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MARTIN'S JUAN GUITAR METHOD EL ARTE FLAMENCO DE LA GUITARRA CD TABLATURE RASGUEADO GOLPE

MARTIN'S JUAN GUITAR METHOD, EL ARTE FLAMENCO DE LA GUITARRA. 170 pagine fitte di musica, spiegazioni, interessanti fotografie delle diverse posizioni delle mani. 60' CD TAB.

A book and CD set for those wishing to learn the marvellous art of the flamenco guitar, presented by one of the most celebrated performers.

This comprehensive method assumes no knowledge of flamenco or music on the part of the beginner. 168 pages.

Price: €49,99
€49,99

SERRANO JUAN FLAMENCO GUITAR TECNICAS BASICAS LIBRO CD TABLATURE CHITARRA METODO

SERRANO JUAN, FLAMENCO TECNICAS BASICAS. Metodo in inglese e spagnolo. CD. TAB.

Product Description:
This book, written in both English and Spanish is the most authoritative method available on flamenco guitar technique. Juan Serrano is one of the world's premier flamenco concert soloist and is a seasoned teacher and performer in this vibrant, colorful musical genre. The text describes the history and development of flamenco music; teaches basic music theory; presents developmental studies on flamenco guitar techniques such as rasgueado and tremolo; and offers 14 exciting flamenco guitar solos. Written in notation and tablature.

Format: Book/CD

Contents:

The history of flamenco
Music Theory
Learning Notes
Symbols
Tablature
Explanation of the Rasgueado
Preparatory Study
Rasgueado Exercises
Scale Study #1
Scale Study #2
Scale Study #3
Tremolo Study #1
Tremolo Study #2
Study for the Thumb
Studies in Legatos
Arpeggio Exercises
Study in C
Sevillanas I, II, III, and IV
Farrucas
Soleares
Alegrias
Alegrias para BaileFandangos de Huelva
Tempestad (Rumba flamenca)
Bulerias
Malaguena (Flamenca)
Malaguena (Regional)
Romance Flamenco

Price: €34,99
€34,99

PACO PENA, TOQUES FLAMENCOS CD TABLATURE

Flamenco guitar music, together with flamenco singing and dancing, is a local form of expression which was developed by a certain people in a particular region of Spain - Andalucìa. It has become known outside Spain because Andalucìans have played it to larger and larger audiences and its general appeal and musical qualities have become apparent to more and more music lovers. As a result, quite a number of people have become interested in playing flamenco guitar themselves. But, traditionally, the Andalucìans have learnt the music from their family or friends within their small community; it was not written down. Therefore, it is very important to listen as much as possible to authentic flamenco played by people closely acquainted with it in order to appreciate the 'flamenco' quality of the music - which cannot be learnt from paper. In this book, we have attempted to write flamenco pieces as accurately as possible, using suitable symbols and explanations. Yet, in my experience, most students learn more quickly by listening to flamenco as well as reading it - especially when they first start to learn to play flamenco. This project is an attempt to combine both these approaches. The student can listen to a number of flamenco pieces, learn the notes and techniques from the written music, and then go back to the record to check that he is making the right sound. I was asked to compose some pieces easy enough for students to be able to play, but I found that flamenco pieces which are too easy do not sound attractive enough to encourage the student or to make interesting listening. So I have arrived at a compromise which I hope will satisfy most students. Some of the pieces are rather more complex than was originally intended, but most of the falsetas are quite straightforward. The rhythmic passages, rasgueados etc. are, for the most part not as intricate as I would play in other pieces, although I may use this kind of rasgueado when I play. My aim has been to produce some attractive and strictly authentic flamenco pieces easy enough for most students to play, yet difficult enough to encourage them to improve their technique and understanding of flamenco. Finally, I must add that flamenco is a free, improvised form of music, and the guitarist is not expected to play exactly what he has learned from somebody else. I strongly encourage him to experiment with the music. But before he can improvise he must have a very sound understanding of the compàs (rhythmic structure) and the character of the piece he is playing. Therefore, I advise the student to first learn these pieces strictly correctly. That way I trust he will get familiar with each of these flamenco styles and only then should he experiment and "do his own thing." Paco Peña 10 pieces from the album Toques Flamencos. In standard notation and tablature and complete with guidelines on technique and notation. Includes a CD TABLATURE

 

