ISBN 9781513455044.

The presentation of this album marks a special event in classic guitar publishing! This anthology contains 11 truly representative examples of the folklore of Latin America, all highly revered folk songs considered jewels of the musical traditions of: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela and Mexico. Artfully arranged by the renowned Mexican composer and guitarist, Guillermo Diego, students and professionals alike will discover multiple items of interest and important technical challenges while learning some of the most popular Latin-American folk tunes. To facilitate dialog between teacher and student, rehearsal numbers have been added at key points of each arrangement; additionally, the guitarist will find a handful of pieces faithful to various Latin-American styles composed by Diego. Written in standard notation only for the intermediate to advanced classic guitarist, these arrangements will make delightful additions to recital and concert programs. La presentacion de este album es una buena nueva para la guitarra; se trata de la publicacion de una antologia sumamente representativa de obras pertenecientes al Folklore latinoamericano, piezas por demas apreciadas y consideradas joyas de la tradicion musical. La musica incluida en este album abarca los siguientes paises: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela y Mexico. Los arreglos, realizados de forma artistica y amorosa fueron realizados bajo el tamiz y experiencia del reconocido compositor y guitarrista mexicano, Guillermo Diego. Tanto estudiantes como profesionales, encontraran multiples puntos de interes y retos tecnicos importantes al abordar piezas notables de la musica latinoamericana.Como un elemento extra y para lograr el estudio mas eficaz de estas obras entre profesor y alumno, cada pieza cuenta con Numeros de Ensayo; adicionalmente, el guitarrista encontrara un punado de piezas fieles a diversos estilos latinoamericanos compuestas por Diego. Musica Tradicional Latinoamericana para Guitarra de Concierto, sin duda, una novedad para el mundo de la guitarra que aportara a los programas de concierto deliciosos ejemplos de la musica de America Latina.

ISBN 9781513455709. 8.75 x 11.75 inches.

These Juan Martin compositions are for flamenco, classical and any type of guitar players at intermediate and more advanced stages who already have experience of the instrument and techniques like arpeggios, tremolo and correct left-hand fingering, but wish to extend their knowledge of thumb techniques like alzapua, the many forms of rasgueo and flamenco rhythms such as rumba, virtuosic guajiras and the mysteriously beautiful rondena, dissonant and deep. If you master these 8 solos, you will be well on the way to becoming a concert soloist. Includes access to online audio. Estas composiciones de Juan Martin son para guitarristas flamencos, clasicos y de cualquier tipo en niveles intermedios y mas avanzados que ya tienen experiencia en instrumentos y tecnicas como arpegios, tremolo y digitacion correcta de la mano izquierda, pero desean ampliar su conocimiento de las tecnicas de pulgar como alzapua, las muchas formas de rasgueo y palos flamencos como la rumba, las virtuosas guajiras y la misteriosamente bella rondena, disonante y profunda. Si dominas estos 8 solos, estaras en camino de convertirte en solista de concierto. Incluye acceso a audio en linea.

ISBN 9781513455693. 8.75 x 11.75 inches.

These Juan Martin compositions are for flamenco, classical and any type of guitar players at intermediate and more advanced stages who already have experience of the instrument and techniques like arpeggios, tremolo and correct left-hand fingering, but wish to extend their knowledge of thumb techniques like alzapua, the many forms of rasgueo and flamenco rhythms such as rumba, virtuosic guajiras and the mysteriously beautiful rondena, dissonant and deep. If you master these 8 solos, you will be well on the way to becoming a concert soloist. Includes access to online audio. Estas composiciones de Juan Martin son para guitarristas flamencos, clasicos y de cualquier tipo en niveles intermedios y mas avanzados que ya tienen experiencia en instrumentos y tecnicas como arpegios, tremolo y digitacion correcta de la mano izquierda, pero desean ampliar su conocimiento de las tecnicas de pulgar como alzapua, las muchas formas de rasgueo y palos flamencos como la rumba, las virtuosas guajiras y la misteriosamente bella rondena, disonante y profunda. Si dominas etros 8 solos, estaras en camino de convertirte en solista de concierto. Incluye acceso a audio en linea.

ISBN 9781619119550.

