaffe, Allan] -American Beauty Rag [Lamb, Joseph] -Barber Pole Rag [Johnson, Charles] -Delta Rag [Jaffe, Allan] -Dill Pickles [Johnson, Charles] -Frog Legs Rag [Scott, James] -Grace And Beauty [Scott, James] -Heliotrope Bouquet [Joplin, Scott] [Chauvin, Louis] -Joplin Rag [Jaffe, Allan] -Maple Leaf Rag [Joplin, Scott] -Ragtime Nightingale [Lamb, Joseph] -Sunburst Rag [Scott, James] -The Entertainer [Joplin, Scott] -Top Liner Rag [Lamb, Joseph]. CD TAB.

14 Songs Arranged for Solo Guitar
Series: Guitar Solo
Softcover with CD - TAB
Arranger: Allan Jaffe

14 of Jaffe's fingerstyle arrangements of ragtime favorites and originals in standard notation and tablature with accompanying CD, 80 pages

Al's Slow Rag
American Beauty
Barber Pole Rag
Delta Rag
Dill Pickles
Frog Legs Rag
Grace And Beauty
Heliotrope Bouquet
Joplin Rag
Maple Leaf Rag
Ragtime Nightingale
Sunburst Rag
The Entertainer
Top Liner Rag

LEARN TO PLAY FLAMENCO GUITAR, TAUGHT BY AARON GILMARTIN. 2DVD TAB. Combined time: Three hours, thirty minutes DVD 1: Tangos and Alegrias. DVD 2: Soleares and Bulerias Level 3

Two-DVD Set
Series: Homespun Tapes
Publisher: Homespun
Medium: DVD
Author: Aaron Gilmartin

Aaron Gilmartin's intro to flamenco will get anyone started playing this passionate music. Along with flamenco history and terminology, Aaron teaches four of the most important forms: Tangos and Alegrias (on DVD 1) and Bulerias and Soleares (on DVD 2) -along with the strumming and picking techniques that make flamenco so exciting to players and listeners alike. 3-1/2 HOURS TOTAL INCLUDES MUSIC + TAB

TOTAL KEYBOARD WIZARDRY, A Technique and Improvisation Workbook. Jordan Rudess. Book & CD Package.

LIBRO METODO PER PIANOFORTE CON CD .

SPARTITI CON ACCORDI E PENTAGRAMMA .

Take your playing to the next level with Jordan Rudess, the Juilliard-trained, award-winning keyboardist of Dream Theater! Work at your own pace to improve your skills in physical technique, improvisation, soloing and comping with clear, easy-to-follow directions and exercises that create real results. With beginner, intermediate and advanced exercises that cover everything from classical technique to blazing prog-rock solos and beyond, this book has something for keyboardists of all styles. A CD of the exercises is included - played by the master himself! - as are 12 solo-worthy etudes and a valuable appendix with major and minor arpeggio and scale fingerings. 144 pages.

Total Keyboard Wizardry
A Technique and Improvisation Workbook

OLD TIME COUNTRY GUITAR BACKUP BASICS, Joseph Weidlich. 
Based on commercial recordings of the 1920's & early 1930's. TABLATURE 

Old Time Country Guitar Backup Basics
Series: Guitar
Publisher: Centerstream Publications
Author: Joseph Weidlich

This instructional book uses commercial recordings from 70 different “sides” from the 1920s and early 1930s as its basis to learn the principal guitar backup techniques commonly used in old-time country music. Topics covered include: boom-chick patterns • bass runs • uses of the pentatonic scale • rhythmic variations • minor chromatic nuances • the use of chromatic passing tones • licks based on chords or chord progressions • and more.

Inventory #HL 00000389
ISBN: 9781574241488
UPC: 073999501247
Width: 9.0"
Length: 12.0"
84 pages

In the rural setting of the South the singing of old songs was often unaccompanied. When music was played away from the home it tended to be for dancing or some kind of contest. The" core" instruments used were usually the fiddle and banjo, where the banjo "seconded" the fiddle. This style goes back to the early 19th century minstrel show [ca. 1843] whose standard instrumentation were the fiddle, banjo, bones and tambourine.

Fiddle. The principal instrument of the old-time music genre was the fiddle, seemingly always the lead instrument. The fiddle served several functions: to provide dance music, to provide accompaniment to the voice, or solo fiddle music without a particular social function, e.g., for their own enjoyment. The fiddle was particularly important in accompanying vocal music as it could be used to imitate, i.e., "double" the vocal line, thereby reinforcing the primary contours of the melody or to provide ornamentation, based on the melodic line. As the melodies of the songs became simpler, in the sense of using less vocal ornamentation, the fiddle style likewise became simpler. This transition was aided by the addition of the banjo and guitar, which provided additional decorative elements, thus freeing the fiddle to focus primarily on lead melodic functions.

