CHITARRA - GUITAR

MODERN JAZZ CONCEPTS FOR GUITAR, Innovative Improvisation Techniques. Sid Jacobs. CD TAB.

Sid Jacobs
Publisher: Musicians Institute Press

Learn innovative improvisation concepts from Musicians Institute instructor Sid Jacobs with this book/CD pack designed from the famous school's elective courses. Explores: voice-leading melodic lines, symmetrical scales, triad pairs and much more. The CD includes 48 demonstration tracks - each example is played at full tempo, and most are repeated at half speed.

WHITE LEON, SIGHT TO SOUND. A guide to reading for the studio.

Description:

This method covers two main components of playing - sound and time. In the section on sound you learn to locate pitches on the guitar and on paper. Basic definitions, derivations of scales and position playing are all covered. The section on time focuses on definitions of beat, pulse and rhythm. Note values are carefully derived and time signatures explained without the vague 'common time' concept.
All basic concepts are taught through single line playing. Other methods demand that the student become fluent at chord reading before being exposed to difficult rhythmic figures. The ominous appearance of block chords often discourages the student from progressing rhythmically. He fumbles with the chords and confuses the rhythm. Soon the simplest solo line has become an incredible challenge. It is for this reason that we have placed block chord reading at the end of this learning programme.

EMMANUEL TOMMY, THE MYSTERY. TABLATURE

TOMMY EMMANUEL C.G.P. (Certified Guitar Player) 

Product Description:

The Mystery, Tommy Emmanuel's sixth US album, was inspired by Emmanuel's travels; each of the album's compositions is a musical snapshot or sojourn - a journey that brings us together with places and people - a journey into self discovery.

This transcription book shows all twelve tunes on the CD note-for-note in standard notation and tablature. Also included are detailed performance notes of each tune. 136 pages.

Product Number: 22000
Format: Book
ISBN: 0786681691
UPC: 796279109970
ISBN13: 9780786681693

INTRODUCTION

Tommy's compositions and aITangements cover many styles and techniques. If you have studied the Mel Bay books for Tommy's CD's Only and Endless Road, you already have a head start in learning his mu ic. The tunes for this project are heard on the CD The Mystery. Also you can study the Mel Bay project, Emmanuel Labor with Tommy's discussions of pieces from the above three CD's. From The Mystery Tommy play and discusses "The Mystery", "Gameshow Rag/Cannonball Rag", "The Diggers' Waltz", "Lewis and Clark", and "Antonella's Birthday". There will be some slight variations between the video performance and the recorded tunes. Although he may not playa tune in performance exactly the same way each lime, these transcription will allow you to learn the recorded version, and will give you insight into his methods. These tunes range in difficulty from intermediate to very difficult. There are a few difficult stretches and also Tommy's technique involves some innovative moves, such as fretting the 5th string with the thumb. But whether or not ou perform these tunes, most of the enjoyment comes from understanding them and playing them for their beaut). Some tunes are played with a thumbpick, and others are played without a pick, resulting in a softer sound. Others are played in a hybrid style, using a flat pick, allowing for strong rhythm and interwoven melody note With this style, the right-hand index finger is no longer available for melody. The melody is produced by the pick and the middle and ring fingers. This technique may be difficult for you if you are based in traditional fingerpicking, but it is well worth the effort to learn it. If you read musical notation, the tablature will still be helpful as it points toward left-hand position on the guitar neck. And if you are relying on tablature, remember that left-hand fingering is found in the notation. Learning the hybrid style requires understanding the information given in the tablature. I have tried to indicate the pick stroke directions that are most important, while trying to avoid repeating the stroke directions to reduce the amount of clutter in the tablature. In the hybrid tyle, the thumb and first finger hold the pick, and in accord with classical notation this is shown by a "p". The middle finger will be "m" and the ring finger will be "a". These letters will be stacked when the middle and/or the ring finger pluck notes at the same time as the pick. At other times the pick (thumb and first finger unit) and ... 

TOMMY EMMANUEL C.G.P.

photo by Sara Corwin

Two-time Grammy nominee Tommy Emmanuel has a professional career that spans over four decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to pick up the guitar as a child. Decades later Atkins himself became one of Emmanuel's biggest fans. In 1999, Chet honored Tommy Emmanuel with the title of "Certified Guitar Player" for his lifetime contribution to the instrument, a rare honor shared by only three other people in the world (Jerry Reed, Steve Wariner and John Knowles). Atkins eventually recorded with Tommy in 1996 on 'The Day the Finger Pickers Took Over the World", for which Emmanuel received his first Grammy award nomination. This was also Atkins last recording.

