2010

BLINK-182, DRUM PLAY-ALONG VOLUME 10. Per batteria. CD TAB.

Drum Play-Along Volume 10
Series: Drum Play-Along
Format: Softcover with CD
Artist: blink-182

Play your favorite songs quickly and easily with the Drum Play-Along Series. Just follow the drum notation, listen to the CD to hear how the drums should sound, then play along using the separate backing tracks. The lyrics are also included for quick reference. The CD is playable on any CD player, and also enhanced so PC and Mac users can adjust the recording to any tempo without changing the pitch!

Includes: Adam's Song • All the Small Things • Dammit • Feeling This • Man Overboard • The Rock Show • Stay Together for the Kids • What's My Age Again?. 48 pages

Song List:

Adam's Song
All The Small Things
Dammit
Feeling This
Man Overboard
The Rock Show
Stay Together For The Kids
What's My Age Again?

EMMANUEL TOMMY, THE MYSTERY. TABLATURE

TOMMY EMMANUEL C.G.P. (Certified Guitar Player) 

Product Description:

The Mystery, Tommy Emmanuel's sixth US album, was inspired by Emmanuel's travels; each of the album's compositions is a musical snapshot or sojourn - a journey that brings us together with places and people - a journey into self discovery.

This transcription book shows all twelve tunes on the CD note-for-note in standard notation and tablature. Also included are detailed performance notes of each tune. 136 pages.

Product Number: 22000
Format: Book
ISBN: 0786681691
UPC: 796279109970
ISBN13: 9780786681693

INTRODUCTION

Tommy's compositions and aITangements cover many styles and techniques. If you have studied the Mel Bay books for Tommy's CD's Only and Endless Road, you already have a head start in learning his mu ic. The tunes for this project are heard on the CD The Mystery. Also you can study the Mel Bay project, Emmanuel Labor with Tommy's discussions of pieces from the above three CD's. From The Mystery Tommy play and discusses "The Mystery", "Gameshow Rag/Cannonball Rag", "The Diggers' Waltz", "Lewis and Clark", and "Antonella's Birthday". There will be some slight variations between the video performance and the recorded tunes. Although he may not playa tune in performance exactly the same way each lime, these transcription will allow you to learn the recorded version, and will give you insight into his methods. These tunes range in difficulty from intermediate to very difficult. There are a few difficult stretches and also Tommy's technique involves some innovative moves, such as fretting the 5th string with the thumb. But whether or not ou perform these tunes, most of the enjoyment comes from understanding them and playing them for their beaut). Some tunes are played with a thumbpick, and others are played without a pick, resulting in a softer sound. Others are played in a hybrid style, using a flat pick, allowing for strong rhythm and interwoven melody note With this style, the right-hand index finger is no longer available for melody. The melody is produced by the pick and the middle and ring fingers. This technique may be difficult for you if you are based in traditional fingerpicking, but it is well worth the effort to learn it. If you read musical notation, the tablature will still be helpful as it points toward left-hand position on the guitar neck. And if you are relying on tablature, remember that left-hand fingering is found in the notation. Learning the hybrid style requires understanding the information given in the tablature. I have tried to indicate the pick stroke directions that are most important, while trying to avoid repeating the stroke directions to reduce the amount of clutter in the tablature. In the hybrid tyle, the thumb and first finger hold the pick, and in accord with classical notation this is shown by a "p". The middle finger will be "m" and the ring finger will be "a". These letters will be stacked when the middle and/or the ring finger pluck notes at the same time as the pick. At other times the pick (thumb and first finger unit) and ... 

TOMMY EMMANUEL C.G.P.

photo by Sara Corwin

Two-time Grammy nominee Tommy Emmanuel has a professional career that spans over four decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to pick up the guitar as a child. Decades later Atkins himself became one of Emmanuel's biggest fans. In 1999, Chet honored Tommy Emmanuel with the title of "Certified Guitar Player" for his lifetime contribution to the instrument, a rare honor shared by only three other people in the world (Jerry Reed, Steve Wariner and John Knowles). Atkins eventually recorded with Tommy in 1996 on 'The Day the Finger Pickers Took Over the World", for which Emmanuel received his first Grammy award nomination. This was also Atkins last recording.