Johann Sebastian Bachas arrangements of the a69 Sacred Songsa from the Musical Hymnal by Georg Christian Schemelli (Leipzig, 1736) have long been part of the German language vocal concert repertoire and a mainstay in vocal pedagogy. Originally, only these 69 of the 954 hymns in the collection were published with a single bass line as the accompaniment. Bachas contribution was to specify harmonies to be played over those same bass lines by adding figured bass numbers and symbols beneath each note.A figured bass line can easily be turned into a relatively simple guitar accompaniment or a more elaborate setting, offering a range of possibilities that make working with this music both interesting and rewarding for the guitarist. While other period and modern editions of the a69 Sacred Songsa offer accompaniments for keyboard instruments, this Mel Bay publication features intermediate to advanced transcriptions exclusively for the guitar. Best suited to college-level players or advanced aficionados, this special Mel Bay Publications edition includes the vocal line with German lyrics and the guitar accompaniment transcribed from Bachas figured bass lines. Written in guitar-friendly keys, 29 of the transcriptions employ a capo to achieve the original key designed for high voices. Without the capo, these same arrangements would be suitable to be sung by lower voices. The remaining 40 hymns are in their original guitar-friendly keys and so do not require a capo.This volume contains accompaniment settings of all 69 of the sacred songs and arias for which Bach wrote figured bass annotation. For performance variety and convenience, this book includes aScores in their Original Keys,a and stand-alone aGuitar Accompaniment,a and aBass Parts.

Noël Akchoté's Gesualdo Madrigals For 5 Guitars (Complete Scores & Tabs)Noël Akchoté Downloads & Books (002). As Played on the Album (BC 26, Blue Chopsticks, Drag City)Adaptated and Anotated by Noël Akchoté - 25 Pieces x 5 Guitar Parts, Adaptated for Guitar - 477 Pages Contains Complete Separate Parts For Each Guitar (Sop1, Sop2, Alto, Tenor, Bass) + Recorder in Standard Notation & Whole Appendix of Technical Notes (2013 & 2016 Editions), Discography, Biography and More. Includes : Carlo Gesualdo's whole 5th Book (Libro V) for each Guitar (in Standard Notation & Guitar Tabs), Plus Encore from Guillaume de Machaut, Hildegard Von Bingen, Tomas Luis de Victoria & Maddalena Casulana ⓒ Noël Akchoté Downloads 2015/2016 - NA Books 002.

Carrickfergus is a coastal town on the eastern side ofNorthern Ireland. It is well-known for its castle, as a holiday destination butmostly for the beautiful nostalgic song that shares its name. The origin of themelody goes back at least three centuries and the modern version is probably ahybrid of two songs.

This download contains:

A full score

All individual parts in notes

All individual parts in TAB

The arrangement can be heard and watched here: https://www.youtube.com/watch?v=jn-wuGNeIsE

This arrangement is part of a series I amproducing which will allow gatherings of guitarists of all levels to playtogether. As a guitarist and guitar teacher, I?ve noticed how arrangements willoften be too easy for some and too hard for others leaving many ensembleplayers frustrated or dissatisfied. This is a deficiency I am resolving.

My aim is to create arrangements which arestimulating for all. I have done this by tailoring parts to suit the differenttechnical and musical experience of each level of guitarist. This makes thearrangements particularly suitable for guitar societies, school groups andfestivals. The required levels are approximated below. As an experienced musicianand composer, I have added many points of musical interest such as modulations,chord substitutions and counterpoint. This also gives teachers and leaders tothe chance to teach their groups about these devices in the context of learninga real work. Guitars 1, 2, 3, 4, 5 & 7 all play the main melody at somepoint (Guitar 6 being for near-beginners).

Technical Requirements­­

· Guitars1 & 2 will suit players of Grade 6 (intermediate/advanced) standard or above. There is somehigh-position work.

· Guitars3 & 4 are suitable for players of about Grade 4 (intermediate) standard.

· Guitar5 is suitable for a player of about Grade 2 (beginner) standard.

· Guitar6 is suitable for near-beginners. It is mainly open strings with some first-positionstopped notes. Although it is a technically-easy part, it is very motivatingfor guitarists in their early stages to play with a large ensemble. This partis optional.

· Guitar7 is suitable for players of about Grade 5 (intermediate) standard. The bass line hasornamentation, a lot of rhythmic interest and at times, the melody.

