Crosby, Stills and Nash: Guitar Chord Songbook contains 37 hits from the kings of rock harmonies, including Almost Cut My Hair, Carry On, Chicago, Dark Star, Just a Song Before I Go, Our House, Teach Your Children and more. / Guitare

Par RUSH. Learn to play 17 Rush classics by studying the note-for-note guitar transcriptions of every note Alex Lifeson played on 17 Rush classics. The transcriptions are presented in notes and tab and also include lyrics. Songs include: The Big Money · Closer to the Heart · Distant Early Warning · Fly by Night · Force Ten · Freewill · Limelight · New World Man · Red Barchetta · Spirit of Radio · Subdivisions · Time Stand Still · Tom Sawyer · The Trees · 2112-I Overture · 2112-II the Temples of Syrinx · Working Man./ Tablatures / Guitare

60 chefs-d'Oeuvre Motown fourni avec paroles complètes et accords cadres: ABC - Ain't No Mountain High Enough - Baby I Need Your Lovin 'Baby Love - - Je l'ai appris par la rumeur - I'll Be There - Just My Imagination - Lady Marmalade - - Sir Duke Stop! Au nom de l'amour - La façon dont vous faites ce que vous faites - What's Going On - You Can't Hurry Love - You Keep Me Hangin 'On - et plus encore. 6 'x 9' / Guitare

Par ONGARELLO ANTONIO. by Antonio Ongarello. Learn and play 12 Jazz Standards. When I decided to introduce some of the best jazz Standards, my desire was to propose them in a 'live” version, i.e. how I'm used to play them. While keeping quite adherent to the originals, me-lody / Jazz / Recueil / Guitare

Strum the chords (and sing along!) with 20 of John Denver's top hits: Annie's Song · Autograph · Back Home Again · Calypso · Fly Away · Follow Me · Goodbye Again · I'm Sorry · Leaving on a Jet Plane · Looking for Space · My Sweet Lady · Poems, Prayers and Promises · Rocky Mountain High · Shanghai Breezes · Sunshine on My Shoulders · Take Me Home, Country Roads · Thank God I'm a Country Boy · and more. Each song is in its original key with chords, strum patterns, melody and lyrics. / Guitare

Le songbook contient 20 chansons bien connues par Johnny Cash, arrangé pour la guitare. Peter Bursch, l'un des principaux professeurs de guitare de l'Allemagne, explique comment lire les chansons, tout comme les versions originales. Un CD et DVD sont également inclus. Ce livre inclut les chansons Folsom Prison Blues, Ring Of Fire, Bird on a Wire, I Walk The Line et plus. / Guitare

Jazz Piano Solos Series Volume 57. Par METHENY PAT. 24 songs from this legendary guitarist and composer beautifully arranged for jazz piano solos! Includes: Always and Forever - Antonia - Are You Going with Me? - Better Days Ahead - First Circle - Have You Heard - In Her Family - (It's Just) Talk - James - Last Train Home - Letter from Home - The Longest Summer - Make Peace - A Map of the World - Mas Alla - Minuano (Six-Eight) - New Year - Phase Dance - Question and Answer - The Road to You - Sirabhorn - So May It Secretly Begin - Sometimes I See - Unity Village. Includes chord names./ Recueil / Guitare

Under the sun of Los Angeles, America, I love America. Par DI MOSOLE SERGE. / Niveau : 3 - 4èmer Année / Répertoire / Guitare

Apprenez à jouer des accords ouverts avec des chansons rock réel! Ce guide du débutant vous enseigne les riffs intemporelle de 18 hymnes rock, de la trésorerie des Beatles et Johnny à Guns 'N et le Nirvana! Comprend un CD audio avec des pistes pour tous les exemples dans le livre morceaux:. About a Girl - - American Girl Brown Eyed Girl - Don't Be Cruel - Folsom Prison Blues - Hey, ce soir - Stand by Me - - Tulsa Time What I Like About You - - Yellow Submarine et plus. / Guitare

Par VECTOMOV I.. / Niveau : Elémentaire / classique / Répertoire / Guitare

Une heure avec la guitare présente une sélection minutieuse des plus belles pièces de la littérature de la guitare. Tous les noms familiers à chaque guitariste professionnel et amateur - Aguado, Carulli, Carcassi, Coste, Giuliani, DORS et beaucoup d'autres - sont représentés i / Guitare

for Teaching and Private Study Content : Contents of the book: - Preface - The Author - Text Styles Used in This Book - About this CD - Posture - The Sound of the Flamenco Guitar - Gingerlabelling - Rasgueo - One-Finger-Rasgueo - 3-Finger-Rasgueo - 4-Finger-Rasgueo - Continuing Rasgueo - Pulgar - Pulgar and ima-Downstroke - Pulgar and Rasgueo - Remate - Pulgar-Downstroke - Ayudado - Golpe - Golpeador - i- and p-Downstroke with Golpe - m-Golpe with Downstroke - The Rumba-Stroke - Tresillos - a-m-i-p-Rasgueo - Guitarra Flamenca - Guitarreros - Guitarreros actual - La Cejilla - Guitarristas actual - Unas - Palmas - Compás - Modo Dórico - Glossary - Contents of Volume 2 - Adresses - . - Contents of the DVD: - Lesson 1: - Rasgueado - Punteado - Sencillos I (Tangos) - 3-Finger-Rasgueado - Estudio por Soleá - 4-Finger Rasgueado - Sencillos II (Tangos) - a-m-i-i-Rasgueo - Naino I (Tangos) - . - Lesson 2: - Pulgar - Naino II (Tangos) - Naino III (Tangos) - Naino IV (Tangos) - Remate - Mantón (Soleá) - Ayudado - Caí (Alegrías en Do) - Ayudado I - Ayudado II - Rumbita I (Rumba) - . - Lesson 3: - Golpe - a-Golpe - Mantón II (Soleá) - i- and p-Downstroke with Golpe - i-Downstroke with Golpe (Garrotín) - p-Downstroke with Golpe and p-Upstroke (Garrotín) - Naino V (Tangos) - m-Golpe - Quejío I (Taranto) - m-Golpe with Downstroke - The Rumba-Stroke - Rumba-Compás I - Rumba-Compás II - Rumba-Compás III - Rumba-Compás IV - Rumba-Compás V - Rumba-Compás VI - . - Lesson 4: - Tresillo I - Tresillo II - Tresillo III - Tresillo IV - Tangos-Compás with Tresillos - Soleá-Compás with Tresillos I - Soleá-Compás with Tresillos II - Soleá-Compás with Tresillos III - Soleá-Compás with Tresillos IV - Fandango de Huelva (Intro) - Fandango de Huelva (Copla) - Sevillanas (Intro) - Sevillanas - Paso Lento (Alegrías) - Mantón III (Soleá) - . - El Compas: - Menu - Alegrías - Soleares - Bulerías - Fandangos - Guajiras - Petenera - Siguiriyas

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.