After a recent recuperative rest, resulting from an exhausting touring schedule, Tommy is now completely rejuvenated and embarking on a full tour schedule in 2008. A new double live CD and DVD, "Center Stage" filmed in High Definition and recorded at the Sierra Nevada Brewery in Chico, California will be commercially released in Spring '08. The DVD portion will also air on Public Television affiliates all over the United States. Every element of modern technology was used in the production of both the DVD and CD. Tomm's record producer, Kim Person, recorded and mixed the audio tracks, while long-time Sierra Nevada video producer/ director Peter Barlow tied the entire package together in state-of-the-art quality. It makes for a stunning package, both aurally and visually. The double disc Live CD "Center Stage" contains many fan show-stoppers, including Emmanuel's BeatIes Medley, Mombasa, and Initiation - the aboriginal tribute song that has evolved over the years and never sounds the same on any recording - or during any show. Tommy also introduces four never-before recorded tracks, "Ruby's Eyes", "Lenny Bro''', "The Jolly Swagman" and "Papa George" (inspired by George Harrison). Also, included are several arrangements of popular traditional tunes like "House of the Rising", "Nine Pound Hammer", "Amazing Grace" - and for his Japanese fans, "Sukiyaki" This new CD is a great mix of the rare, the new, the traditional and the favorites. Emmanuel's music and life are legendary in Australia. He began playing guitar at age 4, by learning to play by ear without any formal instruction. Emmanuel and his older brother Phil were child prodigies, starting their professional career in the 1960s. By the age of six, Tommy was already working as a professional musician. Shortly after his father's death in 1966, the Emmanuel family was approached by Australian country music star Buddy Williams, who took the family on the road until they were forced by the Australian child welfare department to stop traveling. The Emmanuel children were then sent to a regular school. During these years, Tommy was playing in "The Trailblazers" (with siblings Chris on drums and Virginia on slide guitar) on weekends. He also taught guitar and made numerous television appearances in musical competitions. Emmanuel's first brush with fame came when The Trailblazers won two televised talent contests and produced an EP. He and his siblings worked hard ... 

Song Title: Composer/Source:

And so it Goes - Tommy Emmanuel
Antonella's Birthday - Tommy Emmanuel
Cantina Senese - Tommy Emmanuel
Cowboy's Dream - Tommy Emmanuel
Footprints - Tommy Emmanuel
Gameshow Rag / Cannonball Rag - Tommy Emmanuel
Keep it Simple - Tommy Emmanuel
Lewis & Clark - Tommy Emmanuel
That's the Spirit - Tommy Emmanuel
The Digger's Waltz - Tommy Emmanuel
The Mystery - Tommy Emmanuel
Walls - Tommy Emmanuel

Every day we experience "The Mystery." It's in our love for each other, it's in our feelings ofr others, in our music, it's in the kindness of strangers, in the parade of people who seem to appear at the right moment to help or to encourage us through tough times, in the wonders we see around us when we travel or just the feeling we are doing something good for our brothers and sisters. It's all around us, in us, ahead of us and lighting our way. It's God's awesome love for his children. Get it? Got it? Good!

JOHN BOGDANOVICH, CLASSICAL GUITAR MAKING: A MODERN APPROACH TO TRADITIONAL DESIGN.