Teachers and player can also benefit fromthe fact that a recording of the arrangement, with performance notes, is alwaysavailable on-line.

Thank you so much for your purchase. Ifyou have any questions, requests or would like to send feedback, it would be apleasure to hear from you at www.danjonesguitarist.com or on my facebook page.

Dan Jones, March 2019

This is a fun piece that your ensemble is sure to enjoy. This arrangement has been carefully transcribed and arranged in the original key to be performed by at least 2 guitars and 1 bass.

I have provided you with both ?notation? and ?notation with tablature? parts so you have the choice to distribute the version appropriate to your needs or the performers? reading abilities.

Four themes (Main Theme ? Underworld Theme ? Underwater Theme ? Starman Theme) are included in this arrangement in a variety of time signatures (4/4, 3/4, and 6/8). The original tempos are indicated although you could vary the tempo to suit your ensemble?s skill level. This is a great piece for teaching 16th note (semiquaver) rhythmic groupings and triplets. Rehearsal letters have been used to aid with rehearsals as a number of sections are repeated throughout the piece.

In larger ensembles it might be appropriate to ask some performers to create a percussive accompaniment on their guitars, or to recreate the 8-bit effects from the game on electric guitars (there are some great examples on YouTube).

Suite for Guitars Quartet:
I - Prelude
II - Song
III - Waltz
IV - Tarantella
https://youtu.be/PXgZ_OMflEg
https://youtu.be/6k3JE8L_FkE
https://youtu.be/hi2YjHeQixM
https://youtu.be/JGbmVc3ckX4

Francísco Tárrega (1852 ? 1909) è il fondatore della Scuola Chitarristica Spagnola, la solache può vantare più di 150 anni distoria e un unico filo conduttore.

Partitodall?opera di Fernando Sor (1778 ?1839) e di Dionisio Aguado (1784 ?1849), Tàrrega ampliò e affinò la tecnica, arricchendo la chitarra classica dinuovi mezzi espressivi e di repertorio. Tali innovazioni sono giunte fino ainostri giorni grazie ai suoi numerosi discepoli diretti, tra cui Miguel Llobet, Daniel Fortea e PascualRoch e indiretti: Andrés Segovia,Regino ed Eduardo Sainz de la Maza, AlirioDíaz, Pasqualino Garzia e molti altri.

Emilio Pujol (1886 ? 1980), che studiò con Tárrega durante gliultimi 7 anni di vita di quest?ultimo, raccolse l?eredità del Maestro in un monumentalemetodo, in 4 volumi, di inestimabile valore: la Escuela Razonada de la Guitarra,basada en los principios de la técnica de Tárrega, con una prefazione di Manuel De Falla, portando a termine ciò che perTárrega restò un sogno e che la morte prematura non gli permise neanche diiniziare.

Il CaprichoÁrabe, scritto nel1899, è forse la composizione più celebrata di Tárrega, dopo Recuerdosde la Alhambra.

In questarevisione ho tenuto presente la versione pubblicata in Spagna dall?editore UnionMusical Española e le biografie più importanti scritte su Tárrega:EmilioPujol: Tárrega (Edizioni: L?empreinte mélodique), Wolf Moser: Francisco Tárrega yla guitarra en España entre 1830 y 1960 (Edizioni: Piles) e AdriánRius Espinós: Francisco Tárrega, una biografíadocumental (Edizioni:Orphenica Lyra).

Alla luce di taliletture, ho ritenuto opportuno segnare le dinamiche e omettere alcuniabbellimenti e glissati. Lo stesso Tárrega, infatti, pare ebbe dei ripensamentia riguardo. Ho mantenuto, pertanto, quelli nelle ripetizioni, tagliando glialtri. Ho aggiunto e cambiato alcune diteggiature di entrambe le mani, considerandol?evoluzione della chitarra classica anche dal punto di vista della costruzione,nonché la tecnica flamenca. Infine, l?idea nell?Introduzione, di eseguire laseconda scala discendente, interamente con la sola mano sinistra, è, invece,totalmente mia.

Bojano, 29Settembre 2020.

Flavio Sala.

***

?A Thousand Years? is a beautiful ballad recorded andreleased by American singer/songwriter Christina Perri in 2011.

It was used aspart of the soundtrack for the film ?Twilight Saga: Breaking Dawn ? Part 1?.