INTRODUCTION
Andalucla, whose musical tradition is embedded in its earliest history, must have built up that
tradition from the influences and remnants of the cultures left by the various peoples who passed
through or settled on its land. Among these different cultures one can note the Byzantine, Moorish,
Mozarabic and Jewish, whose influence must have finally crystallized and become integrated in the
songs and dances of the Andaluclan people. Andalucfa was under Moorish domination for many
centuries - Cordoba being at that time the capital of the Western Islamic world. Therefore the
music of this land already reflected the Oriental influence.
Later, in the 15th century, many tribes of gypsies found their way into Andalueta as a branch of
immigrants who around 1447 entered Spain by Catalonia. They lived mainly in the fields,
nomadically and in poor conditions. Traditionally the gypsies were not great poets - hardly surprising
considering their circumstances - but they had a remarkable facility for rhythm and music,
and in Andalucla they found a rich, colourful folklore of exceptional poetic charm. Unlike other
music they had come across elsewhere in Spain, this folklore suited their character and came to
form part of their lives. They assimilated it and added something different to it. This "marriage"
gave rise to the phenomenon of Cante Flamenco, neither "gypsy music" nor Andaluclan folklore,
but both. So, it can be said without doubt that there are two main elements in Flamenco:
Andalucla, with its old musical background, and the gypsies - without both, Flamenco would never
have existed.
Nobody knows for certain when it all started because there are very few written records available.
The first notice we have is about a singer of Seguiriyas, Tfo Luis el de la Juliana, around 1780.
But even that is a little dubious because it was not mentioned until a century later in 1881 - by
Antonio Machado Alvarez ("Demofilo"); in fact the Seguiriya seems to have developed later from
another style: Tonas.
There are three main periods in the history of Flamenco. From the beginning of the 19th
century to 1860 it was part of the life of Andaluclan gypsies and poor people who kept it for
themselves and never performed outside their communities. From 1860 to 1910 was the era of the
"Cafes Cantantes", special tablaos or places wholly dedicated to Flamenco music. Since then,
Flamenco has emerged from its original environment to become known throughout the world.
No evidence exists that guitars were used during the first period. But as Flamenco emerged
("Cafes Cantantes") the guitar, which was already the instrument of Spain, was brought in to
accompany and enhance the human voice. Paradoxically, it is the guitar as a solo instrument, rather
than the singing, which has made Flamenco popular, when in fact the guitar, like the dancing,
derives all its inspiration from the Cante Janda (Flamenco singing) - the purest expression of
Andalucfan art.
When accompanying, the function of the flamenco guitarist is to help the singer or dancer to
to bring out the best of his talent. He must create an atmosphere suitable to each piece, and he must
provide a good clear rhythm and follow the voice in whatever nuances the singer may bring to it.
Also he must colour it by playing falsetas, or brief melodic sequences, between verses. The guitarist
is then at the absolute service of the singing and from it he takes all his inspiration.
When playing solo, the guitarist must convey the whole atmosphere of Flamenco. The falsetas
become much more elaborate and musical to resemble the singing. The rhythm also becomes
stronger and more elaborate to resemble the "foot-work" of the dancer.


A La Feria (Sevillanas)
A Paso Lento (Tientos)
El Mantoncillo (Garrotin)
El Nuevo Dia (Colombiana)
En Las Cuevas (Farruca)
Herecia Latina (Rumba)
La Romeria (Alegrias)
Santuario (Soleares)
Son De Companas (Seguiriyas)
Tonos Levantinos (Tarantas)

Price: €30,99
€30,99

SERRANO JUAN KING OF THE FLAMENCO GUITAR CD TABLATURE CHITARRA LIBRO SPARTITI

SERRANO JUAN, KING OF FLAMENCO GUITAR. Mani vigorose e tendini tenaci, 230 pagine, Rapida introduzione alla tecnica di base della chitarra flamenca: rasgueado, studio sul tremolo, arpeggio, picado, golpe. CD TAB.

Product Description:
Introduces basic flamenco studies, concert selections, and a brief history of the flamenco tradition. Includes the four basic song forms (siguiriyas, soleares, tangos, and fandangos) that influence all flamenco music.

Format: Book/CD Set
232 PAGES.

