TRADITIONAL SOUTHERN ITALIAN MANDOLIN AND FIDDLE TUNES JOHN LABARBERA CD TABLATURE

TRADITIONAL SOUTHERN ITALIAN MANDOLIN AND FIDDLE TUNES JOHN LABARBERA. CD TABLATURE

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER MANDOLINO.

ACCORDI, PENTAGRAMMA E TABLATURE.

Product Description:
The first and foremost Italian mandolin book dedicated to the traditional music from Southern Italy. Written in standard notation and mandolin tablature with guitar and mandolin chord accompaniment, this book introduces the reader to the various authentic folk songs from the regions of Campagnia, Calabria, Puglia, Sicily and Sardinia. With detailed descriptions of the songs and dances, historical and technical information about tarantella and pizzica music, the book will increase the knowledge and repertoire of Italian folk music for both beginners and professional musicians alike.

The book provides an excellent foundation needed to play in the style of the music. With preparatory technical studies, the student will learn the Italian style of tremolo, picking, and rhythms that accentuate the music. Together with the accompanying CD, the student will be able to play along and follow the precise nuances that distinguish the music.

- The first and foremost Italian mandolin book dedicated to the traditional music from Southern Italy.
- Written in standard notation and mandolin tablature, with guitar and mandolin chords
- The reader will learn authentic folk songs, together with historical and technical information about tarantella and pizzica music
- For beginners and professional musicians who want to expand their repertoire of Italian folk music
. The first and foremost comprehensive mandolin book focusing on traditional Southern Italian folk music
- Teaches playing techniques and historical information about the mandolin, tarantella and Italian folk music
- An important asset for beginners to professional musicians interested in expanding their knowledge and repertoire of Italian folk music.

About the Mandolin
The eapolitan Mandolin, also known as the round back or bowled back mandolin, may have descended from the tenth century when similar instruments such as the Ud were first introduced through Arabic culture in Southern Italy. Throughout medieval and renaissance Europe, these instruments evolved and developed their own unique playing styles and various terms were used to describe them such as: lute, quintern, chitarra, and pandora. An instrument referred to as the mandola first appeared in Italian documents in Florence in the late sixteenth century. Manuscripts about the Italian Commedia dell'Arte also referred to it as an instrument used by .Scappino' , one of it's stock comic characters and the most musical of the Commedia troupe. Even the great violin maker, Antonio Stradivari, was also responsible for making an instrument called the mandolino, however at that time the instrument had five courses and gut strings and could be considered a soprano lute. B the sixteenth century, Naples was the cultural capital of Southern Italy and its style of music and instruments influenced all of Europe. The use of metal strung, plectrum instruments had already been popular in Naples with instruments such as the colascione and the chitarra battente and were used to accompany popular songs and dances. It was not until the major developments in construction made by Neapolitan luthiers in the eighteenth and nineteenth century, that the mandolin continued to be successful. One of these first important luthiers was Gaetano Vinaccia whose instruments were widely in use during the 1740's. However, his son Pasquale, could be credited for redesigning a mandolin around the 1830's which used eight metal strings, or four courses, was played with a plectrum made of tortoiseshell instead of a quill and was tuned in fifths, (g,d,a,e) similar to the violin. Because the mandolin was now fitted with steel strings, an influence that might have come from new innovations on the piano and violin, Vinaccia also changed the construction of the instrument in order to fit the tension of the strings and to produce more volume. Thus, the modem mandolin was born. The instrument became known as the Neapolitan Mandolin especially because of its popularity in and around Naples and it's success as quickly influencing the rest of the world. B the late 1800's, mandolins were very much in demand and with the rise of Italian immigration to America, mandolins were being manufactured in the United States. Italian luthiers were working for larger manufacturers uch as Lyon and Healy of Chicago and the C.P. Martin company in Nazareth, Pennsylvania. Some of these lutbiers tried to work on their own and set up shops in downtown New York City where the Italian population as the greatest. One of them was Angelo Mannello, who emigrated to New York from Naples in 1885. The standard Neapolitan design had not changed much since Vinaccia until 1898 when Orville Gibson, an inentor from upstate New York, came up with a successful design of a mandolin with a flat back. The idea of a flat back had been unsuccessful before and not very popular. Gibson finally got his patent in 1902 and the flat back mandolin began to flourish and seep into the mainstream of American music. There have been many debates since that time over the preference and sound of the two instruments. Whatever your preference, you will find the music in this book to be very rewarding as you enjoy playing authentic tunes from Southern Italy.

