CHITARRA - GUITAR

RENBOURN JOHN, FINGERSTYLE GUITAR: Folk, Blues & Beyond; Celtic Melodies & Open Tunings; & The Jazz Tinge. SHEET MUSIC BOOK with 3CD & GUITAR TABLATURE . 

LIBRO DI MUSICA FOLK CON 3 CD.

SPARTITI PER CHITARRA CON GUITAR TABLATURE.

Product Description:
This comprehensive Guitar Workshop Audio Series book/3-CD set brings together a variety of fingerstyle arrangements featured in three of John Renbourn's video lessons. Illustrates unique and exciting fingerstyle techniques in the performance of traditional ballads and other tunes, using standard and several alternate tunings. In notation and tablature. Includes an extensive discussion about the tunes in the collection. 120 PAGES
Format: Book/3-CD Set

... memorized because I'd learnt the tune simply to find out how the parts were worked. So then once I'd got an idea of how you approached the harmonization I found I couldn't resist playing them on the guitar and it fitted OK in D. It probably fits in may other keys as well. And the same thing with Bunyan's Hymn. I tackled that because I liked the melody and the time changes in it and I kind of reharmonized it to fit in open G deliberately.

STEFAN: How about I Saw Three Ships?

JOHN: I Saw Three Ships is also a traditional English tune and a very charming one. It's very simple but it seems to have great appeal. I really like the tune and I know a lot of other people that have a great fondness for it. It seems to me to be a really old tune, I can't say how old but it could easily fit in with the concept of medieval dance tunes that I've come across without very much change and it flows very nicely. It has a little refrain to it and hat also fits very nicely in that same tuning. So I play the two together and I throw in an number of other tradition English tunes in that medley.

STEFAN: How did you find The English Dance?

JOHN: Well I think I must have heard that also a long time ago being played by a man named Francis Bain, who was involved pretty early on in the revival of early music. He was before David Monroe. Before the kind of better, more wide spread groups that specialized in early music. I think I liked The English Dance because it features a repetitive melodic tune in a major key. I think the instrument that Francis Bain played was the fiddelle which was an old type of bowed instrument larger than a violi. The English Dance has a real punch to it when it's played on a bowed instrument because you can get top string drones against the descending patterns and I happen to like that. I found that it fitted nicely on the guitar in the open G tuning.

STEFAN: On stage you joke that it's one of the few English dances from that period of English music.

JOHN; Well, there have been quite a lot of manuscripts supposedly of English music. Lots are lodged in The British Museum but how many of them are actually English manuscripts to start, with I don't know. I think in fact, a great deal of the early dance tunes are probably northern Italian, but I think there is a chance that this one is English. Not that it matters a great deal but there we are you know - there's a certain national pride I suppose.

STEFAN: Let's talk about how you found the open G minor tuning that you use for several Celtic melodies.

JOHN: OK. There were quite a selection of tunings in the Ggroup that were handy. I used to often use a tuning with the second string up to Cwhich meant if I was playing medieval dance tunes - I used to playa tune called Trotto and another titled Salterello that both fitted quite nicely in that tuning - you could play low drones and still keep he melody going. The G minor tuning is just a variation: the second string tuned to the minor third rather than the 4th or the 2nd or whichever you like. I can't remember what I first used it for. I have an arrangement of The Moon Shines Bright which is quite a long elaborate piece. This uses the tuning and later on I used it for Nine Maidens.

STEFAN: Where did you find Owen Roe O'Neill?

JOHN: Owen Roe O'Neill is noted in the O'Neal's collection under the Carolan tunes and I wouldn't be surprised if it in Bunting's as well. In fact, I think it's in Bunting's with a harmonization by Bunting, but I took mine from the op line and harmonized it. It fits pretty nicely on the guitar in the open G minor tuning.

STEFAN: And Mist Covered Mountains Of Home?

JOHN: Mist Covered Mountains Of Home is a tune I learned from a fiddle player who I think got it from Jody Stecher. It's a highland pipe tune and it's an unusual one. Someone some time back sent me a harmony part for a second bagpipe part. I don't know of many tunes that have two bagpipes in close harmony but apparently this one as been arranged that way. I've always imagined that it's was a song but I've never actually heard complete verses s ng to it. ...