Contents:

Dos Colores -- Juan Serrano
Punta Umbria -- Juan Serrano
Tarifa -- Juan Serrano
Nostalgia -- Juan Serrano
Cueva Gitana -- Juan Serrano
Lamento Gitano -- Juan Serrano
Amigo Mariano -- Juan Serrano
Lagriamas De Granda -- Juan Serrano
Fantasy -- Juan Serrano
La Juderia -- Juan Serrano
Dos Colores -- Juan Serrano
Punta Umbria -- Juan Serrano
Tarifa -- Juan Serrano
Nostalgia -- Juan Serrano
Cueva Gitana -- Juan Serrano
Lamento Gitano -- Juan Serrano
Amigo Mariano -- Juan Serrano
Lagriamas De Granda -- Juan Serrano
Fantasy -- Juan Serrano
La Juderia -- Juan Serrano

Price: €43,99
€43,99

SERRANO JUAN FLAMENCO CONCERT SELECTIONS LIBRO CD TABLATURE-Rumba-Soleares-Bulerìas-Verdiales

SERRANO JUAN, FLAMENCO CONCERT SELECTIONS. Verdiales, Petenera, Zambra, Farruca, Seguiriyas, Zapateado, Rumba, Guajiras, Soleares, Bulerìas, Danòn; il flamenco in tutte le sue varie tipologie, a seconda delle città, delle regioni, dei popoli, delle influenze arabe e occidentali. Ogni brano è preceduto da una breve introduzione storica e interpretativa, (in inglese e in spagnolo). Il flamenco come la musica blues è la musica di un popolo che suona, balla e canta, ripetendo ritmi, melodie, che si tramandano di generazione in generazione, senza teorie o libri. Tra questi musicisti ci sono degli uomini come, Maruza, Robert Johnson, Muddy Waters, Sabicas, ecc. che con la loro personalità, si distaccano dal "marmellatone uniforme", e creano qualcosa di proprio. Facendo un paragone, con la lingua popolare; possiamo dire che il dialetto è un linguaggio più vero e storico dell'italiano. Il dialetto ha in sé tutte le suggestioni delle genti e delle culture che hanno attraversato o che hanno dominato quella città, ha conservato le cadenze e le sonorità. In ogni dialetto vi è il passato di quella terra. C'è un paesino in Italia, ove per dialetto si parla una lingua molto simile al francese. Perché durante il turbine napoleonico nel 1797 fu invaso, e il linguaggio popolare ne è stato fortemente influenzato. E come ci sono dei poeti bravissimi che si esprimono con il dialetto, così è per la musica. Per chi ha un cognome diverso da De Lucia, e coloro che non possono imbarcarsi immediatamente per la terra Iberica, per frequentare un dispendioso corso di alto livello per chitarra, e per chi non discende da un casato di scatenati consuma-suole di Cordoba, ove i segreti e la cultura si trasmettono come nella migliore tradizione di questa forma musicale popolare, di padre in figlio. 200 Pagine di musica. CD TAB.
in spagnolo e in inglese

Product Description:
Written in Spanish and English, this book contains 12 of Juan Serrano's finest flamenco guitar solos. Selections include: Bella Mar (Verdiales); Ensueno (Petenera); Fantasy (Zambra); Juani (Farruca); Lidia; Majestuosas (Serguiriyas); Munequita (Zapateado); Nancy (Rumba); Nostalgia (Guajiras); Posadas (Soleares); Tentacion (Bulerias); and Verde Selva (Danzon). All solos are scored in notation and tablature.

Format: Book/CD Set

Contents:

Fantasy -- Juan Serrano
Majestuosas -- Juan Serrano
Lidia -- Juan Serrano
Nancy -- Juan Serrano
Bella Mar -- Juan Serrano
Juani -- Juan Serrano
Nostalgia -- Juan Serrano
Ensueno -- Juan Serrano
Posadas -- Juan Serrano
Muniquita -- Juan Serrano
Verde Selva -- Juan Serrano
Tentacion -- Juan Serrano

Price: €33,99
€33,99

SYSTEMATIC STUDIES FOR FLAMENCO GUITAR Juan Serrano 2 CD TABLATURE A FALSETA ANTHOLOGY ALEGRIAS

SYSTEMATIC STUDIES FOR FLAMENCO GUITAR. Serrano. 447 Pagine, 10 sevillana, 10 alegrial por arriba, 10 alegrias por medios, 10 bulerias, 10 colombianas, 10 fandangos, 10 farrucas, 10 granainas, 10 romeras, 10 siguiriyas, 10 soleares, 10 tangos, 10 tarantas. 2 CD TABLATURE

Product Description:
This masterful, comprehensive book presents ten Sevillanas plus ten falsetas of each of the following popular and traditional flamenco forms: Alegrias por Arriba, Alegrias por Medio, Bulerias, Columbianas, Fandangos, Farrucas, Granainas, Romeras, Siguiriyas, Soleares, Tangos, and Tarantas. This landmark text presents the systematic development of Flamenco tech- nique. Each of the dance forms contains performance notes & a brief history. In English & Spanish and written in standard notation and tablature. Includes companion 2-CD set.