Banjo. Besides the fiddle, the mountain banjo was the most important ensemble instrument, as it was used to reinforce the main notes of the melodies played by the fiddle. The banjo introduced a steady, strong rhythm to maintain the beat, so important when playing for dances. In fact, the clawhammer banjo style, in particular, was, and still is, highly regarded for this role. While the 19th century minstrel banjoists traditionally used two basic tunings (what today would be equivalent to the natural C tuning and open G tuning) an interesting feature of the Southern mountain banjo was the development of several additional tunings to suit the modal character of the traditional melodies being sung and played. Scholars seem to think that these systems of altered tunings HLP 8005 may have been worked out by the turn of the 19^th century, perhaps influenced by open guitar tunings needed for playing certain parlor guitar songs (e.g., the Spanish fandango) and the beginning of the African-American blues guitar styles. These modal melodies would then be accompanied on the banjo so that the principal melodic notes could be played without the need to play harmonic chords or shift up and down the fingerboard, whose chord voicings would not be practical most of the time playing in these altered tunings (the newly introduced guitar would now supply this harmonic accompaniment). Occasionally, the banjo was used as a solo instrument on early commercial recordings (e.g., by Charlie Poole using fingerstyle techniques); however, its usual role was to support the fiddler. Guitar. While guitars had been available in the United States for most of the 19th century, principally in urban industrialized areas, e.g., by c.P. Martin, Ashborn, 55. Stewart, and Washburn, by the end of that century guitars were beginning to become available in even greater numbers, aided in part by a much improved mass transportation system, the advent of the industrial revolution, and mail-order houses like Sears Roebuck. In the last decade of that century the guitar was gaining rapidly in mass popularity due to its usage in mandolin bands, glee clubs, and university banjo bands, thus not just for use in its traditional 19th century environment, the parlor.

String Bands. From the 1920s, with the introduction of the guitar into the string band ensemble, the emphasis, at least in terms of recording, shifted from providing music for dances to the accompaniment of vocal songs and fiddle tunes. That necessarily changed the function of the string band instruments, freeing up the ensemble for various duties. The guitar was now used to mark out the...

Joseph Weidlich [b. 1945] began his formal musical studies on the classic guitar. He moved to Washington, D.C. in 1972, from his native St. Louis, to teach classic guitar. He performed in several classic guitar master classes conducted by notable students of Andres Segovia (i.e., Sr. Jose Tomas [Spain], Oscar Ghiglia [Italy] and Michael Lorimer [U.s.]). He has also played renaissance guitar, renaissance lute, and baroque guitar.
In 1978,he completed research on and writing of an article on Battuto Performance Practice in Early
Italian Guitar Music (1606-1637), for the Journal of the Lute Society of America, 1978 (Volume XI). This
article outlines the various strumming practices, with numerous examples, found in early guitar
methods published in Italy and Spain in the early 17th century. In the late 1970she published a series
of renaissance lute transcriptions for classic guitar, published by DeCamera Publishing Company,
Washington, D.C., which were distributed by G. Schirmer, New York/London. The American Banjo
Fraternity published an article Joe wrote on James Buckley's New Banjo Book [1860]in their newsletter,
the Five-Stringer, #185, Double Issue, Fall-Winter 2000-01.
The banjo has also been no stranger in Joe's musical life. He began learning folk styles in the early
1960s during the folk music boom, later playing plectrum and classic banjo styles as well. His extensive
research in the history of minstrel banjo demonstrates how that style formed the foundation of
clawhammer banjo. Alan Jabbour, noted old-time fiddler, musicologist and former long-time director
of the Library of Congress' American Folklife Center, has said of Joe's book, The Early Minstrel Banjo:
Its Technique and Repertoire, that "our understanding of the minstrel banjo in the 19th century is greatly enhanced by the long labors you have devoted to the subject and the fine understanding you have brought to it."
Joe has collaborated with banjo builder Mike Ramsey (Chanterelle Workshop, Appomattox,
Virginia) in designing two prototype minstrel banjos based on the dimensions described in Phil Rice's
Correct Method [1858], as well as similar instruments made by William Boucher in Baltimore in the 1840s.
Also published by Centerstream Publishing are Joe's editions of a flatpicking guitar edition of
George Knauff's Virginia Reels [1839],believed to be the only substantial extant compilation of nineteenth-
century Southern fiddle tunes published prior to the Civil War (which includes songs later featured
in the early minstrel shows), Minstrel Banjo-Brigg's Banjo Instructor [1855],More Minstrel Banjo-
Frank Converse's Banjo Instructor, Without A Master [1865], Guitar Backup Styles of Southern String
Bands from the Golden Age of Phonograph Recordings, which features the guitar backup styles of Ernest
Stoneman's Dixie Mountaineers, the Carter Family, Charlie Poole and the North Carolina Ramblers,
Gid Tanner and the Skillet Lickers, and Jimmie Rodgers, often acknowledged as lithe father of country
music" and Painless Arranging for Old-Time Country Guitar.