Song Title: Composer/Source:

Abide With Me/Great Dreams From Heaven - John Renbourn
Anji - John Renbourn
Buffalo - John Renbourn
Bunyan's Hymn - John Renbourn
Cherry - John Renbourn
I Saw Three Ships - John Renbourn
Judy - John Renbourn
Lament For Owen Roe O'neill - John Renbourn
Lindsay - John Renbourn
Little Niles - John Renbourn
Lord Franklin - John Renbourn
My Dear Boy - John Renbourn
My Sweet Potato - John Renbourn
Sandwood Down To Kyle - John Renbourn
The Blarney Pilgrim - John Renbourn
The English Dance - John Renbourn
The Mist-Covered Mountains Of Home - John Renbourn
The Orphan - John Renbourn
The South Wind - John Renbourn
Tramps And Hawkers - John Renbourn
Transfusion - John Renbourn
Watch The Stars - John Renbourn
White House Blues - John Renbourn

SERRANO JUAN & COREY WHITEHEAD, THE FLAMENCO CLASSICAL GUITAR TRADITION, VOLUME 1,
A Technical Guitar Method and Introduction to Music. 175 Pagine, 4 CD con 235 tracce audio. NO TABLATURE

LIBRO DI MUSICA FLAMENCO - CLASSICA CON 4 CD,
METODO, SPARTITI PER CHITARRA. CON ACCORDI E PENTAGRAMMA.

Product Description:
This beginning guitar method is written for aspiring classical or flamenco guitarists who want to learn how to read music up to the intermediate level. Music from the Spanish tradition such as Romanza, Pica-Pica, El Vito, Café de las Chinitas, Perfidía, La Virgen de la Macarena and flamenco music of Juan Serrano provides a technical and musical foundation that improves facility in playing scales, arpeggios, tremolo, and rasgueado.

Tablature is not included as the one of the primary aims of this book is to improve note reading and the comprehension of the fundamental elements of music. Performances of all musical examples are available online that includes one performance at tempo for each of the more than 230 musical examples. Short repertoire pieces from Gaspar Sanz, Dionisio Aguado, Fernando Sor, Mauro Guiliani, Ferdinando Carulli, and Mateo Carcassi are included at the end of the book and are repertoire studies that will prepare guitarists for further study in classical and/or flamenco guitar.

Product Number: 21029
Format: Book
ISBN: 0786674652
UPC: 796279100489
ISBN13: 9780786674657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/18/2008
176 PAGES

A Brief History of THE GUITAR

The guitar is a descendant of two different instruments, the Spanish instrument called the vihuela de mano, and the European lute that descended from the Arabian oud. The Arabic word oud translates in English as "wood." The oud has six courses with the lowest sounding string being a single course. The word course refers to a single string or a pair of strings placed closely together. The European lute and the vihuela had a single high string or single course on top. On the lute this string was called the chanterelle. The vihuela and the European lute appeared in six-course versions. Various configurations of the lute used many tunings and had as many as thirteen courses.

The vihuela had as many as ten courses and was tuned like the modern guitar with the exception of the third string, which was lower by a half-step from the modern guitar tuning. It was tuned, from lowest to highest sounding course: E A D F# B E. The six-course lute was generally tuned, from lowest to highest: G C FAD G. There was no absolute tuning pitch at that time and some treatises instructed the student to rune the 1st string as high as possible without it breaking. The lute is often tuned a whole step higher to (A D G B E A) to take advantage of its more brilliant and shimmering tone quality at that pitch. The earliest guitars date from around the middle of the 13th century in Spain and were mentioned in 1265 by Juan Gil of Zamora in the treatise called Ars Musica. In 1487 Johannes Tinctoris wrote about the four-course guitar being invented by the Catalans. The first music published for the four-course guitar was by Alonso Mudarra (1510-1580) in Treslibros de musica en cifraspara vihuela (1546). Nine books of tablature were published by Adrien Le Roy (1520-1598) between 1551-1555. These publications contain the first music for five-course guitar. Later in the same century Juan Bermudo (1510-15-) and Miguel Fuenllana (1525-1585) wrote music in tablature for the guitar. A treatise from the late 16th century in Spain refers to two techniques of playing the guitar; rasgueado (strumming) or punteado (picking with the fingers). The technique of alternate picking toward the palm of the right hand with two fingers, such as the index and middle fingers, was called dos dedos. There was a further explanation of a technique called dedillo that refers to a rapid up and down movement of the index finger to strike an individual string when playing scale passages.