After a recent recuperative rest, resulting from an exhausting touring schedule, Tommy is now completely rejuvenated and embarking on a full tour schedule in 2008. A new double live CD and DVD, "Center Stage" filmed in High Definition and recorded at the Sierra Nevada Brewery in Chico, California will be commercially released in Spring '08. The DVD portion will also air on Public Television affiliates all over the United States. Every element of modern technology was used in the production of both the DVD and CD. Tomm's record producer, Kim Person, recorded and mixed the audio tracks, while long-time Sierra Nevada video producer/ director Peter Barlow tied the entire package together in state-of-the-art quality. It makes for a stunning package, both aurally and visually. The double disc Live CD "Center Stage" contains many fan show-stoppers, including Emmanuel's BeatIes Medley, Mombasa, and Initiation - the aboriginal tribute song that has evolved over the years and never sounds the same on any recording - or during any show. Tommy also introduces four never-before recorded tracks, "Ruby's Eyes", "Lenny Bro''', "The Jolly Swagman" and "Papa George" (inspired by George Harrison). Also, included are several arrangements of popular traditional tunes like "House of the Rising", "Nine Pound Hammer", "Amazing Grace" - and for his Japanese fans, "Sukiyaki" This new CD is a great mix of the rare, the new, the traditional and the favorites. Emmanuel's music and life are legendary in Australia. He began playing guitar at age 4, by learning to play by ear without any formal instruction. Emmanuel and his older brother Phil were child prodigies, starting their professional career in the 1960s. By the age of six, Tommy was already working as a professional musician. Shortly after his father's death in 1966, the Emmanuel family was approached by Australian country music star Buddy Williams, who took the family on the road until they were forced by the Australian child welfare department to stop traveling. The Emmanuel children were then sent to a regular school. During these years, Tommy was playing in "The Trailblazers" (with siblings Chris on drums and Virginia on slide guitar) on weekends. He also taught guitar and made numerous television appearances in musical competitions. Emmanuel's first brush with fame came when The Trailblazers won two televised talent contests and produced an EP. He and his siblings worked hard ... 

Song Title: Composer/Source:

And so it Goes - Tommy Emmanuel
Antonella's Birthday - Tommy Emmanuel
Cantina Senese - Tommy Emmanuel
Cowboy's Dream - Tommy Emmanuel
Footprints - Tommy Emmanuel
Gameshow Rag / Cannonball Rag - Tommy Emmanuel
Keep it Simple - Tommy Emmanuel
Lewis & Clark - Tommy Emmanuel
That's the Spirit - Tommy Emmanuel
The Digger's Waltz - Tommy Emmanuel
The Mystery - Tommy Emmanuel
Walls - Tommy Emmanuel

Every day we experience "The Mystery." It's in our love for each other, it's in our feelings ofr others, in our music, it's in the kindness of strangers, in the parade of people who seem to appear at the right moment to help or to encourage us through tough times, in the wonders we see around us when we travel or just the feeling we are doing something good for our brothers and sisters. It's all around us, in us, ahead of us and lighting our way. It's God's awesome love for his children. Get it? Got it? Good!

GIBSON'S FABULOUS FLAT-TOP GUITARS, An Illustrated History & Guide, Vinopal. 224 pagine.

Series: Book
Publisher: Backbeat Books
Format: Softcover
Author : Dan Erlewine
Author : David Vinopal
Author : Eldon Whitford

Finally back in print! The must-have book on Gibson's killer acoustic guitars, now updated.

From the 1920s to the present, Gibson and its flat-tops have been synonymous with American music. Whether the music you listen to is from the North or the South, the country or the city, it is likely that a Gibson guitar was involved in creating it. Through more than 200 photos and detailed text, this book chronicles the development and evolution of Gibson's fabulous flat-tops, showing why these guitars have been the choice of so many great musicians, professional and amateur alike, over the last 70 years. 224 pages

JOHN BOGDANOVICH, CLASSICAL GUITAR MAKING: A MODERN APPROACH TO TRADITIONAL DESIGN.

