SKU: HL.298412
ISBN 9781540063595. UPC: 888680952884. 9.0x12.0x0.02 inches. Lil Nas X feat. Billy Ray Cyrus.
This sheet music features an arrangement for piano and voice with guitar chord frames, with the melody presented in the right hand of the piano part as well as in the vocal line.
SKU: HL.49008000
ISBN 9783795751616. German.
Kaum ein Instrument bietet so viele verschiedene Spieltechniken und Begleitmoglichkeiten wie die Gitarre. Dieser Band tragt diesem Phanomen Rechnung und beantwortet wichtige Fragen rund ums Thema Rhythmus. Was sagt mir ein einzelnes Akkordsymbol? Wie verstehe und interpretiere ich ein Harmonieschema? Wie bekomme ich einen Uberblick uber die verwirrend vielen verschiedenen Harmonien? Ein Mix von Ubungsbeispielen und bekannten Standards ermoglicht auch Einsteigern den schnellen Zugang zur jazzigen Spielweise, zumal die anfangs gezeigten Akkordverbindungen keine Fingerakrobatik erfordern. Es wird vielmehr Wert darauf gelegt, die vielfaltigen Variationsmoglichkeiten aufzuzeigen und die eigene Kreativitat zu fordern. Durch die Darstellung der Akkorde als Griffdiagramm ist es moglich, ohne Notenkenntnis erfolgreich mit dem Buch zu arbeiten. Vorausgesetzt werden die Beherrschung der Grundakkorde in der ersten Lage und der Barregriffe wie z.B. F-Dur. Auf der beiliegenden CD sind die Ubungen und die Standards vom Autor zusammen mit Saxophon, Bass und Drums in professionellem Sound eingespielt. Erganzt wird der Band ausserdem durch eine Jazzakkord-Tabelle.
SKU: MB.30522M
ISBN 9781513464237. 8.75 x 11.75 inches.
Ideal for the intermediate-level guitarist, these 17 traditional tunes from the UK plus one from France are arranged to be played with your electric guitar plugged-in. The transformation that occurs in switching from acoustic to electric instruments adds an unmistakable Celtic rock element to the authorâ??s companion recording.
The tunes are all played twice through on the recording and transcribed note-for-note in the book. The recording features backup from both electric bass and a second electric guitar, often played with a slide and a little â??dirtâ? thrown into the mix. Skillful bodhrán and djembe playing on many of the tracks adds to the dynamic nature of the recording.
Many of these tunes can be played in lower positions but a few venture as high as the 14th fret. Playing one note at a time within a narrow range, if you donâ??t read particularly well now, working through these tunes will help you improve and gain confidence as a sight reader.
Written in standard notation and guitar tablature. Includes access to online audio.
SKU: BT.VOLMB161
ISBN 9788863881585. French.
The last volume of this superb series dedicated to the acoustic Guitar begins with exercises enabling development in style and precision. Techniques such percussive riffing, right hand damping, slaps, tapping, slap harmoniesand tremolos are studied. You will broaden your knowledge of Celtic music, blues, improvisation, alternative scales and also learn to play worldwide music styles such as reggae, African music, Brazilian, norteno music and a mix ofeverything.
These methods are very important for intermediate and advanced guitarists and equally include a study of more that 10 alternative scales and teach how to analyse, contrast and voice movement. Everyguitarist,average to professional will find material to improve their acoustic Guitar playing.
SKU: BT.MUSIMP10037A
ISBN 9781843287353. English.
The Scissor Sisters came bursting into the public consciousness in 2004 with their amazing self-titled debut album. It celebrates the sexual energy of the New York nightlife and is the perfect mix of styles and influences;meldingdisco with rock, pop, ballads, funk and dance. It is so infectious they have won over even non-believers with their camp and ambiguous exuberance. Heavy with keyboards and a healthy dose of party fun thrown in forgoodmeasure, this flamboyant melting pot band is the freshest slice of glittery rock-pop and feathered disco heard for a long time. This book contains all the songs from the album including the hit singles TakeYourMama, Comfortably Numb and Mary all presented in Piano Vocal and Guitar Chord box format.