The baroque guitar had five courses that were tuned to unison at the first, second, and third strings and to an octave at the fourth and fifth strings. The two exceptions are that sometimes the fifth string did not have me bourdon or lower octave string, and sometimes the first string was a single course like the chanterelle of the lute. The former would make the fifth string the highest sounding string on the instrument, many performers preferred the latter, and some performers employed both. The fifth string was the highest sounding string and me fourth was the lowest. On the modern guitar the fifth string is tuned an octave lower than the guitar of Gaspar Sanzo In 1674 in Italy, Francisco Corbetta (1620-1681) published Guitarre Royale, dedicated to King Luis XIV of France. In 1596 in Italy there was a school of guitar playing called the Alpha Beta School. The primary scholars of the school were Juan Carlos y Amat and Palumbi. They developed a system of chord notation that was noted .m letters to describe the chord to be played. They also used the terms "rasgueado" and "punteado" in their rreanse. Between 1770 and 1800, the six single-course guitar was commonplace and following this development composers such as Fernando Sor (1778-1839) Spain/France/England, The famous Mauro Giuliani (1781-1829) Italy, ... 

Contents:

A Note from the Authors
The Guitar - A Brief History
La Guitarra (poem)
Preface
Parts of the Classical Guitar
Parts of the Flamenco Guitar
Names of the Open Strings
Tuning
Metronome
Note Locations on the Fretboard
Sitting Position and Holding the Guitar
The Fingers of the Right and Left Hand
Fingernail Shape and Maintenance
Picados (Scales) - Apoyando (Rest Stroke) and Tirando (Free Stroke)
Arpeggios (Broken Chords)
Tremolo (Preparatory Exercise)
Rasgueado (Strumming)
Basic Elements of Music Notation
Musical Expression Symbols
The Musical Alphabet
Half Steps and Whole Steps
The Major Scale
The Open Treble Strings
Systematic Arpeggio Exercises
Alternating Index and Middle Fingers...
Sueño
The Open Bass Strings
Playing on the Bass and Treble Strings
Notes on the First String
Soleares
Notes on the Second String
Music in Two Parts
Playing Eighth Notes
Notes on the Third String
Sevillanas
Sevillanas I (Trio)
Sharps and Flats on the 1st, 2nd and 3rd strings
The Fifth Position on the First String
The Natural Sign
Romanza in A Minor
Romanza
Farrucas
Sixteenth Notes
Slurs
Estudio No. 2
Estudio No. 2 (Duet)
The Major Scale
The Natural (Relative) Minor Scale
The A Harmonic Minor Scale
The A Melodic Minor Scale
The Chromatic Scale
Notes on the Fourth String
Chords
Fandango
Fandango Duo
Notes on the Fifth String
Historia de un Amor
The Dotted Quarter Note
Perfidia
Notes on the Sixth String
Farrucas (Bass Line)
Farrucas
El Zorongo (Bass Line)
El Zorongo (Melody)
Playing the F Major Chord
Playing Two Notes Together (Double-Stops)
El Vito
Rasgueado
Sevillanas Intro
The Natural Notes
Sharps and Flats on the Bass Strings
The Chromatic Scale
El Rancho Grande
Alternating Bass and Chord Progression
El Rancho Grande (Duet)
Ascending and Descending Slurs: Ligados
Left Hand Agility Exercise
Chords in C Major and A minor
Las Mañanitas
Greensleeves
Scales and Chord Progressions
Rumba Rhythm
Scales and Chord Progressions cont
The House of the Rising Sun
Variations on a Theme from Asturias
Malagueña
Intervals
Chords
Triads
C Major Arpeggio and Chord Inversion
The A Minor Arpeggio and Chord
The G Major Arpeggio and Chord
The F Major Triad
Barré Chords
Chord Progressions
Petenera
Café de Chinitas
La Virgen de la Macarena
The High D and E on the First String
Pica-Pica Melody (Guitar I)
Pica-Pica Accompaniment (Guitar II)
Pica-Pica Accompaniment (Guitar III)
Pica-Pica Accompaniment (Guitar IV)
Pica-Pica (quartet)
Key
Chord Substitution
Key Signatures
The Circle of Fifths
Major and Minor Scales in the First Position
More Chords in the Circle of Fifths...
Allegro by Ferdinand Carulli
Allegretto by Carulli
Andante by Carulli
Allegro in E minor by Carulli
Etude in G Major by Carulli
Andantino by Carulli
Larghetto by Carulli
Romanza
Menuet by Robert de Visée
Lección 38 by Dionisio Aguado
Clarines de los mosqueteros del rey de Francia by Sanz
Allegro by Mauro Guiliani
Andante by Ferdinand Carulli
Conclusion
About the Authors

THE DEFINITIVE BOOK FOR LEARNING SALSA GUITAR ACCOMPANIMENT.

OVER 200 EXAMPLES IN BOTH 2-3 AND 3-2 CLAVE.