This is a very versatile arrangement with parts for intermediatelevel guitarists playing in a wide range of styles. Included in your single downloadare:

A full score (22 pages) showing all parts in notes and TAB. Please note that PARTS IN NOTES AND TAB ARE PROVIDED ONSEPARATE SHEETS allowing teachers and performers to use the notation system of their choice.

Guitar 1 part in notes and TAB

Guitar 2 part in notes and TAB

Guitar 3 part in notes and TAB

Guitar 4 part: a chordal part with some picking patterns. Thepicking patterns are shown in notes and TAB and the chords given as chordsymbols with rhythm indications throughout.

Guitar 4 part: Capo 2 is also a chordal part with some pickingpatterns. The picking patterns are shown in notes and TAB and the chords givenas chord symbols with rhythm indications throughout. This part shows transposedchords with slightly different voicing (to make the chordal part easier to play).

Guitar 5 part: a bass line with drop D tuning. The parts areprovided in notes and TAB

Guitar 5 part : provided as a bass guitar part. This is inbass clef with a 4-string bass TAB part.

The chordal part (Guitar 4) can be played by either a guitarwith a capo or one without, or both together.

Guitar 5 can be played by an ordinary guitar or a bass guitaror both.

A video with all parts being performed is shown via this page and my website: www.danjonesguitarist.com

Thank you for viewing and I hope you enjoy this arrangement of A Thousand Years.

ISBN 9781513455006.

Intermediate-level guitarists will enjoy playing through this varied collection of pieces, all in one volume. A wide gamut of composers from the Renaissance to the nineteenth century is included, along with a few anonymous contributions. Continuing with the techniques and carefully thought-out fingerings and notation employed in Dr. Afshars previous publication (Beginning Pieces for Classical Guitar), selections like Carcassi Study #3 and Sor Studies Nos. 5 and 6 require the execution of rest stroke technique on their melodies in order to distinguish them clearly from the concurrent free-stroke accompaniment. In the same spirit, Study No. 5 by Fernando Sor has been written out in a way that clearly shows the melody as it appears on beats one and three. The nine-movement suites by Gaspar Sanz and Robert de Visee introduce the student guitarist to Baroque dances and ornamentation.

ISBN 9781513459844. 8.75x11.75 inches.

This book presents 42 English folk songs arranged for the intermediate classic guitarist in standard notation with phrase and dynamic markings plus light fingering. The collection includes popular melodies like Sprig of Thyme, Seventeen Come Sunday, and Blow the Wind Southerly, but also lesser known but no less beautiful tunes like Cupid the Pretty Ploughboy, Dabbling in the Dew and Saucy Sailor. All the arrangements present the basic tune faithfully and simply before offering more elaborate and sophisticated variations suitable for concert performance. Without compromising their sophistication, these polyphonic arrangements are elegant and idiomatic to the guitar, all but devoid of excessive physical demands; even barre chords are kept to a minimum so the player can relax and focus on tone and interpretation. The primary objective of this collection is to draw attention to these deserving melodies, some of which are now rarely heard. Longtime fans of the genre will recognize a few songs once performed by folk-rock groups like Steeleye Span and The Fairport Convention, here presented anew for the solo classic guitar. Its an excellent collection - good to play for pleasure, good for learning and consolidating rhythm, good for sight-reading. Just marvelous. It should meet a lot of needs. Gilbert Biberian These are very accessible arrangements of 42 English folk tunes, some of which are familiar and many others which deserve to be better known. They are all tuneful and have interesting harmonies and rhythms in arrangements which will be well within the reach of intermediate guitarists. These fine settings would be useful pieces for a teacher looking for supplementary material and also for the performer looking for unhackneyed repertoire. They are thoughtfully presented with good fingering and phrasing, with idiomatic guitar writing and interesting harmonies. Congratulations to Peter Worley for presenting this compendium of gems from a lesser known tradition. Gerald Garcia.

ISBN 9781513459912. 8.75 x 11.75 inches.