Format: Book/2-CD Set

Contents:
01) Introduction --
02) Sevillanas --
03) Alegrias Por Arriba --
04) Alegrias Por Medio --
05) Bulerias --
06) Colombianas --
07) Fandangos --
08) Farrucas --
09) Granainas --
10) Romeras --
11) Siguiriyas --
12) Soleares --
13) Tangos --
14) Tarantas

INTRODUCTION
All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4, 4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compus with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.
The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.
Almost all of the flamenco aficionados know which is the compus of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.
This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms:

Sevillanas, Alegrias por Arriba, Alegrias por Medio, Bulerias, Colombianas, Fandangos, Farrucas,
Granamas, Romeras, Siguiras, Soleares, Tangos and Tarantas

All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is
recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.
There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.
It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.
Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.
SYMBOLS
• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.
• The letters P - I - M - A - S signify the fingers of the right hand.
• The Roman numerals designate the position, I - II - III etc.
• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.
• The numbers in circles designate the strings. For example, a three in a
circle G) means the note played on the third string, a four 4 fourth string etc.
TRANSLATIONS FOR MUSIC AND TABLATURE
Freestroke ----Tirando
Reststroke ----Apoyando
Scale ------Picado


SEVILLANAS
Sevillanasare one of the most popular forms of the flamenco music. One complete Sevillana set is composed of four coplas; that is, four different Sevillanas-ealled 1st, 2nd, 3rd, and 4th. The reason is that the Sevillanas are danceable and each of them is adapted to the choreography of the dance. The complete dance is divided into four parts. The choreography of the dance is based on the rhythm, not the melody, therefore the order of the 4 Sevillanas that are in the composition can be interchanged.
This section is composed of 10 different Sevillanas in tone and melody. The order is in a progressive form in technical difficulty (advancement).
It is recommended learning all of the 10 Sevillanas; then playing the four that are liked best and interchanging them in any order. It is also recommended that the second not be attempted until the first is mastered and so on.
although the compas and the musical form of all of the Sevillanas are the same, the techniques and melodies are completely different in each one of them; therefore when the 10 Sevillanas are learned, it will be much easier to master the rest of the falsetas that make up this book.
The Sevillanas are measured in 3/4. A flamenco compas has 6 beats equivalent to 2 measures of 3/4.

SEVILLANAS
Las Sevillanas son unas de las formas mas populares entre la musica flamenca. Una composici6n completa de sevillanas consiste en cuatro copIas, 0sea, cuatro Sevillanas diferentes que se les llama primera, segunda, tercera y cuarta. La razon es porque las Sevillanas son bailables y cada una de elIas esta adaptada a la coreograffa del baile.
La danza completa esta dividida en cuatro partes. Las coreograffas del baile estan basadas en el ritmo y no en la melodia. Por 10 tanto, el orden de las cuatro Sevillanas que se esten usando en la composici6n puede ser cambiado a la conveniencia del guitarrista que las interprete.
Esta eccion de Sevillanas se compone de diez Sevillanas diferentes en tonos y melodfas. El orden esta en una forma progresiva en dificultad tecnica.
recomiendo que los estudiantes aprendan las diez Sevillanas y asf podran tocar las cuatro que mas les gusten y podran cambiar el orden a su conveniencia y gusto. Tambien recomiendo que hasta que no hayan aprendido bien la primera, no empiecen con la segunda y 10 mismo con todas las siguientes.
Aunque el compas y la forma musical de todas las Sevillanas es igual, las tecnicas y las melodfas son completamente diferentes en cada una de elIas. Por 10 tanto, cuando hayan aprendido estas diez Sevillanas les sera mucho mas facil el aprendizaje de todas las demas formas que componen este libro.
todas las Sevillanas se miden en tiempo de 3/4. El compas flamenco se compone de seis tiempos equivalente ados compases musicales de 3/4. 