Con BACKTRACKS.

LIBRO DI MUSICA SALSA.

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .

METODO, 

By Carlos Campos. For Guitar. Latin. Level: Beginner. Book/CD. 85 pages.
Salsa and Afro Cuban Motunos For Guitar, by Carlos Campos. Finally the first instructional book showing guitarists how to play Salsa styles. Following on from his highly successful Salsa piano/keyboard instructional books Carlos Campos has created a book for guitarists with over 400 examples (60 examples recorded on the CD) with each more...example for 2-3 and 3-2 clave. There is both written music and tablature These Salsa patterns can be used for Jazz, Latin Jazz and Flamenco musical styles.

INTRODUCTION

THE CLAVE

MODES

DOMINANT 7th

PROGRESSION I-IV-V-IV

PROGRESSION I-IV-V-IV-V-IV-I-IV

PROGRESSION I-IV-V7-I

PROGRESSION I-II-V7-I

PROGRESSION II-V-I

HALF STEP DESCENDING PROGRESSION

WHOLE STEP DESCENDING PROGRESSION

SON MONTUNOS

STANDARD PROGRESSION IN 2/3 CLAVE

STANDARD PROGRESSION IN 3/2 CLAVE

SELECTED DISCOGRAPHY

FLUID SOLOING BOOK 1, ARPEGGIOS FOR LEAD ROCK GUITAR. Tim Quinn. CD TABLATURE

Product Description:
A modern arpeggio handbook and comprehensive training manual for developing fast, flowing arpeggio runs that connect the entire fretboard. Emphasis is on developing fluid, non-shifting arpeggio patterns (across the neck) using hammer-ons and pull-offs for speed and fluidity; and also on developing smooth position-shifting arpeggios (along the length of the neck) using slides. These two types of motion are then connected and combined in an extensive collection of soloing etudes for full assimilation. The result is a complete system of arpeggio pathways that connects every part of the fretboard and facilitates maximum speed, fluidity, and range. Complete whole-neck connections are presented for major 7th, dominant 7th, minor 7th, minor 6th, half-diminished, diminished 7th, major triadic and minor triadic arpeggios.

This book is for all guitarists who are serious about improving their ability to solo over chord progressions using arpeggios, in any style of music; including rock, jazz, fusion, blues, country or pop. Having the ability to instantly outline any chord in a song with a fluid arpeggio run (no matter where your hand is on the neck) is immensely valuable for every guitarist. This book methodically teaches you the skills that make this possible. Loaded with melodic arpeggio passages that can be applied to your music immediately, this is perhaps the most practical and powerful arpeggio book ever written. CD included. Standard notation and Tablature.
Format: Book/CD Set

heartfelt thanks goes out to all the teachers who profoundly impacted my own playing and learning ... thank you jack Petersen, Dan Haerle, Rich Matteson, and Tom johnson at the University of North Texas, as well as to my teachers at Berklee College of Music.To the musicians who have been so inspiring ... Steve Morse, Pat Martino,john Coltrane, Eric johnson, Chick Corea,jimi Hendrix, Frank Zappa, Barney Kessell,Wes Montgomery, Stevie RayVaughan,Albert King,jeff Beck, Steve Vai, Dexter Gordon, Cannonball Adderly, joe Satriani, Igor Stravinsky, Eddie Van Halen,AI DiMeola, Greg Howe, joe Pass, Robben Ford,Vinnie Moore,Allan Holdsworth, and Carlos Santana; for the teachings of Paramahansa Yogananda; to Bill Bay and the fine staff at Mel Bay Publications, Inc.; to Bruce Saunders for his caring engraving; to Dave Austin and George Sanchez for their generous assistance; to josquin DePres at Track Star Studios for much inspiration and guidance; to the many students who have been indispensable in helping me streamline these materials; to my parents who provided the music education and encouraged the young performer; and especially to my wife, Mari, who lovingly tolerated the thousands of hours with me at the guitar while I formulated these concepts ... thank you. The title of this book is "Fluid Soloing:Arpeggios for lead Rock Guitar". Its purpose is to teach you how to solo over chord changes using strictly arpeggios only, as opposed to using scales. Section I of this book presents a special collection of non-shifting arpeggios for the guitarist, designed for developing blistering speed and maximum range while keeping the fretting hand in one location on the neck. These are the fundamental arpeggio components, necessary to facilitate the eventual connection of arpeggios. So, please understand that the activities of connecting arpeggios really begin on page 37. Go right there and beyond for arpeggio connections at any time you wish. Do understand, though, that most of Section I of this book is in itself a practical manual of arpeggio non-shifting fingerings for every guitarist. In order to develop the connection of arpeggios, we must start with these basic non-shifting shapes. It is all about understanding the anatomy of the guitar fretboard and its inherent arpeggio shapes. You will be instructed in how to connect them in activities beginning on page 37 and beyond. But you needn't learn all the shapes in Section I before moving on to Section 2. just begin by practicing a few of the shapes between pages 8-36. But then jump ahead, too! For instance, try pages 38,49,67,84,88 or 90 for some challenging fun, while you continue to pursue the material between pages 8-36. There is enough material in this book to keep you busy for the next two years or more. This is truly a wizard's handbook to arpeggio usage. 

