ISBN 9781513459899. 8.75 x 11.75 inches.

Easy to Play Flamenco and Classical Guitar Solos is an essential song book for beginner to intermediate players learning to play flamenco and classical guitar. Featuring 23 songs, this book introduces students to flamenco palos/styles such as zambra, sevillanas, rumba and verdiales; and classical guitar songs such as milonga, waltzes (vals) and etudes that utilize fundamental right-hand techniques/arpeggio patterns commonly found in classical songs. And be sure to check out my other book, Classical and Flamenco Guitar Solos and Etudes, co-written with Elysa Hochman. Includes access to online audio and video.

A guitar study composed by Ukrainian guitarist and teacher Eugen Sedko, inspired by folk music of Moldova and Romania, the bass melody is common for lautary style. Notes and tabs together. Enjoy!

New apoyando/picado exercises that I hope it will be interesting to play. Sincerely speaking, I don't like exercises because they are mostly for technique and there is no music. I wanted to create exercises that would be interesting for me, the musical exercises. I am satisfied with this work - now I have more good exercises for myself and I share it with you. Each exercise is made like a cycle. You can practice some important technique elements - left hand transitions that are common in flamenco guitar music, with p/h/glissando. These patterns are also useful as guitar licks for flamenco fusion improvisation. Enjoy!

Blues in B for solo classical or fingerstyle guitar. Explore the blues in a not-so-common key. Four-page score with tablature. Includes solo section w/optional improvisation.

Blues in E-flat for solo classical or fingerstyle guitar. Explore the blues in a not-so-common key. Four-page score with tablature. Includes written solo section or optional improvisation.

ISBN 9781619119178.

These selectionsA represent one of the first collectionsA of traditional Jewish music for solo guitar. It includes arrangementsA appropriate for parties, weddings,A recitals, Bar or Bat Mitzvahs, B'ritA Milah (Covenant of Circumcision), orA just for personal enjoyment. These works range in difficulty from moderate to advanced. Fingerings are given alongA with correlating tablature toA facilitate learning. An appendix isA included with transliterated Hebrew orA Yiddish words as well as chord symbolsA for accompaniment purposes. EnglishA translations are given when it isA common to do so. Includes access to online audio that contains all of the pieces in the book recorded in stereo format. It serves as both an aid in learning as well as aA very enjoyable solo recording. Level ofA difficulty - intermediate.

ISBN 9781619119499.

In this unique collection, multi-instrumentalist Rob MacKillop presents 30 airs and dances from Scotland, Ireland and England transcribed for the modern guitar in open-D tuning (DADFa-AD). Although conceived for fingerstyle playing, most of these traditional, Classical and Baroque pieces are also playable with a pick. During the mid to late 18th century, a wire-strung instrument which could be described as a cross between a guitar and a cittern appeared in Britain. With the exception of the publications in Edinburgh by Robert Bremmer (c. 1713 a 89), most period writings refer to this instrument as the guittar. In providing extensive historical and performance notes on this music, the author has adopted this spelling. While derived principally from the publications by Scottish guittarists Robert Bremmer and James Oswald (1710 a 69), MacKillop discovered additional Scottish publications and manuscripts in The National Library of Scotland and even more manuscripts in the uncatalogued library of Blair Castle in Perthshire, Scotland. Written in standard notation and tablature, this book brings a particularly uncommon repertoire to light with an exceptional downloadable recording. Includes access to online audio.

ISBN 9781610651783. As one can easily imagine, it would be very hard for a guitar student to start reading the scores of the traditional choro repertoire, most of them with large number of technical difficulties. It would be much better if they could start with some easier pieces - of intermediate level - in order to be presented to the choro language in a more gradual and appropriate manner. That is the main goal of this book. It has 13 studies (in the 13 more commonly used keys for the choro guitar) written in a reduced form and in the principal stylistic choro variants: besides real choros, there are polkas, maxixes, Brazilian tangos and xotis. The more used and characteristic rhythmical figurations are present in each of the studies as the principal. Also aiming at the simplification of execution, all studies were composed with only two voices (melody and bass) and with no chords (although harmonies are quite evident due to the choro melodic particularities). Audio with all 13 studies is included.