GUITAR BUILDING USES a combination of many talents and skills, including an eye for aesthetics, an ear for musical tone, woodworking ability, and an organized and methodical approach to the work. With diligence and practice, many of these assets can be developed and honed. Each of us also brings to this endeavor our own set of skills and experience. My own experience prior to building guitars proved to be a valuable asset in the pursuit of building the ultimate guitar. Initially, it was not my intention to make guitar building a career. Having returned to playing after an extended break, I was in need of a guitar but could not afford to purchase one that suited me, so I decided to try to build one myself. That first guitar turned out well and attracted a couple of local musicians to contract instruments from me. Guitar making felt so right that I put aside all other pursuits and earnestly began to make guitars professionally. A quest for purpose had ended and a new journey had begun. Before making guitars, there were a number of things that I felt passionate enough about to pursue, yet there would always seem to come a point where I would hit a wall and could go no further. Music became a big part of my life at the age of ten, and at twelve I took up the guitar. After high school, I majored in music at what is now part of The College of Staten Island. During this time, I was introduced to classical guitar and studied with Julio Prol in New York City. My intent was to become a performer, though I had difficulty performing in front of an audience. After having a few terrible experiences on stage, I realized that I needed to find something else to do, so I decided to follow another passion of mine, woodworking. As an apprentice cabinetmaker in a New York cabinet shop, I received a great woodworking education at the hands of a small group of old-world European craftsmen. Once my apprenticeship was completed, I decided go back to college rather than continue as a journeyman. I enrolled in the electrical engineering program at Pratt Institute in Brooklyn, New York. AT &T Bell Laboratories recruited me off-campus in my senior year to work in their research and development facility in Holmdel, New Jersey, where I was employed as a hardware designer. Taking part in their one-year on-campus graduate school program, I was able to get my master's ...

Recently I was informed by the publisher that the book has gone into second print, and this is rare for a book of this type. So thank you all once again for helping to make this book a resounding success. It is truly gratifying that I continue to hear from readers all over the world with thank you notes, encouraging comments and questions regarding the book. And, as one reader suggested I have included a page on the site with a selection of questions that have been sent to me, along with my replies, which may help to clarify some things for others in their guitar building attempts.

Since the book has been out I have heard from many of you that have sited errors or needed clarification in the first edition. These errors have been noted along with some additional text here and there for clarification and sent to the publisher for correction in the second printing. a PDF document containing all known errors can be downloaded in the errata section.
 The book has been out for a couple of years now and it still amazes me how many of you out there are interested in building classical guitars, either for yourselves or in launching a guitar building career. The book has enabled me to launch a few new endeavors of my own such as holding classes in the shop, a line of guitar building products, and a DVD series due to be released in the fall. I am very fortunate that this has all come from my love of the classical guitar. The truth is, I never intended to write a book at all. The project just sort of fell into my lap.
 In December, in the midst of planning to move the shop to Asheville, I was approached by Sterling Publishing and asked if I would like to write a book on guitar making. As I thought about it the prospect of undertaking such a huge project the challenge of producing something that I would be proud of became the focus of my enthusiasm. I had been given a rare opportunity - a vehicle to share my techniques and thoughts about something I love.
For the next year, nearly every day was a combination of building guitars, writing, and photo shoots. The book chronicles the building of a classical guitar from a stack of boards to putting on the strings and tuning it up. WIth almost 600 photos and drawings and over 300 pages of detailed text I attempted to recreate as accurately as possible the building process.
 If you have never built a guitar and are planning your first attempt consider using this book as a guide. Only some basic woodworking skills and a minimally equipped shop are required. Due to the large amount of information necessary to cover the topic explanations of woodworking related techniques have been omitted and it is assumed the reader is already proficient in some basic woodworking techniques, or will consult the references listed in the bibliography of the book and in the reference section of the links page on this site. Alternative methods are presented to facilitate the availability of tools and equipment. The book was written with the first time builder in mind, but no doubt anyone with some building experience could benefit from some content, I know I am always looking for better ways to do things. Also, be sure to check out the guitar making classes being offered. Classes are being held in the shop that cover various aspects of the building process.
 The guitar I am building in my shop today is very loosely based on the Hauser/Torres guitar design. The design has evolved in search of improved sound and playability. The plantilla is all that remains of the original 1937 Hauser from which this design began.
 The sound of Segovia's 1937 Hauser always appealed to me, even with the less than ideal sound quality of the old recordings. Therefore, when I began making guitars I started trying to reproduce this sound with the Hauser/Torres design. The more conscious I became of the sound of the guitar in general, the more open I became to other influences and my concept for the ideal sound began to evolve and my design began to change. The design of my guitars has changed slowly over the years.
 It is difficult at best to describe sound with words due to the fact that sound, and language, are both so subjective. So I will limit my words to those I typically hear other people use to describe the sound of my instruments. The phrase I hear most often is that they have a traditionally Spanish sound. I would not disagree with this statement. Additionally, they have character, a full tonal palette, and power. Enough said, I invite you to come and listen to one yourself.