ARPEGGIO CONNECTIONS is a unique collection of 164 cyclically repeating arpeggio studies, designed to provide the guitarist with a logical and effective method for developing fast, fluid arpeggio runs that move freely across the entire fretboard while outlining specific chordal harmonies. The two-fold concept is simple: Section I) to develop the ability to play fast and powerful arpeggios ACROSS THE NECK using hammer-ons and pull-offs for fluidity (non-shifting motion where the fretting hand stays in one area of the fretboard); and Section 2) to develop the ability to play smooth and fast arpeggio runs while the fretting hand shifts ALONG THE NECK using slides (which I like to call "horizontal" motion, since the hand is moving sideways, parallel to the earth's horizon) By developing complete non-shifting arpeggio control, and also developing complete position-shifting arpeggio control, the resulting effect is whole neck fluid motion that freely weaves together an established matrix system of arpeggio patterns and pathways. The design of the material in this book is highly scientific, having been developed through many years of shaping and crafting this concept. What you are holding in your hands is a manual for developing smooth, flowing arpeggio movement on the guitar, which is useful to ALL GUITARISTS in pursuit of virtuosity in ANY STYLEof music. The student should feel free to go directly to the studies anywhere in the book, but is encouraged to eventually read and understand the ideas discussed in the appendix. The goal is to play blistering, continuous streams of fluid melodic lines that outline specific chords. The appendix addresses certain issues that are fundamental to this type of virtuosic control (such as how the organization of strict alternate picking is affected by hammers, pull-offs and slides). By playing the patterns and exercises herein on a regular basis for weeks, months, and years, the player's control over the instrument will continue to unfold and to grow ever more formidable and fierce. This book is the first book in the 'FLUID SOLOING SERIES',a unified set of books that explain different aspects of whole neck fluid motion on the guitar. The soloing etudes marked "Comprehensive" are included to demonstrate some of the techniques from the other three books, as well as the techniques presented in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns. If you like the content of this book, check out the other books in the series as well.

introduction

section one: RAPID FIRE ARPEGGIOS
NON-SHIFTING - Fast & fluid arpeggio patterns for Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(b5), Minor 6, Major Triadic, Minor Triadic chords. Arpeggios are presented in seven different sets. Each set is identified by a number that indicates the string with the lowest root and the finger that plays it in that set (for example, Set 5-1 arpeggios have the root on the 5th string fretted with the 1st finger).Set 5-1 Arpeggios
Set 6-1 Arpeggios
Set 5-4 Arpeggios
Set 6-4 Arpeggios
Set 4-1 Arpeggios
Set 6-2 Arpeggios
Set 5-2 Arpeggios

Practice Suggestions
Soloing Etudes
section two: EXTENDED ARPEGGIO RUNS
POSITION-SHIFTING - Fluid, melodic exercises for whole-neck motion.

Arpeggio Runs with a 16th Note Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triadic, Minor Triadic)
Arpeggio Runs with a Triplet Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triad, Minor Triad)

Practice Suggestions
Soloing Etudes

Appendix: "Guide For Using This Book"
Tablature Symbols Key
106 PAGES

STERN MIKE, THE BEST OF. 184 Pagine. GUITAR TABLATURE

LIBRO DI MUSICA JAZZ.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Guitar Recorded Version TAB
Artist: Mike Stern

17 guitar transcriptions with tab from this jazz guitarist who got his start playing with Miles Davis in the '80s. Includes: Chromozone - Little Shoes - Mood Swings - Nardis - Sunnyside - There Is No Greater Love - Wing and a Prayer - and more. 184 pages

Chromozone
Jigsaw
Like Someone In Love
Little Shoes
Mood Swings
Nardis
Odds Or Evens
Play
Sunnyside
Swunk
That's What You Think
There Is No Greater Love
Time In Place
Tipatina's
Upside Downside
What I Meant To Say
Wing And A Prayer