GUITAR BUILDING USES a combination of many talents and skills, including an eye for aesthetics, an ear for musical tone, woodworking ability, and an organized and methodical approach to the work. With diligence and practice, many of these assets can be developed and honed. Each of us also brings to this endeavor our own set of skills and experience. My own experience prior to building guitars proved to be a valuable asset in the pursuit of building the ultimate guitar. Initially, it was not my intention to make guitar building a career. Having returned to playing after an extended break, I was in need of a guitar but could not afford to purchase one that suited me, so I decided to try to build one myself. That first guitar turned out well and attracted a couple of local musicians to contract instruments from me. Guitar making felt so right that I put aside all other pursuits and earnestly began to make guitars professionally. A quest for purpose had ended and a new journey had begun. Before making guitars, there were a number of things that I felt passionate enough about to pursue, yet there would always seem to come a point where I would hit a wall and could go no further. Music became a big part of my life at the age of ten, and at twelve I took up the guitar. After high school, I majored in music at what is now part of The College of Staten Island. During this time, I was introduced to classical guitar and studied with Julio Prol in New York City. My intent was to become a performer, though I had difficulty performing in front of an audience. After having a few terrible experiences on stage, I realized that I needed to find something else to do, so I decided to follow another passion of mine, woodworking. As an apprentice cabinetmaker in a New York cabinet shop, I received a great woodworking education at the hands of a small group of old-world European craftsmen. Once my apprenticeship was completed, I decided go back to college rather than continue as a journeyman. I enrolled in the electrical engineering program at Pratt Institute in Brooklyn, New York. AT &T Bell Laboratories recruited me off-campus in my senior year to work in their research and development facility in Holmdel, New Jersey, where I was employed as a hardware designer. Taking part in their one-year on-campus graduate school program, I was able to get my master's ...

Recently I was informed by the publisher that the book has gone into second print, and this is rare for a book of this type. So thank you all once again for helping to make this book a resounding success. It is truly gratifying that I continue to hear from readers all over the world with thank you notes, encouraging comments and questions regarding the book. And, as one reader suggested I have included a page on the site with a selection of questions that have been sent to me, along with my replies, which may help to clarify some things for others in their guitar building attempts.

Since the book has been out I have heard from many of you that have sited errors or needed clarification in the first edition. These errors have been noted along with some additional text here and there for clarification and sent to the publisher for correction in the second printing. a PDF document containing all known errors can be downloaded in the errata section.
 The book has been out for a couple of years now and it still amazes me how many of you out there are interested in building classical guitars, either for yourselves or in launching a guitar building career. The book has enabled me to launch a few new endeavors of my own such as holding classes in the shop, a line of guitar building products, and a DVD series due to be released in the fall. I am very fortunate that this has all come from my love of the classical guitar. The truth is, I never intended to write a book at all. The project just sort of fell into my lap.
 In December, in the midst of planning to move the shop to Asheville, I was approached by Sterling Publishing and asked if I would like to write a book on guitar making. As I thought about it the prospect of undertaking such a huge project the challenge of producing something that I would be proud of became the focus of my enthusiasm. I had been given a rare opportunity - a vehicle to share my techniques and thoughts about something I love.
For the next year, nearly every day was a combination of building guitars, writing, and photo shoots. The book chronicles the building of a classical guitar from a stack of boards to putting on the strings and tuning it up. WIth almost 600 photos and drawings and over 300 pages of detailed text I attempted to recreate as accurately as possible the building process.
 If you have never built a guitar and are planning your first attempt consider using this book as a guide. Only some basic woodworking skills and a minimally equipped shop are required. Due to the large amount of information necessary to cover the topic explanations of woodworking related techniques have been omitted and it is assumed the reader is already proficient in some basic woodworking techniques, or will consult the references listed in the bibliography of the book and in the reference section of the links page on this site. Alternative methods are presented to facilitate the availability of tools and equipment. The book was written with the first time builder in mind, but no doubt anyone with some building experience could benefit from some content, I know I am always looking for better ways to do things. Also, be sure to check out the guitar making classes being offered. Classes are being held in the shop that cover various aspects of the building process.
 The guitar I am building in my shop today is very loosely based on the Hauser/Torres guitar design. The design has evolved in search of improved sound and playability. The plantilla is all that remains of the original 1937 Hauser from which this design began.
 The sound of Segovia's 1937 Hauser always appealed to me, even with the less than ideal sound quality of the old recordings. Therefore, when I began making guitars I started trying to reproduce this sound with the Hauser/Torres design. The more conscious I became of the sound of the guitar in general, the more open I became to other influences and my concept for the ideal sound began to evolve and my design began to change. The design of my guitars has changed slowly over the years.
 It is difficult at best to describe sound with words due to the fact that sound, and language, are both so subjective. So I will limit my words to those I typically hear other people use to describe the sound of my instruments. The phrase I hear most often is that they have a traditionally Spanish sound. I would not disagree with this statement. Additionally, they have character, a full tonal palette, and power. Enough said, I invite you to come and listen to one yourself.