SKU: MB.99870M
ISBN 9780786687176. 8.75 x 11.75 inches.
Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century. Both stylistically and harmonically, he opened doors for others to follow. This book will focus on the first period of Coltranes career, when he was with Miles Davis, and the jazz vocabulary he used. First, to help the student better understand Coltranes bebop style of improvising, the authors discuss the use of guide tones, bebop scales, three to flat nine, targeting, and other techniques. Then the text presents numerous one-, two-, and three-measure jazz lines in Coltranes style in notation and tablature grouped by the harmony over which they can be used. The accompanying play-along online audio provides the rhythm parts for each section, including a track for each section that modulates through the cycle of fourths, helping you master the phrases in all keys. By combining various lines, musicians will be able to mix and match numerous combinations of these lines to play over ii-V-I progressions, turnarounds, and other harmonic situations. Incorporate these essential jazz lines into your vocabulary and you will be able to create your own lines in the style of John Coltrane. Includes access to online audio.
SKU: DZ.DZ-4308
ISBN 9782898522253.
Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture àlaquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'à Âuvre m'a amené àtrouver des titres qui invitaient l'interprète àapprofondir l'inspiration esthétique de l'à Âuvre. J'ai donc suggéré àGiorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu àquatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée àla Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue àla manière de Buxtehude (qui vivait àLübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né àHalle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait àMagdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'à Âuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'à Âil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des à Âuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'àcelle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'à Âuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'àla fin de la Chaconne de Magdebourg. Je souhaite àGiorgio et àë notre û Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
SKU: BT.DHP-1002052-400
ISBN 9789043110617. International.
This fun selection of 29 songs can be used in conjunction with every guitar method to provide some light relief between lessons. The pieces are suitable for the first year of study and have been written as a single melody line without chords. It contains a mixture of well-known titles and new compositions in a variety of styles including blues, folk, rock and hip-hop. Some of the melodies also offer the chance for simple improvisation on the given note patterns.Klassiek, bleus, volksliedjes, maar ook rock en hiphop. De liedjes van Guitar Fun, geschreven in allerlei stijlen zijn geschikt voor het eerste leerjaar. Het boek is naast elke gangbare gitaar methode te gebruiken In de loopvan het speelboek worden de liedjes steeds een beetje moeilijker. Kortom: Guitar Fun!Dieses lustige Spielbuch für Gitarre mit Mitspiel-CD kann zusammen mit jeder gebräuchlichen Gitarrenschule verwendet werden. In den Stücken, die für das erste Jahr geeignet sind, werden den Schülern verschiedene Musikstile vorgestellt: Klassik, Blues, Volksmusik, aber auch Rock und Hip-Hop. Trente morceaux variés pour guitaristes débutants (classique, blues, folk, rock et même hip-hop). 29 canzoni che si possono affiancare ai classici metodi per chitarra. I brani sono pensati per chi è ai primi anni di studio, e sono scritti in diversi stili musicali. Potrete esibirvi divertendovi con il CD allegato al libro, che propone le registrazioni complete dei brani realizzate da una coinvolgente live band. Suonerete per la prima volta sentendovi parte di una vera band musicale, dove voi sarete la chitarra solista!
SKU: HL.49045084
ISBN 9783795749125. 9.0x12.0x0.329 inches.
The edition provides a varied mixture of the latest songs and immortal classics and is an attractive addition to the repertoire for classical guitar. The two experienced teachers have developed the songbook for private and group lessons at music schools. It is also suitable for music-making at home. Chord symbols are provided for the optional accompaniment by a second guitar player. Including Dust In The Wind, Let Her Go, Pegao, Starry Night (Vincent) and many more!
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