Traditional American Fiddle Tunes. Par KAUFMAN STEVE. Steve Kaufman prend ses mélodies fiddle américain préféré pour la mandoline et les met par ordre alphabétique en quatre volumes. Steve joue la mandoline, exactement comme il est écrit afin de l'étudiant peut entendre la mélodie et la dynamique tout comme il il joue. Le grand nombre de livres d'accompagnement est CDs avec accompagnement rythmique de guitare inclus. Construire votre répertoire, les compétences de la main droite et gauche et amusez-vous à jouer à jam sessions avec vos amis. Ce volume 4 défini écrit spécifiquement pour la mandoline a également une soeur série pour guitare. / Niveau : Débutant à Intermédiaire / Fiddle Tunes - Solos / Recueil / Mandoline

Traditional American Fiddle Tunes. Par KAUFMAN STEVE. Steve Kaufman prend ses mélodies fiddle américain préféré pour la mandoline et les met par ordre alphabétique en quatre volumes. Steve joue la mandoline, exactement comme il est écrit afin de l'étudiant peut entendre la mélodie et la dynamique tout comme il il joue. Le grand nombre de livres d'accompagnement est CDs avec accompagnement rythmique de guitare inclus. Construire votre répertoire, les compétences de la main droite et gauche et amusez-vous à jouer à jam sessions avec vos amis. Ce volume 4 défini écrit spécifiquement pour la mandoline a également une soeur série pour guitare. / Niveau : Débutant à Intermédiaire / Fiddle Tunes - Solos / Recueil / Mandoline

Par ALLISON KEVIN. While one of a kind is a hard rating to achieve at Mel Bay Publications, Kevin Allison has done it with The Ceilidh Dance Book. A ceilidh is a traditional Scottish gathering where people share songs, stories, music, and dancing that is very much alive today. In Scotland, there are hundreds of ceilidh bands, each of which has their own trademark tune sets, making it possible for a man in a kilt to make a living as a performing musician. This book not only provides 85 Scottish tunes in sets as they might be used in a ceilidh event—it also offers detailed, beat-by-beat descriptions of the dance steps for twenty-four dances! From The Highland Scottish to The Mooncoin Jig, with this book in hand, you'll be able to both play in the band and step to the music with the locals. The kilt is optional. Arranged for mandolin or fiddle with suggested chord backup, in standard notation only. / Recueil / Mandoline et Violon

En savoir plus de 40 chansons de vos films préférés, couvrant les quatre dernières décennies. Chansons bien-aimés comprennent: Edelweiss- Nuit A Hard Day, je suis un Man of Constant Sorrow- Moon River- The Rainbow Connection- Thème de la Liste de Schindler- Somewhere Out There- Love Theme de feu Saint-Elme- Take My Breath Away, un temps pour nous (Love Theme)- Unchained Melody- You Must Love Me et beaucoup plus. Inclus les paroles et accords de guitare où applicable, plus superbes, des notes de performance plain-anglais. / Piano/Vocal/Guitare (PVG) / 208 pages / niveau : Facile / Partition

230 folk songs and spirituals, religious and secular, arranged for piano and voice. From joyous gospel to deeply felt blues, this wonderful collection contains vintage songs sung and played through the years by black Americans - at work, in church and for pure entertainment. Included are spirituals, blues, work songs and a variety of social and dance songs. This is an indispensable treasury of music for singers, musicians and all readers seeking a comprehensive sourcebook of black American folk music. It will be equally welcomed at parties, family get-togethers, sing-alongs, church events and other gatherings where people want to play and sing these classic folk songs thatare an integral part of American musical history./ Recueil / Chant et Piano

