SKU: MB.WBM44M
ISBN 9780999698075. 8.75 x 11.75 inches.
This collection of 47 favorite guitar picking tunes includes reels, jigs, waltzes, fiddle tunes and more, each presented in standard notation and tablature with backup chords. As these melodies lend themselves well to jamming, this collection is sure to bring any guitarist many hours of picking pleasure. Includes access to an online audio recording of the author performing each piece on a 12-string guitar.
SKU: PR.ZM32350
SKU: MB.WBM76M
ISBN 9781736363096. 8.75x11.75 inches.
This comprehensive book contains the solos found in five William Bay guitar solo collections.á The solos range from colorful foot tapping reels, breakdowns, hornpipes, jigs, fiddle tunes and sea chanteys to country and Celtic ballads and waltzes.á Also included are numerous original guitar solos.á All 143 solos in this collection are recorded by the author and online access to the recordings is included. All solos are presented in notation and tablature.
SKU: UT.CH-111
ISBN 9790215316317. 9 x 12 inches.
The three original pieces for guitar Notturno, Napolitana (popolar songs) and Roma (March for guitar), together with three transcriptions, are included in a manuscript of 36 pages, noting in the frontispiece “Transcriptions and compositions of F. Balilla Pratella sent as a tribute to M.R. Brondi (1920)”.These compositions follow a traditional language, and, in the tonality and the alternating themes, are an expression of Pratella’s folkloric vein, with cantabile and melancholy melodies, with the exception of the march, that show some echoes of the nineteenth century guitar masters’ way of composing.There is a characteristic use of the quartine with no alternated thumb forefinger tremolo, that immediately recalls the plectrum orchestra so much used by Pratella in his youth.The discovery of these pieces – which happened accidentally and saved them from certain destruction – contributes to enhance that period of great guitarist turmoil preceding Segovia, establishing itself at the beginning of twentieth century in Italy with three compositions from an author that, along with the Bonaccorsi and Colacicchi, anticipated that current – already initiated by the Fara, Gabriel, Caravaglios – which was, in the following decades, to go by the name of ethnomusicology.