SKU: HL.14011400
ISBN 9780711956056. 9.0x12.0x0.052 inches. English.
A fun space adventure musical full of information on technology, the solar system and travel. Ideal as an end of term production at any time of the year. Duration: 45 mins. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: MB.31008M
ISBN 9781513467016. 8.75x11.75 inches.
Blind Lemon Jefferson was a trail blazer, both as a singer and guitarist, but also as a commercial phenomenon, for he was the first blues musician to establish the tremendous appeal that blues, as played and sung by rural African American folk, had for the record-buying public. It is no exaggeration to say that the sales of Lemon’s records paved the way for a host of other solo rural blues musicians to record in his wake and made the record companies more willing to give other musicians a chance, in the hopes of achieving similar success. Lemon’s record sales weren’t what made him a great musician, though - that could only be attributed to his startlingly virtuosic guitar - playing and soulful singing, developed over years of busking, building on his natural gifts with a great deal of practice and work. In the Guitar of Blind Lemon Jefferson author John Miller presents transcriptions, in standard notation and tablature, of 22 of Lemon’s greatest performances, with an additional essay examining Lemon’s senses of time and phrasing and his picking techniques. Also included is a download link to all the original recordings. To present a picture of Lemon the man, noted blues researchers Alan Governar and Kip Lornell have contributed an essay focusing on Lemon’s early life, the origins of his music, and his time spent in a musical partnership with Lead Belly. Links are provided to downloadable performances of the songs in the book from which the transcriptions were made, so that you can have Lemon’s sound in your head as you learn to play his songs.Blind Lemon Jefferson was remarkable, even in a style that abounded in great musicians, and some measure of his influence can be seen in the fact that musicians recorded in the 1960s, more than thirty years after his death, were still covering his songs and stealing guitar licks from him. The Guitar of Blind Lemon Jefferson gives you the resources needed to learn what was so special about Lemon’s music, and to experience his musical excellence from inside the music itself.Titles include: One Dime Blues, Got The Blues, Dry Southern Blues, Big Night Blues, Rabbit Foot Blues, Shuckin' Sugar Blues, Where Shall I Be, Wartime Blues, Black Horse Blues, Prison Cell Blues, Piney Woods Money Mama, See That My Grave Is Kept Clean, He Arose From The Dead, Beggin' Back, Broke And Hungry, Bad Luck Blues, Matchbox Blues, Lemon's Worried Blues, That Crawlin' Baby Blues, Easy Rider Blues, Stocking Feet Blues and Right of Way BluesLevel 2/3 • 160 pages • Direct download link to audio files.Â
SKU: HL.286931
0.244 inches.
For more than a century guitarists have been irresistibly drawn to Bach's remarkable cello suites. Here, for the first time, are thefirst four in the easiest and most resonant guitar keys. Suites I-IV must be transposed to work on the guitar, whereas Suite V is always played in A minor, in Bach's own lute version, and the equally demanding Suite VI can only be played in its original key of D. By adding as little as possible, these arrangements preserve the integrity of the originals, in which melody, bass and harmony are woven effortlessly into a single fabric. They also, crucially, offer the guitarist Bach at a lower level of difficulty than his music for lute or unaccompanied violin. Another unique feature is the inclusion of optional 'improvised' divisions - suggestions for the additional ornamentation of passages to reflect typical 18th-century performance practice. This is an essential addition to any guitarist's library with selected movements featured in the 2009 ABRSM guitar syllabus (Grades 5-8). This publication beats the others hands down; no contest. I can't see me needing any other edition of these four suites. They are that good. Buy with confidence. Classical Guitar.
SKU: IS.G6129EM
ISBN 9790365061297.
Carcassi was born in Florence, Italy, and first studied the piano, but learned guitar when still a child. He quickly gained a reputation as a virtuoso concert guitarist. He moved to Germany in 1810, gaining almost immediate success. In 1815, he was living in Paris, earning his living as a teacher of both the piano and the guitar. On a concert tour in Germany in 1819, he met his friend Antoine Meissonnier for the first time. Also a famous guitarist, Meissonnier published many of Carcassi's works in his Paris publishing house. For Meissonnier he also arranged a number of popular songs for guitar that were originally written for piano, including works by Théodore Labarre and Loïsa Puget. From 1820 on, Carcassi spent the majority of his time in Paris. In 1823, he performed an extremely successful series of concerts in London that earned him great fame, both as a performing artist and as a teacher. However, in Paris, a long time passed before his talents were truly recognized, partly because of the presence of Ferdinando Carulli. Carcassi was in Germany again during autumn 1824. Afterwards he performed in London, where his reputation now gave him access to more prestigious concert halls. Finally he returned to Paris. For several years, he made concert trips from here to the most important cultural towns of Europe, including London. After a short return to performing in 1836, he quit his concert practice around 1840 and died in Paris in 1853. His most famous works are collected in his 25 Etudes op. 60. In these, he managed to blend technical skills and brilliant romantic music. This is the reason his music is still played by so many classical guitarists today.
SKU: BT.MUSAM996996
ISBN 9781849380140. English.
The Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.Now these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!Over 180 great songs! Perfect for all players and singers!The bonus CD contains backing tracks to 16 of the songs in the book.
SKU: IS.G6764EM
ISBN 9790365067640.
This sonata (WeissSW No. 23, London) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XVII comes from Weissâ??s middle â??productiveâ?? period, thought to have taken place between 1719 and 1725. The original tablature manuscript is in the British Library (London Ms. Add. 30387). It is the only London Sonata with a title: Divertimento à solo. The Sonata has ten separate movements: Prelude (PrÇ£lude), Entrée, Bourée I and II, Gavotte I and II, Sarabande, Menuet I and II, and Saltarella. The Entrée is nothing more than an Allemande. The Saltarella resembles the Scottish Gigue. The pairs of the middle â??dancesâ?? are intended to be played side by side, as one coherent movement in which the second part complements the musical notion of the first part. There are concordant copies of the first parts of the Bourée, Gavotte and Menuet in the Sächsisches Landesbibliothek in Dresden (Suite XXVI). Bourée I can also be found in the Bayerische Staatsbibliothek in München, although it is quite different from the London version. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: BT.CAZJSBCELL01
For more than a century guitarists have been irresistibly drawn to Bach’s remarkable cello suites. Here, for the first time, are the first four in the easiest and most resonant guitar keys. Suites I–IV must betransposed to work on the guitar, whereas Suite V is always played in A minor, in Bach’s own lute version, and the equally demanding Suite VI can only be played in its original key of D.By adding as little aspossible, these arrangements preserve the integrity of the originals, in which melody, bass and harmony are woven effortlessly into a single fabric. They also, crucially, offer the guitarist Bach at a lower level of difficultythanhis music for lute or unaccompanied violin.Another unique feature is the inclusion of optional ‘improvised’ divisions – suggestions for the additional ornamentation of passages to reflect typical18th-century performance practice.This is an essential addition to any guitarist's library with selected movements featured in the 2009 ABRSM guitar syllabus (Grades 5-8).“This publication beatsthe others hands down; no contest. I can’t see me needing any other edition of these four suites. They are that good. Buy with confidence.”Classical Guitar