Transcriptions et analyses par Armand Reynaud et Jérémy Brun

Je suis honoré d'écrire quelques mots à propos d'un des plus grands pianistes, Kenny Barron. Il a été une figure importante de la scène New Yorkaise durant quarante ans et il fait partie de l'élite des pianistes de jazz dans le monde.
J'ai tout d'abord rencontré Mr Barron en 1977 dans un haut lieu du duo piano/basse, au Bradley's, dans Greenwich Village. Je l'ai entendu à Cincinnati (dans la ville où j'habitais) en 1974 avec le Quartette de Yusef Lateef et fus très impressionné. Au Bradley's, il était chaleureux et a été très encourageant avec moi, pianiste de 21 ans récemment arrivé à Big Apple (New York). Le moment venu, il me laissa m'asseoir avec son bassiste, le grand Buster Williams - ce fut un réel plaisir.
Lorsque j'ai commencé à réaliser des CD pour le bénéfice de Classical Action : Performing Arts Against AIDS, dans le début des années 90, je lui ai demandé de participer au second enregistrement Fred Hersch and Friends : The Duo Album en jouant un duo avec moi. Cette organisation collecte des fonds vraiment nécessaires pour les services de personnes atteintes du Sida et la prévention. Kenny, sans attendre, donna de son temps et joua magnifiquement. Il apparaît aussi sur le disque suivant, The Richard Rodgers Centennial Solo Jazz Piano Album .
Nous avons également joué à deux pianos à New York au Town Hall et deux fois au Jazz Standard, pour mon plus grand plaisir. C'est un partenaire merveilleux et compréhensif, disposé à tout essayer. Bien qu'il soit difficile de l'identifier, et je ne veux le mettre dans aucune sorte de boîtes, je perçois son style comme étant en grande partie influencé par McCoy Tyner (les lignes longues et claires) et Tommy Flanagan (le phrasé et l'utilisation de l'espace). Il a réussi à obtenir le statut rare de maître du jazz par la vertu de sa longévité, sa profondeur et sa musicalité. Nous partageons tous les deux une passion pour la musique de Monk, Strayhorn et de l'American Popular Songbook et nous sommes tous les deux de grands partisans de l'idée de rendre ce que nous avons absorbé en enseignant aux jeunes pianistes et en devenant leurs mentors.
En plus, il a une personnalité chaleureuse et engageante - il est d'un grand soutien, a un grand sens de l'humour et une attitude posée. Je suis très heureux que ce livre puisse apporter un éclairage sur le parcours du pianiste Kenny Barron - je suis sûr que cela sera d'une grande valeur musicale et historique pour tous ceux qui suivent l'évolution du piano jazz. / Jazz / Partition /

Si vous êtes sur le point d'être abandonné sur une île déserte et vous ne pouvez prendre votre guitare et un recueil de chansons avec vous, assurez-vous que ce sont les Guitar Tab White Pages!Cette incroyable collection contient 150 note-à-note de transcriptions directement des enregistrements originaux - plus de 1.000 pages de tablature de guitare! Le songlist primo couvre certaines des meilleures chansons de guitare jamais de tous les styles de musique.Parmi les chansons retrouvez: All Day and All of the Night - American Woman - Change the World - Cliffs of Dover - Couldn't Stand the Weather - Dani California - Don't Fear the Reaper - Dust in the Wind - Free Ride - Gloria - Heartache Tonight - Hey Joe - Layla - Longer - Moonlight in Vermont - Mr. Jones - Name - Owner of a Lonely Heart - Papa's Got a Brand New Bag - Piece of My Heart - Rhiannon - Satin Doll - Sir Duke - The Space Between - Sunday Bloody Sunday - Sweet Child O' Mine - Time for Me to Fly - What I Like About You - You Give Love a Bad Name - You Were Meant for Me... et plus! La table des matières énumère par ordre alphabétique les deux chansons par titre et par artiste. La plus grande collection mondiale de guitare transcriptions authentiques! / Guitare

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.

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles'the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won't kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, 'One man's remorse is another man's reminiscence.' Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. 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 Bes

The quickest, easiest, most enjoyable method for learning to play the mandolin! Alfred's Basic Mandolin Method is one of the many new additions to the Alfred's Basic family of methods, featuring clear, well-paced instruction. Learning to play has never been easier or more fun than with Alfred's Basic Mandolin Method---the best choice for today's beginning mandolin students. Book 2 features: * New major and minor scales and keys * Solos and duets including American, German, Irish, Italian, Mexican, and Scottish folk songs * Power chords, double unisons, and palm muting * Additional chords and strumming patterns * How to transpose * Triplets, swing rhythms, and blues soloing * Accents and staccato (chop) articulations* Photos and diagrams * Songs that include 'The Entertainer,' 'Tarantella,' 'Greensleeves,' and many others * Great-sounding performances of lessons and examples on the CD. / Mandoline