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: MB.WBM58M

ISBN 9781736363058. 8.75x11.75 inches.

A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.

SKU: HL.14033994

0.396 inches.

This demo CD features Paul de Grae playing 31 tunes from his book Traditional Irish Guitar (OMB130). Although intended to accompany the book the CD makes good listening in itself, providing new insights into the use of the guitar and the richness and diversity of Irish music.

SKU: HL.14030881

ISBN 9781900428255. English.

William Percy French was one of Ireland's favourite sons and his influence on traditional Irish Music can still be felt today. His lyrics are still humorous, ironic and perceptive, but never mocking or scornful, and these exemplify his love of his motherland. Representing some of the finest examples of this genre, this volume contains forty-seven of his most famous and enjoyed songs all lovingly arranged by James Nealy, with melody-line, complete lyrics and chords. Includes notes on the inspiration and background of each of the songs and a commentary on the life and talents of French himself. This is a wonderful reference book as well as a compilation of his magnificent works for enjoyment. Songs include Eileen Oge, The Emigrants Letter and 'Who said the Hook Never Hurted the Worms?'.

SKU: MB.30666M

ISBN 9781513462851. 8.75x11.75 inches.

The Hawaiian word for slack key guitar, kÄ« hōâ??alu, means to â??loosen the keyâ? or retune some of the strings to create a harmonious sound with an open or alternate tuning. Slack key is a fingerpicking style characterized by strong alternating bass lines played with the thumb. While slack key can be played on any guitar, most players prefer a nylon- or steel-stringed acoustic instrument.

This book presents 25 intermediate to advanced traditional and original tunes in the Hawaiian slack key style. Melodies are often harmonized in sixths or thirds played with or without double stops. Techniques like syncopated bass lines, hammer-ons, pull-offs, slides, and harmonics are tastefully employed to evoke the images of ocean breezes, swaying palms, hula dancers and white sandy beaches.

The author writes, â??Unless you grew up playing slack key, itâ??s hard to get from the material presented in most books and DVDs to a fluid, play-it-your-own-way style.â? This book seeks to reveal the insights the author has gleaned from studying and jamming with some of the giants of the slack key style, and help you develop a style all your own.

Includes access to online audio tracks of all 25 relaxing but challenging Hawaiian slack key tunes.

SKU: IS.G6766EM

ISBN 9790365067664.

This sonata (WeissSW No. 52, 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 XXXIII is a unique copy. It 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 XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. 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.