By Music Sales. Jazz. Advanced. DVD, Instrumental Tutor. Text language: English. 20 pages. Published by Music Sales

Composed by Athenais Paulian. For guitar unaccompanied. The Guitarist's Repertoire, Vol.11. Full Score - Study. Standard Notation. Op.1. 16 pages. Editions Orphee #494- 02969. Published by Editions Orphee

By Vivian Campbell. Instrumental Reference. Music Sales America. DVD. Hot Licks #HOT220. Published by Hot Licks

Compiled and edited by Rico Stover. For Guitar (Classical). Solos. Classic. Level: Advanced. Book. Size 8.75x11.75. 264 pages. Published by Mel Bay Publications, Inc.

Guitar - Intermediate

SKU: MB.31060M

Perfect binding. Jazz. Book and online audio. 180 pages. Mel Bay Publications, Inc #31060M. Published by Mel Bay Publications, Inc (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

By Benjamin Britten (1913-1976). Edited by Julian Bream. For Guitar. Book; Classical Guitar Solo; Masterworks. Faber Edition. 20th Century; Masterwork. Published by Faber Music

By Adrian Ingram. For Guitar (Fingerpicking). Solos. Jazz. Intermediate-Advanced. Book. 48 pages. Published by Mel Bay Publications, Inc

(Mastering Jazz Guitar). By Jody Fisher. For Guitar. This edition: Standard Notation Only. Book; CD; Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Complete Method. Jazz. Advanced. 96 pages. Published by Alfred Music

Edited by Mario Martino. Saddle stitching. Classical. Ut Orpheus #CH 275. Published by Ut Orpheus

Guitar - intermediate

SKU: MB.30666M

Hawaiian, Saddle-stitched. Slack Key. Book and online audio. 96 pages. Mel Bay Publications, Inc #30666M. Published by Mel Bay Publications, Inc (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.

(A Fun and Comprehensive Overview of Rock Guitar Playing) Written by Tobias Hurwitz. Instructional book and accompaniment CD for guitar. 127 pages. Published by Alfred Publishing.

Guitar

SKU: PR.ECH2718

Composed by Vittorio Monti. With Standard notation. 12 pages. Chanterelle #ECH2718. Published by Chanterelle (PR.ECH2718).

The famous Monti Csardas is a rite of passage for accomplished musicians, a virtuosic, demanding showcase which runs the gamut from intensely dynamic to fast-fingered franticism. Lavrentiev has now provided a solid, though demanding, transcription for advanced guitarists.

Everything a Girl Needs to Know About Playing Guitar!. Composed by Tish Ciravolo. Guitar Method or Supplement; Method/Instruction; iParenting Media Award. Girl's Guitar Method. Book; DVD. 140 pages. Alfred Music #00-27650. Published by Alfred Music

(The Jazz Guitarist's Guide to Solo Guitar Arranging and Performance). By Jody Fisher. For Guitar. Book; CD; Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Jazz. Advanced. 192 pages. Published by Alfred Music Publishing

Guitar - advanced

SKU: BT.RSK200050

Exam Material. Book with Online Audio. Composed 2018. Rockschool #RSK200050. Published by Rockschool (BT.RSK200050).

ISBN 9781912352593. English.

Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals.

For Rockschool's 2018-2024 Guitar series, Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus.

The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock, metal and pop. The tracks were recorded at Real World's acclaimed recordingstudios and feature live instruments and first rate performances for an unrivalled level of feel, authenticity and musicianship.

Featu ring:

• Steve Vai - Die to Live
• D'Angelo - Spanish Joint
• Steely Dan - Kid Charlemagne
• Snark y Puppy - Native Sons
• Justin Timberlake - Cry Me A River
• Albert Lee - Country Boy
• 6 Rockschool Originals

Plu s:

• Band and artist fact files with recommended listening
• In-dept h walkthroughs of every track
• Easy-access downloadable audio
• Example tests and exercises
• Amp settings and tone advice for each track

(A Fresh Approach). By Various. Edited by John Kember and Martin Beech. Guitar. Softcover. 100 pages. Schott Music #ED12966. Published by Schott Music

(2 Hours of Pro-Level Training!). By Gus G, Alex Skolnick, Joe Satriani, Glenn Proudfoot, Marty Friedman, Michael Angelo Batio, Jeff Loomis, and many others. For Guitar. DVD; Guitar DVD; Method/Instruction; Technique Musicianship. Guitar World: Lick Pack Lessons. Metal; Rock. Advanced. Published by Alfred Music

Guitar

SKU: BT.SINF545

Composed by Tommaso Costa. Studies & Exercises. Book with Online Audio. 96 pages. Sinfonica #SINF545. Published by Sinfonica (BT.SINF545).

ISBN 9788884004697. Italian.

Lo scopo principale di questo testo è di costruire massima velocit ed efficienza attraverso meccaniche della mano sinistra convenzionali e non convenzionali. All’interno di alcuni esercizi sono presenti degli esempi di pennata alternata, pennata ibrida e sweep picking. Questo libro offre trenta esercizi, chiamati anche “licks”, ed è diviso in quattro capitoli: Scale maggiori e minori; Scale minori melodiche e minori armoniche; Scale pentatoniche; Scale ed esercizi simmetrici (scale diminuite, aumentate, esatonali, cromatiche ed esercizi cromatici). I principali argomenti trattati in questo metodo sono: Frasi basate su diteggiature a tre e quattro note per corda patterns; licksbasati su gruppi di note dispari (5, 7, 10, 11, etc.); arpeggi; “superimpositionsâ € utilizzando scale pentatoniche e arpeggi ;consigli utili per l’improvvisazione e l’outside playing; consigli su come sviluppare un metodo di studio positivo ed efficace.

by Laurindo Almeida, edited by Ron Purcell. Brazilliance Music Pub. Level: Intermediate-Advanced. Book. Size 9x11.75. 176 pages. Published by Mel Bay Pub., Inc.

Performed by Mick Goodrick. Reference. Size 9x12 inches. 116 pages. Published by Hal Leonard.

Guitar solo - Advanced

SKU: DZ.DZ-4308

Composed by Giorgio Mirto. Score. Les Productions d'OZ #DZ 4308. Published by Les Productions d'OZ (DZ.DZ-4308).

ISBN 9782898522253.

Foll owing a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.

FRANCE SCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprèt e et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.

The Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This edition: 2nd. Book; Classical Guitar Method or Supplement; Digital Download; Method/Instruction; Software. Pumping Nylon Series. 272 pages. Published by Alfred Music