SKU: MB.31088
ISBN 9781513473413. 8.75X11.75 inches.
Whether you already play old-time music, or you are just getting started, this is the book for you.áDan Levenson�s Master Collection of Old-Time Tunesápresents more than 300 tunes in standard notation with suggested chords for you to explore and enjoy. All but a few are traditional or older tunes and are easily searched online to discover their pedigree as well as several recorded versions of them.Some might call this a complete repertoire in a book in the following sense: It is a large though not encyclopedic collection of old-time fiddle tunes played in today�s sessions.Learning the tunes in this book will give you a solid old-time repertoire that would allow you to join in jams in the many communities playing old-time music today.
SKU: GH.GE-11464
ISBN 979-0-070-11464-6. A4 inches.
Work note by the composer: When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone. The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work. Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line. The work is divided in three parts. I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other. The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end. II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere. III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible! Benjamin Staern
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: 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
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: IS.G6765EM
ISBN 9790365067657.
This sonata (WeissSW No. 4, Dresden) 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 XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. 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: MB.31060M
ISBN 9781513468051. 8.75x11.75 inches.
As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. Titles include: Oh, You Beautiful Doll, I’ve Got The Blues, High Society, St. Louis Blues, Davenport Blues, Poor Butterfly, Dixie Jass Band One-Step, Memphis Blues, Big Foot Ham, Grandpa’s Spells, The Original Jelly Roll Blues, Midnight Mama, Milenberg Joys, Fizz Water, Back Home in Indiana, Sweet Georgia Brown, Red Wing (An Indian Intermezzo), There’ll Be Some Changes Made, Way Down Yonder In New Orleans, Charleston, Where The Morning Glories Grow, Limehouse Blues, Susie (of the Islands), I Need Some Pettin’, Weather Bird, Cornet Chop Suey, Kansas City Stomps, King Porter Stomp, Jubilee Stomp, Take It Easy, If I Had You, Moonlight Serenade
SKU: IS.G6763EM
ISBN 9790365067633.
This sonata (WeissSW No. 25, Dresden) 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 XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. 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: HL.49018705
ISBN 9781847612489. UPC: 841886016569. 9.0x12.0x0.15 inches. English.
This unique publication is designed to be a fun play-along book for students who want to enjoy soloing freely, instead of having to cope with too many scale changes. With interesting heads, and long open sections, the tunes encourage creativity over the inspiring contemporary material. This book is suitable for intermediate students seeking a challenge as well as more advanced players requiring additional material to explore. On the CD there are minus one tracks to play along with as well as complete performance versions so that the reader can draw upon different interpretations of the improvised material.
SKU: HL.173375
ISBN 9781495069482. UPC: 888680628833. 9.0x12.0x0.186 inches.
This book with access to online video content contains the most complete advanced collection of arpeggios ever! Rusty Cooley, one of the world's most technically advanced shredders, unveils the secret patterns, shapes and techniques that have propelled him to guitar greatness. Rusty begins with the 5 and 6 string shapes through melodic sequences and advances into additional concepts that expand your view of the guitar. Learn extended arpeggios, string skipping and legato techniques, single string triads, two string arpeggio sequences and diminished 7th arpeggios. Rusty goes where no other instructor has gone with intervallic 6 string shapes, complicated arpeggio phrases and his own song excerpts that are not for the weak hearted! A must have for all guitarists. Includes: over two hours of video; 80 pages of lessons; free lifetime membership for online lesson support; digital ebook version; and more! Video content is accessed online using the unique code in each book.
SKU: BT.RGT0793573625205
UPC: 793573625205.
Learn the Acoustic Guitar and prepare for your RGT exams with Practice Pal interactive audio-visual software for PC.
Practice Pal has been meticulously programmed to contain all thescales and chords that are included in the RGT Acoustic Guitar exam syllabus.
You can play along with your PC, guided by the interactive display. There is also an innovative random practice mode that will help you to preparefor your exam by prompting you to play randomly selected scales and chords.
Practice Pal can be used for independent study at home with the RGT handbooks or to complement lessons with ateacher.
Thisdisk covers Preliminary Grade to Grade 2 and is compatible with Windows XP, Windows Vista, Windows 7 and Windows 8.
Versions for Electric, Bass and Classical Guitar are also available.
SKU: MB.20196M
ISBN 9780786691630. 8.75 x 11.75 inches.
Countless musicians have been inspired upon hearing Charlie Christian for the first time. In this exciting book, the author has compiled 39 precise solo transcriptions in notation only , as well as a thorough analysis of each. There is also a complete how to section that is a book in itself. The author has recorded each transcription in slow and fast versions. The book contains some of Charlies best work including the Jam Sessions at Mintons, John Hammonds Spirituals to Swing concert and the Celestial Express Blue Note Recordings. Charlie Christian was the first to popularize the use of the electric guitar in jazz. He was the pioneer who led the way. Includes access to online audio.
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