Life as A luthier has been made possible for me only with the help of many people. First and foremost, I would like to thank my parents, Marion and Stan, for always supporting me, even when they may not have agreed with me. Without their support, none of this would have been possible. When I was a small boy, I had asked for a carpentry tool set long before it would be appropriate or safe for a child to play with. I was so insistent that my parents finally caved in and bought me one. While I was playing with the tools, set up under a tree in my grandparents' backyard, my grandfather watched from a window. Impressed with how intently I was able to amuse myself for such a long period of time, he told my mother, "That boy is going to do something with his hands." The time I spent in the Fine Woodworking Program at the College of the Redwoods actually changed my life. I was fortunate to have made some lifelong friends while at the school and will be forever indebted to the outstanding faculty. I would like to thank James Krenov, Jim Budlong, Michael Burns, and David Welter for their guidance, skill, and friendship, and for putting up with me during my time there. I would like to especially acknowledge James Krenov, whose book A Cabinetmaker's Notebook inspired me long ago, only to be eclipsed by later studying with him at the school. As one of his students, I could not help but admire his aesthetic, his approach to the craft, his keen observation of nature around him, and how all of this is evident in his work. I can only hope to follow his example. And thank you,]im, for your friendship. There are a few guitar builders who have both inspired and helped me in my journey as a luthier. I would like to thank Jeff Elliott, Cindy Burton, Greg Byers, John Gilbert, and Charles Fox for their generosity in sharing their knowledge of guitar building, and for their friendship. I would also like to thank the many guitarists who have provided feedback, which is invaluable to making a better instrument. In putting together this book, I called upon a few people to assist in one way or another. I would like to thank Cindy Park for all her help and support. She has helped with this project in more ways than she is probably aware of. I would like to thank Mariah Grant for doing a great job on the bulk of the photography. I would also like to thank Larry White at the University of North Carolina at Asheville for recommending her. In addition, I would like to thank Lacey Haslam and Franzi Charen for their help with the photography. And I would like to thank all the folks at Iris Photo/Graphic for keeping everything straight.  

Contents

Acknowledgments

Foreword by James Krenov

Foreword by Jeffrey Van

Preface

Introduction

PART ONE—Preparation

CHAPTER 1. The Guitar

Anatomy of the Guitar

Sound

Choosing to Build or Buy

CHAPTER 2. The Wood

Types of Wood

Moisture Content

Cuts, Grain, and Selection

CHAPTER 3. The Shop

What You Need in Your Shop

Jigs You Will Need to Make

Hand Tools

Vises and Clamps

Bench Tools to Make

Specialty Items

Humidity Control

CHAPTER 4.

Templates and Molds

The Plantilla

A Transparent Template

Side Mold

Lining Mold

The Solera

Headpiece Template and Drilling Jig

Back Workboard

CHAPTER 5.

Layout and Planning

Choosing the Color and Design Scheme

Materials and Parts

Plans and Layout

PART TWO—Construction

CHAPTER 6. The Neck

The Neck Blank

The Headpiece

The Heel

CHAPTER 7. The Sides

Bending and Laminating the Sides

Linings

Assembling the Neck and Sides

CHAPTER 8. The Details

Bindings, Purflings, Back and Butt Strips

The Wheat Motif

CHAPTER 9. The Top

Selecting a Top 162

Jointing and Thicknessing

The Rosette

Bracing and Patches

CHAPTER 10. The Back

Jointing and Thicknessing

Bracing

CHAPTER 11.