This collection presents 51 carefully selected examples of Renaissance and Baroque music ranging from lute and 5-course Baroque guitar works to solo and ensemble vocal pieces and fiddle tunes. Much of this music lies outside of the standard guitar repertoire yet is frequently played by ensembles at Renaissance and Early Music festivals. For this book, guitarist/musicologist Keith Calmes has tastefully arranged this splendid music for solo classic guitar, including an outstanding downloadable companion audio recording. Aficionados of Early Music will recognize many of the themes herein, including the hit tunes of the day by Praetorius, Sanz, Cutting, Narvaez, and the anonymous composer of Greensleeves. Have you ever wondered which Early Music composers inspired Joaquin Rodrigos concertos? Those works are in here! By contrast, many of these pieces will sound completely new, even to lifelong guitarists. Written in standard notation only with ample fingering, guitarists and audiences alike will appreciate the music in this book. Includes access to online audio.

ISBN 9781513459691. 8.75x11.75 inches.

Silvius Leopold Weiss (1687 1750) is known to guitarists as the greatest baroque composer for the lute, yet most are only familiar with the earlier portion of Weisss prolific output found in the British Library in London. Inspired by a forty-year friendship with the late Douglas Alton Smith - a major figure in the scholarly study of the history of the lute - guitarist, composer, and head of the guitar program at Temple University in Philadelphia, Allen Krantz explored the Weiss manuscripts found in other European cities, particularly the Dresden editions which contain the fifteen sonatas that Weiss produced from the late 1730s to the end of his life. Transcriptions of three of those fifteen late sonatas are featured in this book in modern standard notation along with the original lute tablature as found in the Sachsische Landesbibliothek - Staats- und Universitatsbibliothek, Dresden. While the baroque lutes tuning makes some works awkward or impossible on the guitar, the three works presented hereSonatas No. 35 in D minor, No. 42 in A minor and No. 45 in A Major are in their original keys which happen to be guitar-friendly. The authors generous and scholarly Preface provides thorough historical and performance notes for the music in this volume. While just three of Weisss 109 multi-movement lute sonatas are represented here, the importance of this publication cannot be overstated. It contains some of the greatest music of a masterful lutenist Weiss once faced-off with J. S. Bach on keyboards in a counterpoint improvisation contestnow made accessible to the modern classical guitarist.

8.75 x 11.75 inches.

This collection of Latin-influenced pieces is ideal for the classical or fingerstyle guitarist seeking challenging new material that spans a number of genres and is melodically, harmonically, and rhythmically engaging. For the classical guitarist, the collection offers an excellent source of solos inspired by traditional forms and styles while providing new works that will readily compliment the traditional classical guitar repertoire. Fingerstyle players will discover attractive pieces, appreciating the many syncopated rhythms. The composer himself, with a degree in classical guitar, performs on a modified steel-string instrument. Written in standard notation only, the author's detailed fingerings and online audio recordings will facilitate learning these delightful pieces ranging from intermediate to advanced levels. Includes access to online audio. At Mel Bay Publications, we are privileged to hear a lot of new, original music. With Michael Bellmont's guitar compositions, we guarantee that once you hear them, you'll want to play them yourself!

ISBN 9781513455051.

The Classical Guitarist's Gig Book is an essential collection of classic works either written or transcribed for solo guitar. Many of the pieces are frequently requested for ceremonial or formal events. In addition to containing functional music, concert literature is also included which may be used for a wide spectrum of musical situations. Some of the works are presented as faithful transcriptions while others are treated with mild to generous artistic liberties.

You?reMy Best Friend

composed by John Deacon as played by Queen

Arranged for Guitar Quartet with optional Chords andoptional bass guitar

by DanJones

Thisarrangement of You?re My Best Friend hasbeen made for intermediate-levelguitarists




Guitar1 is the main vocal line, as sung by Freddie Mercury

Guitars2 & 3 contain many of the backing-vocal figures plus the electric guitarriffs and solo as played by Brian May

Guitar 4is a transcription of the bass line. It is an interesting andrhythmically-exciting part. Chord symbols are given in this part allowingchords to be added should the ensemble want these.

Guitar4 can also be played by a bass guitar. The part is also given in bass clef(sounding an octave lower).

A film of this arrangement will be available by the end of January 2020

It is myintention to provide arrangements which are exciting, original, stimulating,flexible and which people want to play. Films of all of my arrangements forboth guitar solo and guitar ensemble can be found at:

www.danjonesguitarist.com

Readabout my life as a guitarist working and living in rural France here:

www.danjonesauthor.com

Thankyou! Please be in touch.