... As Lomax discovered in the 1950's, traces of every period in Italian history could still be heard in the folk music. The songs that have survived clearly have passed the test of time. Some of the songs such as the "Antidotum Tarantulae" and the Neapolitan villanelle we know are from the 1600's and have the characteristics of renaissance music. I was very fortunate to have learned many of these songs while living in Italy during the early 1970's, when there was a resurgence of interest in traditional music. At that time, the Neapolitan composer and director Roberto De Simone and his group, La Nuova Compagnia di Canto Popolare, had led the way by performing and recording songs from the region of Naples. With new arrangements he brought forward many unknown traditional songs based on his research. Many of the tunes in this book were taught to me as I sat down with my guitar and mandolin in an apartment in Florence with the street musicians who later formed the musical group Pupi e Fresedde. They were all from the south of Italy and began singing their traditional songs on the streets and piazzas of Florence, just as it might have been in the sixteenth century. Joining their original troupe and performing and touring with them all over Europe and on the east coast of the United States for several years, I began to realize the vast repertoire of songs that existed and how much of it had been past down by oral tradition. It also gave me an excellent opportunity to be part of the tradition itself and inspired me to continue researching more about this music as well as understanding how it was to be played with the right feeling and gusto. Upon my arrival back to the United States in 1979, I had felt so enriched by the experiences I had in Italy performing and recording with Pupi e Fresedde on the album La Terra Del Rimorso (Divergo-Polygram, DVAP 029), that I wanted to bring to American audiences these beautiful melodies and rhythms. (I was sure that my Italian grandparents would have been proud of
me). Also for the Italian-American community, I felt it was important to re-connect this music that many had forgotten upon their arrival in the new world. That year, I formed the group I Giullari di Piazza in New York City, (my home town) together with the Italian actor Claudio Saponi, from RIMINI, who was a highly trained actor in Italian theater especially the Commedia del'Arte, and with Alessandra Belloni from Rome, Italy. With all of the music I had learned in Italy, I began to teach musicians this repertoire while making my own arrangements as well as writing new compositions inspired on the traditional forms. At first the American audiences were not accustomed to this kind of Italian music and most people wanted us to play the standard Italian music that had already been absorbed into the I mainstream. The Tarantella was only known as an Italian wedding dance and no one had ever heard of a Pizzica or Tammurriata. However, the musicians that I photo: Colita, Barcellona (Spagna) first started to teach this music to were very supportive and eager to learn all about the music and traditions connected to it. During the early 1980's the group I Giullari di Piazza were beginning to make these songs heard to new audiences in New York and throughout the States, presented in theatrical productions which included music, theater and dance. In 1986, I had the great opportunity to work together and tour with one of the most famous singers of traditional Sardinian music, Maria Carta. Known throughout the world for her haunting and heart felt interpretation of Sardinian music she had often been described as Italy's Joan Baez. I had already been familiar with the unique guitar playing style while living in Italy, however working with her on a tour of just voice and guitar forced me to pay close attention to the fine articulation necessary for Sardinian music. She had also taught me so many beautiful songs during our rehearsals, that I cherish them like precious little jewels.

Product Number: 21488BCD
Format: Book/CD Set
ISBN: 078667783X
UPC: 796279106283
ISBN13: 9780786677832
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 4/27/2009

Format: Book/CD Set

Contents:
Song Title: Composer/Source:
Abballati, Abballati
Alla Carpinese
Alziti Bbella
Angelare
Antidotum Tarantulae (part 1)
Antidotum Tarantulae (part 2)
Bo e la ri-bo
Cu Ti Lu Dissi
Danza Siciliana
Fasola Siciliana
Figghia di'n Massaru
Fischiettando
Fronni d'Alia
II Ritornello delle Lavandaie del Vomero
La Ndrezzata
La Palumella
La Procidana
La Sant Allegrezza
La Zita Passa
Marenaresca
Matajola
Motivo di Cantastorie
Pizzica-Pizzica
Pizzicarella
Pizzicarella Mia
Ricciulina
Serenata Amalfitana
Sonos E Memoria
Tammurriata
Tarantella dell 600
Tarantella di Ogliastro
Tarantella Nfuocata
Tarantella Paesana
Villanella Ch all Aqua Vai
Volumbrella
Vurria Addeventare

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