Assembling the Body

Before Gluing on the Top

Gluing the Top

Preparing to Glue on the Back

Bindings and Purflings

Heel Cap and Butt Strip

CHAPTER 12.

The Fingerboard

Making and Installing the Fingerboard

Before Fretting

Fretting

Shaping the Neck

PART THREE—Final Touches

CHAPTER 13. Finishing

Understanding Finish

Final Touches and Prepping for

Finishing

French Polishing

Lacquering

CHAPTER 14. The Bridge

Bridge Design

Building the Bridge

Installing the Bridge

CHAPTER 15. The Setup

The Nut, Saddle, and Tuning Machines

Strings and Final Setup

Care of Your Guitar

The Gallery

Bibliography

Metric Equivalents

Index   

GUNS N' ROSES, ADLER'S STEVE. DVD

Steven Adler's Getting Started with Rock Drumming
Taught by the Legendary Former Guns N' Roses Drummer!

Format: DVD
Artist : Guns N' Roses
Artist : Steven Adler

Watch and listen as Steven Adler demonstrates techniques, grooves and fills designed for the beginning rock drummer. He teaches: parts of the drums; the pyramid of rhythms; basic rock beats; rock fills; dynamics and more, discussing his own influences and history with the drums. 43 min. Run Time: 43:00

JAMAICA, GUITAR ATLAS. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

Your passport to a new world of music
By Raleigh Green

SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Jamaican music is loved throughout the world for its laid-back feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles, from reggae rhythms in the songs of popular bands like The Police, to ska beats in the music of groups such as The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-inspired style popular in the 1950s) to modern styles like dub (an electronic form of reggae). You’ll learn about the spiritual influence of the Rastafarian religion and explore the work of numerous Jamaican musicians, including Lord Flea, Count Lasher, The Maytals, The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin, and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.

The CD demonstrates all the examples and compositions featured in the book.

Guitar Atlas Jamaica. (Your passport to a new world of music). By Raleigh Green. For Guitar. Guitar Method or Supplement; Method/Instruction. National Guitar Workshop: Guitar Atlas. Multicultural; World. Book & CD. Published by Alfred Music Publishing (AP.33486). ISBN 0739062816. Multicultural; World.

Guitar Atlas:jamaica is an introduction to the rich musical tradition of
jamaica. From a guitarist's perspective, there is much to love in jamaican
music, especially the guitar-centric styles of mento, ska, rocksteady, and
reggae. In this book, the most important jamaican musicians, guitarists, styles,
and techniques are demonstrated through numerous musical examples. Most of these
examples are meant to be played with a pick, although there is some fingerpicking as
well. You will get the most from this book if you have experience reading standard
music notation and/or TAB, as well as some experience with common open chords,
barre chords, and basic guitar technique. The Notation Guide on page 3 should help
you with any unfamiliar notation. Welcome to Guitar Atlas: jamaica, and let's begin our journey!

Jamaican music is loved throughout the world for its laidback feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles-from reggae rhythms in the songs of popular bands like The Police to ska beats in the music of groups like The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-like style popular in the 1950s) to modern styles like dub (an electronic form of reggae).You'll learn about the spiritual influence of the Rastafari religion and explore the work of numerous Jamaican musicians, including Lord Flea,Count Lasher,The Maytals,The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin,and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.
The CD demonstrates all the examples and compositions featured in the book.

