The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

Ed. Critica F. Della Seta - Riduzione Per Canto E Pianoforte - Softcover, 2 Volumi. Par BELLINI VINCENZO. I Puritani is the last work of Vincenzo Bellini: composed in nine months, from April 1834 to January 1835 (a gestation unusually long for that time), was performed for the first time in Paris, Théâtre Italien, 24 January 1835. During this period, the dramatic structure suffered radical transformations: initially structured in two acts, the work was divided into three acts just before the premiere, but on the eve of the first performance, and immediately after that, the excessive length of the title imposed the cut of three pieces and other minor sections. Simultaneously with the release for Paris, Bellini prepared a version designed for a planned exhibition for Naples at Teatro S. Carlo, whose protagonist had to be Maria Malibran and in which the part of Riccardo had to be supported by a tenor. The exhibition did not take place, as the score came late in Naples: the Neapolitan version was rediscovered and performed only in the eighties of the twentieth century. The new Critical Edition is based on the autograph, on the libretto of the first performance and on four manuscript copies produced in the context of the Théâtre Italien in the first months of life of the work, three of which contain autograph interventions (these sources are now kept at the Biblioteca Comunale in Palermo, at the Museo Civico Belliniano in Catania, at the Archivio Storico Ricordi in Milano and at the Staatsbibliothek zur Preussischer Kulturbesitz in Berlin). This Edition presents for the first time all the music composed by Bellini, it restores the sections deleted before or after the first performance in Paris, and returns the modified sections of the Naples version- it consists of three-score volumes - introduced by a detailed reconstruction of the historical context - and of a 'Apparati” volume with a description of the Sources and the Critical Commentary to the musical text. / Niveau : Intermédiaire à Avancé / Répertoire / Chant et Piano

Allerheiligentag Iii. Par LINJAMA JYRKI. Jyrki Linjama's second string quartet (2018) is subtitled Allerheiligentag III. The material for the Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba and violin.The composer tells: “The choice of topic and material for the string trio was originally prompted by the venue at which it was to be premiered: the old church on the island of Seili (Själö). The bleak history of the island's leper and mental hospital evoked images of suffering and death. I got so attached to the harsh and beautiful melody that it began to generate a whole cycle.” The string quartet is in three movements (slow-quick-slow) tensed in different ways by contrasts. The first movement has both swinging softness and cutting sharpness, the Scherzo the wildness of a dance of death and lyricism, and the finale the irrevocability of a funeral march and tender melodiousness./ Répertoire / String Quartet

Cantata for Mezzosoprano and Orchestra. Par THEODORAKIS MIKIS. Sung texts are in Greek; English, German and French translations are included. A good friend of mine, the poet lacovos Kambanellis, was a prisoner in Mauthausen during World War II. At the beginning of the sixties, he wrote his memories of this time under the title of 'Mauthausen'. In 1965, he also wrote four poems on the subject and gave me the opportunity to set them to music. I did this with much pleasure, firstly, because I liked the poetry of the texts, and secondly, because I myself was detained in Italian and German prisons during the Nazi occupation, but mainly because this composition gives us the chance to remind the younger generation of history, of events that must never be forgotten. First and foremost, of course, the Mauthausen Cantata is addressed to all those who suffered under Fascism and fought against it. We must keep the Nazi crimes continually in our minds, because that is the only guarantee and the only way to assure that they are not repeated. And we can see every day that the ghost of Fascism is far from being laid. It seldom shows its real face, but Fascist cultures and mentalities exist all over the world. For us, who had to live through this time of horror, the most important task is to protect our children against this peril. (Mikis Theodorakis, 1999)/ Répertoire / Mezzo-Soprano et Orchestre

Par MAHLER GUSTAV. 'The songs are conceived as a whole, as if a wayfarer, with his destiny, is now looking out into the world and is wandering from place to place. … The most painful experiences were bound to come…' (Gustav Mahler, 1885) Mahler's famous set of four songs for voice and orchestra is newly available in the handsome UE Study Scores format. Gustav Mahler's 'Lieder eines fahrenden Gesellen' ('Songs of a Wayfarer') occupy a special position in his song oeuvre. Subsequent to the 'Frühe Lieder und Gesänge' ('Songs and Airs') which - with the exception of the 'Serenade' and 'Phantasie' from Don Juan - were composed between 1880 and 1882 as songs for piano and voice, the 'Gesellenlieder' ('Wayfarer Songs') were the first works to be presented in the dual versions (songs for piano and voice / orchestral songs) that were so significant for Mahler's song compositions. The 'Gesellenlieder' were initially written as songs for piano and voice between late 1884 / early 1885 and 1890, and Mahler's orchestration only followed in the years between 1890 and 1893. Another unique feature is that they were explicitly conceived as a song cycle and together with the 'Kindertotenlieder' ('Songs on the Death of Children') and possibly also the 'Lied von der Erde' ('Song of the Earth') - although the latter is far more akin to a symphony - these are the only song cycles in Mahler's song oeuvre. The 'Gesellenlieder' ultimately express the subjective experience of suffering in a particularly remarkable way./ Répertoire / Voix et Orchestre