Price: €62,99
€62,99

SERRANO JUAN FLAMENCO GUITAR SOLOS LIBRO CD TABLATURE CHITARRA BOLERO TIENTOS FANDANGOS

SERRANO JUAN, FLAMENCO GUITAR SOLOS. CD TAB.

Product Description:
This is a superb collection of 8 original flamenco concert guitar solos and two exciting guitar quartets. The selections feature Juan Serrano's usual technical brilliance and capture the vitality, fire and haunting Moorish moods characteristic of flamenco music. All solos are in notation and tablature. Selections include: Ensueno (Petenera for Four Guitars); Flamenco Dance (Sevillanas for Four Guitars); Canto Minero (Taranto); Mantillas de Feria; Capricho de Huelva (Fandangos); Alma (Bulerias in A minor); Andalucian Dance (Tanguillo); Blazing Guitar (Rumba); Memory of Love (Bolero); Ana Maria (Tientos). All of the solos are on the CD, but the quartets are not.

Format: Book/CD Set

Contents:

Capricho De Huelva (Fandangos) -- Juan Serrano
Flamenco Dance (Sevillanas For Four Guitars) -- Juan Serrano
Ensueno (Petenera For Four Guitars) -- Juan Serrano
Mantillas De Feria -- Arranged By Juan Serrano
Blazing Guitar (Rumba) -- Juan Serrano
Alma (Bulerias In A Minor) -- Juan Serrano
Ana Maria (Tientos) -- Juan Serrano
Andalucian Dance (Tanguillo) -- Juan Serrano
Canto Minero (Taranto) -- Juan Serrano
Memory Of Love (Bolero) -- Juan Serrano

132 PAGES

Price: €24,95
€24,95

HERRERO OSCAR TORRENTE NINE CONCERT SOLOS FOR FLAMENCO GUITAR BOOK CD TABLATURE BOOK

HERRERO OSCAR, TORRENTE. NINE CONCERT SOLOS FOR FLAMENCO GUITAR. 9 pezzi di flamenco moderno. CD TAB.

Price: €99,99
€99,99

BLUEGRASS & COUNTRY MUSIC FOR HARMONICA PHIL DUNCAN CD

BLUEGRASS & COUNTRY MUSIC FOR HARMONICA. Phil Duncan. CD

DIATONIC

CROSS-HARP

CHROMATIC


Product Description:
Attention all harmonica enthusiast! Join in the fun of playing at a bluegrass festival with a bluegrass band. This book brings to you the often performed tunes by every bluegrass and country player of all instruments. Select a few of these tunes and play them on your harmonica and you will be an instant hit! The book contains diatonic, cross harp, and chromatic stylings on 48 country/ bluegrass favorites: Bile 'Dem Cabbage Down; Arkansas Traveler; Wildwood Flower; Old Joe Clark; Roll in My Sweet Baby's Arms; Crawdad Song; and many more. The stereo accompaniment CD has 18 of the songs recorded. All 18 songs are recorded on the beginning tracks with the harmonica, and again without the harmonica included. Shown in standard notation with lyrics, guitar chords & harmonica tab.

Format: Book/CD Set

Song Title: Composer/Source:
All The Good Times Are Past And Gone
Arkansas Traveler
Banks Of The Ohio (Not On Cd)
Big Rock Candy Mountain (Not On Cd)
Bile 'Dem Cabbage Down
Careless Love
Cider Through A Straw (Not On Cd)
Cindy (Not On Cd)
Crawdad Song
Cripple Creek
East Virginia (Not On Cd)
Foggy Mountain Top
Goober Peas (Not On Cd)
Hand Me Down My Walking Cane
Hard, Ain't It Hard (Not On Cd)
I Am A Pilgrim (Not On Cd)
I Wish I Was Single Again (Not On Cd)
Jesse James (Not On Cd)
John Hardy (Not On Cd)
John Henry (Not On Cd)
Little Maggie (Not On Cd)
Lonesome Road Blues (Not On Cd)
Lonesome Valley (Not On Cd)
Long Journey Home
Lord, I'm Coming Home
Mama Don't 'Low (Not On Cd)
Midnight Special (Not On Cd)
My Home's Across The Smokey Mountains (Not On Cd)
New River Train
Nine Pound Hammer (Not On Cd)
Oh, Mary, Don't You Weep (Not On Cd)
Old Joe Clark
Precious Memeories (Not On Cd)
Railroad Bill
Raise A Ruckus Tonight (Not On Cd)
Red River Valley
Roll In My Sweet Baby's Arms
Roll On Buddy
Sally Goodin' (Not On Cd)
Soldier's Joy (Not On Cd)
Sourwood Mountain (Not On Cd)
Sweet By And By (Not On Cd)
The Foggy, Foggy Dew (Not On Cd)
The Roving Gambler (Not On Cd)
This Train (Not On Cd)
Turkey In The Straw
Wabash Cannon Ball (Not On Cd)
Wildwood Flower
Worried Man Blues (Not On Cd)