FORMATTED FOR TWO-SIDED PRINTING: Internationally acclaimed acoustic guitarist Ellsworth ("El") McMeen has been arranging hymns and other spiritual music for guitar for over 30 years. He started in standard guitar tuning, but moved away from that tuning into various so-called "open" tunings. He has been called the "King of CGDGAD tuning," in light of his prolific arrangements and compositions in that lush and evocative tuning. This major work of spiritual music contains 26 guitar settings of hymns, spirituals, and gospel songs, all lovingly arranged for solo fingerstyle guitar in the CGDGAD tuning. This book contains a chord chart for the aid of the reader. El is included in the Digitaldreamdoor listing of the 100 Greatest Acoustic Guitarists. https://tinyurl.com/GreatestGuitarists Many of El's recordings are described here: https://store.cdbaby.com/Artist/ElMcMeen

The audio sampler contains excerpts from these 10 songs, all in CGDGAD tuning:

1. Alleluia, Sing to Jesus
2. In Christ There is No East or West
3. Jacob's Ladder
4. Joshua Fit the Battle of Jericho
5. Kingsfold (Tune: "Star of the County Down")
6. Poor Wayfaring Stranger
7. Praise to the Lord
8. Simple Gifts
9. This Is My Father's World
10. When I Survey the Wondrous Cross (Tune:
"Water is Wide")

El's double-length recording called "Gospel Guitar Treasures" can be found here: https://store.cdbaby.com/cd/elmcmeen7

Contemporary, flowing and harplike fingerstyle guitar arrangement in an open tuning (CGDGAD) of this classic song, arranged by guitarist El McMeen, who is included in the Digitaldreamdoor listing of the 100 Greatest Acoustic Guitarists. https://tinyurl.com/GreatestGuitarists Many of El's recordings are described here: https://store.cdbaby.com/Artist/ElMcMeen.

ISBN 9781619115842. 8.5 X 11 inches.

Crystal Harmonics for Guitar provides the guitarist with practical advice on playing harmonics and how to perform them with a crystal-clear tone. The material also covers various notation systems used by composers and publishers and includes examples of harmonics from regular guitar repertoire. Natural harmonic pitches and positions (by string and fret) are presented along with right-hand artificial harmonic techniques. In addition, you will learn how to tune the guitar with harmonics and how to practice passages which include them. This book can help guitarists interpret harmonics and provides composers with notational information to facilitate the reading process.

Evocative, harplike, fingerstyle guitar arrangement in Drop D tuning (DADGBE) by guitarist El McMeen of a Christian hymn. El is included in the Digitaldreamdoor listing of the 100 Greatest Acoustic Guitarists. https://tinyurl.com/GreatestGuitarists Many of El's recordings are described here: https://store.cdbaby.com/Artist/ElMcMeen El's recording of this song in CGDGAD tuning is contained in his album called "Gospel Guitar Treasures" at this site: https://store.cdbaby.com/cd/elmcmeen7.

"Jingle Bells" was written by James Lord Pierpont (1822?1893) and published under the title "One Horse Open Sleigh" in the fall of 1857. Interestingly, the piece had no connection to Christmas originally and its association with the holiday season only began decades after it was first performed by performer Johnny Pell in Ordway Hall on September 16, 1857. Many sources hint a the possibility that "Jingle Bells" was originally written to be sung by a Sunday school choir.

The version presented in this edition is arranged for solo guitar in Fingerstyle/Classical guitar style. The score remains faithful to the original melody but with some pleasant additions and idiomatic writing for the guitar. No details have been left out and the score is made with lots of care.

This piece is a perfect choice for early intermediate and intermediate guitarists, and especially for students that are playing in a Christmas recital. The score includes both Notation, Tablature and Chords.

? Great Versatility : Notation, Tablature and Chords included!
? Includes the outer section of the piece that is most often left out!
? This version is arranged for a "Fingerstyle/Classical" type of playing! It cannot be played with a pick.

Rich fingerstyle guitar treatment in Drop D tuning (DADGBE) of a classic Christian song. Arranger is guitarist El McMeen, who is included in the Digitaldreamdoor listing of the 100 Greatest Acoustic Guitarists. https://tinyurl.com/GreatestGuitarists. Many of El's recordings are referenced here: https://store.cdbaby.com/Artist/ElMcMeen.