guident de quatre-vingt dix chansons arrangés pour guitare acoustique, y compris les paroles complètes, les symboles de la corde, les boîtes de guitare et de jouer. Il s'agit de la perception définitive des chansons par les plus grands noms de pays, y compris : Johhny Cash, Dolly Parton, George Jones, Willie Nelson, Jim Reeves, Kenny Rogers, Patsy Cline, Glen Campbell, Tammy Wynette, Hank Williams, Loretta Lynn et beaucoup d'autres. / Chant Et Guitare / 192 pages / Partition

Written for the 100th Anniversary Celebration of. Par WILLIAMS JOHN. John Williams has written ceremonial music for many major events and ceremonies but of all these occasional pieces Summon the Heroes is the most elaborate and musically complex. It was composed for the Atlanta Olympic Games in 1996 and performed at the opening ceremony. As with all of John Williams?s ceremonial compositions this work makes an ideal brass band work that will bring the house down as a concert opener. John Williams has written ceremonial music for many major events and ceremonies but of all these occasional pieces Summon the Heroes is the most elaborate and musically complex. It was composed for the Atlanta Olympic Games in 1996 and performed at the opening ceremony. As with all of John Williams ? ceremonial compositions this work makes an ideal Brass Band work that will bring the house down as a concert opener. / Niveau : 5 / Ouverture / Répertoire / Brass Band

Written for the 100th Anniversary Celebration of. Par WILLIAMS JOHN. John Williams has written ceremonial music for many major events and ceremonies but of all these occasional pieces Summon the Heroes is the most elaborate and musically complex. It was composed for the Atlanta Olympic Games in 1996 and performed at the opening ceremony. As with all of John Williams?s ceremonial compositions this work makes an ideal brass band work that will bring the house down as a concert opener. / Niveau : 5 / Ouverture / Répertoire / Brass Band

The city of St. Louis played host in the 1920s and 1930s to one of the most distinctive and vital blues scenes ever documented on record. Like Memphis and Atlanta St. Louis served as a sort of magnet attracting musicians from the surrounding hinterlands and providing performance opportunities that were not available out in the country. Many of the St. Louis musicians were transplanted Mississippians like Charley Jordan while others like Clifford Gibson and Teddy Darby originally hailed from Kentucky. The various early influences that the music of these players displayed ended up coalescing into something that might be called the 'St. Louis sound'.Included on thisDVD are transcriptions and teaching of the songs of Teddy Darby where the guitar and voice track each other closely Clifford Gibson with his distinctive approach to playing in Spanish tuning and the mysterious low cross-note sound Charley Jordan with his acrobatic thumbwork and occasionally raggy sound and the enigmatic Lane Hardin who only recorded two titles under his own name. The songs selected for inclusion in the lesson have been chosen to introduce you to a variety of different tunings and playing positions and employ different right hand approaches that will expand your ability to utilize techniques like thumb lead and brush strokes.A PDF file is included on the DVD which can be printed out into an easily readable 8.5” by 11” booklet including not only detailed transcriptions of the songs but the songs’ lyrics as well. As well all of the original recordings from which the transcriptions were made are included on the DVD.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

Tenor with Piano Quintet-Commissioned and recorded twice by tenor William Brown Through This Vale of Tears is a kind of social commentary on the death of Dr. King. As described by the Atlanta Journal Constitution “Mr. Baker's piece set a varietyof texts in a cornucopia of styles including scat spiritual and chorale. Miraculously this diversity cohered producing a multi-dimensional work filled with grief humor and hope.” Set includes 1 full score and stringparts; individual scores may also be purchased separately (LKMP# X081022).

This marching band edition of John Williams' official theme was created specially for use at the Atlanta '96 Games. An ideal version for college and top level high school bands.

Guitar Ragtime Blues to the Classic Rags. This collection covers ragtime guitar styles and techniques from the ?stumblin? bass? of Blind Blake to the evergreen piano sounds of Scott Joplin. Playing the Guitar like a Piano: Shake That Thing , 99 Year Blues, The Bald-Headed End of a Broom, Buck Dancer?s Choice, A Salty Dog Rag, See That Girl Sitting on a Fence. Raggin? The Blues: Blake?s Breakdown, Ton of Blues, That Won?t Do, Cincinnati Flow Rag/Slow Drag. Ragtime Songs, Marches and Cakewalks: Hot Time In The Old Town Tonight, Save Up Your Money, John D. Rockefeller Put the Panic On, (Won?t You Come Home) Bill Bailey, Sister Kate?s Syncopated Dance, Smokey Mokes, Haag City Dance, Atlanta Rag, Dallas Rag, High Society. The Classic Rags: Original Rags, The Buffalo Rag, Pineapple Rag, The Grizzly Bear Rag, Florida Rag, Heliotrope Bouquet, The Entertainer, Coconut Dance. Includes access to online audio.