 

DIATONIC HARMONICA
Each harmonica is designed in a certain "key". When using the harmonica in that
stated "key" it is called standard or straight harmonica, such as the C harmonica is
the key of C, the G harmonica is the key of G and the F harmonica is the key of F,
etc. This also means that the center or "home" tone is the fourth hole of the diatonic
harmonica. Each different key requires a different harmonica. You may be able to
use any key harmonica in this book if you observe the numbers and arrows written
below each musical line. Normally you would use the C harmonica for this book.
In playing straight harmonica, the method for blocking out unwanted tones is called
"tongue blocking". Your tongue should cover and block off two or three undesired
holes on the left of the harmonica mouth piece:
5 6 7 8 9 10
Tongue blocks 2 or 3 holes.
The hole on the right (4) sounds.
To be able to "chord" with melody, just release the tongue covered holes and a chord
(3 or more tones together) will be produced.
on off on off
G tone
DIATONIC 10 HOLE NOTE CHART
C chord
tongue off

Cd Eg Gb Cd Ef Ga bC dE fG aC

FOR FURTHER INFORMATION about the diatonic harmonica refer to:
Mel Bay's DELUXE HARMONICA METHOD by Phil Duncan.


CHROMATIC HARMONICA
The use of the slide button will give accurate half-step tones on the chromatic harmonica.
The 12 or 16 hole chromatic harmonica have been notated in this book. A change of
octaves becomes necessary for variety and ease of playing. (All octaves on the chromatic
harmonica are the same, except the tones are higher or lower in pitch. )
Circled number
 means,
Slide in

Same tone but different octave on harmonica
Slide out

EXAMPLE: same notational level

FOR FURTHER INFORMATIONabout chromatic harmonica refer to:
Mel Bay's Complete CHROMATIC HARMONICAMETHODby
Phil Duncan.
CROSS-HARP
The method for cross-harp is to cross over to hole 2 of the diatonic 10 hole harmonica
and draw. This tone becomes (hole 2) the "key" center or "home" tone and changes the
"key" in which the harmonica plays. Therefore, C harp plays cross-harp (blues harp)
in the key of G. (G is the draw tone in hole -2) F harp plays cross-harp in the key of C.
(C is a draw tone in hole 2 of the F harp) If the music is in the key of C use the F harmonica.
The cross-harp technique allows for half step tones not normally played on the
diatonic harmonica. All draw tones should begin below the pitch: 5 then rise quickly
to pitch level.
To achieve the half steps or more, a blues technique called bending is used.
Notational information:
 = half step
down
f= whole step down ~ = whole step and a half
Octave changes need to take place for ease of playing. The numbers will dictate the changes:
Same written pitch but
different sound pitch level.

Price: €20,99
€20,99

BLUEGRASS HARMONICA Mike STEVENS BOOK & CD TABLATURE ARMONICA LIBRO METODO

BLUEGRASS HARMONICA, S. Mike. CD TAB.

Series: Harmonica
Publisher: Centerstream Publications
Medium: Softcover with CD
Author: Mike Stevens

Extraordinary harpist Mike Stevens has been named Central Canadian Bluegrass Entertainer of the Year five years in a row. In this book, he teaches all the techniques, tips and inside information you need to know to play bluegrass harmonica. He covers: holding the harp, lip pursing, tongue blocking, draw bending, vibrato, attacking the notes, wind chops, and a lot more. The CD features practice tunes for beginning, intermediate and advanced players, including two versions of some of the intermediate and advanced tunes: one at standard tempo, and one slowed down for easier learning. 64 pages

Price: €24,99
€24,99
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