Life as A luthier has been made possible for me only with the help of many people. First and foremost, I would like to thank my parents, Marion and Stan, for always supporting me, even when they may not have agreed with me. Without their support, none of this would have been possible. When I was a small boy, I had asked for a carpentry tool set long before it would be appropriate or safe for a child to play with. I was so insistent that my parents finally caved in and bought me one. While I was playing with the tools, set up under a tree in my grandparents' backyard, my grandfather watched from a window. Impressed with how intently I was able to amuse myself for such a long period of time, he told my mother, "That boy is going to do something with his hands." The time I spent in the Fine Woodworking Program at the College of the Redwoods actually changed my life. I was fortunate to have made some lifelong friends while at the school and will be forever indebted to the outstanding faculty. I would like to thank James Krenov, Jim Budlong, Michael Burns, and David Welter for their guidance, skill, and friendship, and for putting up with me during my time there. I would like to especially acknowledge James Krenov, whose book A Cabinetmaker's Notebook inspired me long ago, only to be eclipsed by later studying with him at the school. As one of his students, I could not help but admire his aesthetic, his approach to the craft, his keen observation of nature around him, and how all of this is evident in his work. I can only hope to follow his example. And thank you,]im, for your friendship. There are a few guitar builders who have both inspired and helped me in my journey as a luthier. I would like to thank Jeff Elliott, Cindy Burton, Greg Byers, John Gilbert, and Charles Fox for their generosity in sharing their knowledge of guitar building, and for their friendship. I would also like to thank the many guitarists who have provided feedback, which is invaluable to making a better instrument. In putting together this book, I called upon a few people to assist in one way or another. I would like to thank Cindy Park for all her help and support. She has helped with this project in more ways than she is probably aware of. I would like to thank Mariah Grant for doing a great job on the bulk of the photography. I would also like to thank Larry White at the University of North Carolina at Asheville for recommending her. In addition, I would like to thank Lacey Haslam and Franzi Charen for their help with the photography. And I would like to thank all the folks at Iris Photo/Graphic for keeping everything straight.  

Contents

Acknowledgments

Foreword by James Krenov

Foreword by Jeffrey Van

Preface

Introduction

PART ONE—Preparation

CHAPTER 1. The Guitar

Anatomy of the Guitar

Sound

Choosing to Build or Buy

CHAPTER 2. The Wood

Types of Wood

Moisture Content

Cuts, Grain, and Selection

CHAPTER 3. The Shop

What You Need in Your Shop

Jigs You Will Need to Make

Hand Tools

Vises and Clamps

Bench Tools to Make

Specialty Items

Humidity Control

CHAPTER 4.

Templates and Molds

The Plantilla

A Transparent Template

Side Mold

Lining Mold

The Solera

Headpiece Template and Drilling Jig

Back Workboard

CHAPTER 5.

Layout and Planning

Choosing the Color and Design Scheme

Materials and Parts

Plans and Layout

PART TWO—Construction

CHAPTER 6. The Neck

The Neck Blank

The Headpiece

The Heel

CHAPTER 7. The Sides

Bending and Laminating the Sides

Linings

Assembling the Neck and Sides

CHAPTER 8. The Details

Bindings, Purflings, Back and Butt Strips

The Wheat Motif

CHAPTER 9. The Top

Selecting a Top 162

Jointing and Thicknessing

The Rosette

Bracing and Patches

CHAPTER 10. The Back

Jointing and Thicknessing

Bracing

CHAPTER 11.

Assembling the Body

Before Gluing on the Top

Gluing the Top

Preparing to Glue on the Back

Bindings and Purflings

Heel Cap and Butt Strip

CHAPTER 12.

The Fingerboard

Making and Installing the Fingerboard

Before Fretting

Fretting

Shaping the Neck

PART THREE—Final Touches

CHAPTER 13. Finishing

Understanding Finish

Final Touches and Prepping for

Finishing

French Polishing

Lacquering

CHAPTER 14. The Bridge

Bridge Design

Building the Bridge

Installing the Bridge

CHAPTER 15. The Setup

The Nut, Saddle, and Tuning Machines

Strings and Final Setup

Care of Your Guitar

The Gallery

Bibliography

Metric Equivalents

Index