Par HANS LANDAU. Lorsque j'ai commencé à pratiquer la mandoline plus sérieusement, je ne se sentaient pas convaincu en jouant des mélodies de la seule note. J'ai organisé beaucoup de pièces dont je savais depuis ma guitare jouant au fil des décennies, juste pour mon propre usage sur la mandoline. Mon but était de combiner les mélodies avec cordes de la façon qui font les joueurs de guitare. Dans mon livre, vous y trouverez le résultat de mon travail, allant de la Renaissance au Barock, de l'Irlande et l'Italie aux Alpes. Une section supplémentaire avec des morceaux plus difficile satisfera le joueur avancé. / Niveau : Débutant à Intermédiaire / All Styles - Solos / Recueil / Mandoline

Music For Mandolin, Fiddle And Guitar. Par MARSHALL MIKE. En trente ans de jouer dans les bandes et de partage d'idées musicales et des idées avec certains des meilleurs musiciens dans son domaine, Mike Marshall a connu une formidable occasion de composer de la musique pour certains joueurs incroyables. Les pièces individuelles dans cet ouvrage reflètent le désir de créer quelque chose, il se sentait serait adaptée à la situation musicale à portée de main : les joueurs, l'instrumentation, la musique qu'ils étaient intéressés à explorer et leurs objectifs collectifs et des rêves. Dans la plupart des cas, ces tunes où il a appris par l'oreille et ceux qui joue jamais scie graphiques comme celles-ci. Multi-instrumentiste Matt Flinner a eu la tâche de transcrire la musique de Mike dans la notation et l'onglet. / Niveau : Intermédiaire / All Styles - Solos / Tablatures / Mandoline Tablatures

Authentic mandolin transcriptions of these classics by the Father of Bluegrass: Blue Grass Breakdown · Blue Grass Special · Can't You Hear Me Calling · Goodbye Old Pal · Heavy Traffic Ahead · I'm Going Back to Old Kentucky · It's Mighty Dark to Travel · Kentucky Waltz · Nobody Loves Me · Old Crossroad Is Waitin' · Remember the Cross · Shine Hallelujah Shine · Summertime Is Past and Gone · Sweetheart You Done Me Wrong · Travelin' This Lonesome Road · True Life Blues.

Most of the music in this book comes from editions or manuscripts from England in the late 1500’s. There are also a few French pieces. The cittern was popular in Italy England and France. Aside from various tunings there weretwo main kinds of instruments being played during the 16th and 17th centuries: the 4 course (four sets of doubled strings) and the 6 course cittern with several editions of music to go along with both. The pieces I have chosenfor this book were all written for the 4 course instrument and fall into three main categories: dance music song arrangements and free pieces. The free pieces are basically preludes that explore the melodic range of theinstrument. As the title suggests these pieces can be played very freely and need not have a very strict tempo. The dance pieces are not really meant to be danced to but rather take their form and rhythm from the popular courtdances of the time. These can be played with a wide range of overall tempo but once a tempo is chosen should be strictly adhered to. The song arrangements are settings of popular songs of the time as well as more formal vocalsettings. Care should be taken in making the melody clear and singing. Since the range of the cittern and mandolin are the same John Holenko has kept the melodies intact. Because of the difference in tuning however thevoicing of the harmonies have been changed so as to fit on the mandolin.

In addition to being one of the world's greatest bluegrass musicians Sam Bush is a clear and dynamic instructor. This terrific two-part series will help aspiring mandoling players improve their technical prowess build repertoire and develop formidable musicianship on their instrument. Teaching traditional fiddel tunes Bill Monroe-style instrumentals and his own compositions Sam provides detailed instruction in pick technique rhythm chopping speed building warm-up exercises tremolo improvised soloing and much more. You'll learn how to create variations on melodies use drone strings for fiddle-like effects employ crosspicking tecniques for a smoother sound and move upthe neck to play in higher positions. The songs and variations you'll be playing include: Ragtime Annie Bile Them Cabbage Down Blackberry Blossom Sally Goddin Big Mon Get Up John Brilliancy Whayasay and Big Rabbit. As a bonus Sam privides insight into his instruments and equipment his favourite strings pick gauges and the ways that his instruments have been set up to suit his exacting requirements.

This book is designed for mandolinists seeking to develop their left and right-hand technique. The exercises included help reinforce fundamental actions of playing and challenge the player to master the various permutationsand combinations of these fundamentals. Each hand is given primary focus working across all four strings or up and down the fretboard before both hands are challenged simultaneously. Through these exercises a player canimprove their functioning abilities and facilitate better control over the instrument. Practicing these workouts can help with the mechanics of playing as well helping a player improve accuracy speed and agility in bothhands.

While many extant photos of string band artists show members holding a mandolin it often can barely be heard in most period recordings because the most important instrument to capture was usually the fiddle or voice. Thiscollection provides you with the opportunity to learn over 70 old-time-music period songs recorded mostly by Ernest Stoneman or the duo Grayson

These fabulous collections for players of all levels feature 21 must-know bluegrass songs & instrumentals created especially for learning players by the genre's leading artists.The artist plays a basic solo that states the melody of the tune then a more adventurous improvisation and each solo is transcribed in detail.The CD provides the audio versions of the solos plus multiple rhythm tracks performed at moderate tempo for easy play-along.This great series will help you build your repertoire & get your licks in shape so you can shine in your next performance or jam session!

If you've heard jazz guitarists like Joe Pass play chord melody you may think that the style requires an encyclopedic knowledge of music theory musical super-powers or making a deal with the devil. But fear not! This bookwill show you how to create your own satisfying chord melody arrangements on the Mandolin...and will do so in a practical applicable way.'Aaron Weinstein has many musical accomplishments. I am very proud to have playeda small part with some of them. When he was only 12 he made his first recordings and asked me to play Mandolin on them. I was knocked out to encounter someone that young that was conversant in both old-time or contest fiddling andJoe Venuti style jazz. Not long after that Aaron became interested in the Mandolin and chords and he came by every so often to play and discuss voicings improvisation and the like. I showed him some of the Jethro Burns chordmelody arrangements that Jethro showed me. I've been teaching those for decades in hopes of one day playing them smoothly myself!Fast forward a few more years and Aaron has a Berklee degree traveled the worldplaying hot Violin music and is hobnobbing with the greatest NYC jazz stars. And oh yeah one other thing: he took the art of chord-melody Mandolin style to an entirely new level! The rich harmonies of the standard jazz and showtune repertoire the swinging bass lines and connecting chords and independent voice movements (doing more than one thing at a time) are all present in Aaron's style thanks to his great ear open mind and gift at locating thingson the fretboard. And now Aaron has documented explained and shared his discoveries and approach with all of us in this book. Thank you Aaron!This is truly a step-by-step method that you will enjoy. You'll findyourself saying 'oh of course!' as the author gets you playing and understanding things that sound very detailed and complex. The first section I would call the mandolinistic stuff: the how-to on getting things moving and

50 Celtic Reels A-L For Mandolin-Steve Kaufman Three Time National Flatpicking Champion does it again. This first installment of a four part series brings us Kaufman's's favorite Celtic Reels transcribed for the Mandolin (and Fiddletoo). Though the title says 'Fifty' reels there are actually quite a few more. This is a large collection of reels will build your repertoire as well as help you develop more ideas licks and runs for arranging your ownmelodies. All the songs in the book are played note for note on the accompanying audio at about - speed. Your goal is to learn the song memorise it and then race with the Champ. Includes access to online audio.

Mel Bay are proud to announce that they have a new DVD hot off the press entitled Bill Monroe Style Mandolin. On it Chris who is a mighty fine picker teaches five Monroe-style tunes literally note-by-note:Big Mon Bluegrass Breakdown Raw Hide Wheel Hoss and also a terrific bluesy break to Man of Constant Sorrow.Chris teaches the four Monroe compositions very close to the recorded versions and in facton Wheel Hoss he's practically mirroring every note of what Monroe played. These lessons are all taught carefully note-by-note showing every pick stroke and naming every note all the way through each tune. No Tab.DVD.

The book Método de Mandolina begins at the very beginning of learning to play the mandolin starting with the basic tuning of the instrument how to sit position one?s head and hold one?s hands. There are many pages of exercises that lead to easy pieces and more difficult short works all in Spanish style.In this age of the Guitar it is remarkable to know that the mandolin was the most popular instrument throughout the Western world at the turn of the last century at the time of the publication of this book. For the most part at that time the virtuosi were considered to be Italian and the best instruments from Italian makers though many other companies were involvedin the production of many forms of the mandolin. This is ironic however as it is frequently asserted that the earliest form of lute or mandolin entered Europe with the Moors onto the Iberian peninsula in the shape of the oud. In the late 19th and early 20th centuries serious composers included lute parts in their major works and wrote pieces expressly for mandolinists and for the thousands of mandolin Orchestras that sprang up throughout Europe and in the New World. That Método de Mandolina remains available is a testament to its usefulness and the expertise of its author in giving teachers and students a volume from which to teach and learn.

Telemann for Two Mandolins. As one of the most productive composers in history, Georg Philipp Telemann endeavored to supply a steady stream of new music for both professional and amateur musicians. The 64 compositions in this collection fall into three categories:Sonatas for two treble-clef instruments without bass accompaniment.Pieces for solo instrument and bass.Movements from Telemann?s many trio sonatas and overture-suites for two melody instruments and bass.Written in standard notation only for two mandolins, or mandolin with violin, flute, recorder, or any other instrument of similar range.

An exciting and varied collection of 35 traditional tunes from around the world arranged for easy mandolin. All tunes are written clearly in standard notation as well as mandolin tablature. An accompanying CD contains all the tunes played at a manageable speed accompanied by a backing band of guitars bass fiddle and percussion.The tunes come from Africa North and South America Europe The Middle East Asia and Australia and are specially arranged by the author with the beginning/intermediate mandolinist in mind. On the CD the tunes are played 2 or 3 times so you can really get into the feel of the tune when playing along. The speed of the tunes is quite slow but not so slow as to take away from the essential feel of the music.There is a mine of great music to be discovered from around the world a sample of which can be found in this unusual and stimulating selection which may well prove to be a springboard to further studies of traditional styles.