JAMAICAN HISTORY
The island of jamaica is located in the Caribbean Sea. It is situated 90 miles south of
Cuba and is a part of the Greater Antilles, a group of islands that also incluJe~ Puerto
Rico and Hispaniola. With a tumultuous history of slavery, war, poverty, and natural
disasters, jamaica is a true melting pot of mixed ethnicities. jamaica is smaller than the
state of Connecticut, however, the global impact that this Caribbean island has had on
the rest of the world is enormous.
When Christopher Columbus first arrived to jamaica in 1494, the native Arawak people
(also known as Taino Indians) had already been there since 650 A.D. Sadly, soon after
Spain's occupation of the country began in 1509, the indigenous population was wiped
out by slavery, disease, and war. By 1655, Britain seized jamaica and soon, through
intense colonization and a booming slave trade, Jamaica became the largest producer
of sugar in the world. After many uprisings, slavery was abolished in 1838. In 1872,
Kingston became the capitol, and in 1962, jamaica became an independent nation.

JAMAICAN MUSIC OVERVIEW
In the early 19th century, when the percussive musical traditions brought over by West
Mrican slaves mixed with the music of the European quadrille (a precursor to the square
dance), the jamaican folk music style called mento was born. Mento was jamaica's most
popular music throughout the 1930s and 1940s; however, during this period, American
jazz also became immensely popular in jamaica. By the 1950s, mento was still alive,
but American R&B had largely taken hold of the jamaican popular music scene. In
the 1960s, all of these various influences came together to create a unique jamaican
musical style called ska.
The quick tempo of ska was a reflection of the upbeat mood in jamaica after gaining
independence in 1962. jamaicans soon observed, however, that serious social problems
remained, and in 1966, the music changed with the mood. A new style called rocksteady
emerged, replacing the upbeat pace of ska with a much slower feel. A short-lived
movement, rocksteady was only around for two years when jamaica's most famous
musical style, reggae,was born. From the late 1960s to the mid-1980s, reggae became
a worldwide sensation. During this time period, the Rastafari (those belonging to
the religious and cultural Rastafari movement covered on page 33) garnered a strong
association with reggae due to the international fame of Bob Marley and others. English
bands like The Clash and The Police started to incorporate reggae sounds into their own
music. By the latter half of the 20th century, a wide array of reggae subgenres developed,
including dancehall, toasting, dub, raggamuffin, reggaeton, 2-tone, and lovers rock, just to
name a few. Despite being a small island, jamaica and its varied musical traditions have
greatly inspired and influenced musicians and music lovers throughout the world.

A compact disc is included with this book. Using it with the book can make learning Track easier and more enjoyable. The symbol 1 shown at the left appears next to every example that is on the CD. Use the CD to help ensure that you're capturing the feel of the examples and interpreting the rhythms correctly. The track number below the symbol corresponds directly to the example you want to hear. Track 1 will help you tune to this CD. Enjoy!

Raleigh Green, based in the Boston area, is known for his versatility
as a guitarist and his expertise as a music educator. Proficient in
many styles of music, Raleigh is the author of The Versatile Guitarist
(Alfred/National Guitar Workshop #28243). He teaches guitar at
Phillips Academy in Andover, Massachusetts and is a long-time
instructor for the National Guitar Workshop and DayJams. Raleigh
teaches online guitar lessons at WorkshopLive.com and is endorsed
by D'Addario strings. After receiving a B.F.A. from the University
of Missouri with a concentration in art and computer-aided
multimedia, Raleigh attended the Berklee College of Music where
he graduated summa cum laude and was awarded both the Quincy
Jones Award and the Professional Music Achievement Award.
Raleigh lives in Medford, Massachusetts with his wife, Laura, their
son Cole, and an Australian cattle dog named Max.

ACKNOWLEDGEMENTS
Very special thanks to Laura and Cole, Ken and Linda Green, the Breretons, and all of my friends, students, and colleagues at Phillips Andover Academy; David, Barbara, and Jesse Smolover; Burgess Speed, and everyone else in the Workshop family. Also thanks to Kevin "K-Don" Michaels, Wayne Marshall, and Carl Johnson for research assistance; D'Addario & Co.; and Pete Sweeney and Matthew Liston for playing great music on the CD.
This book is dedicated to Cole Leven Brereton-Green.

NOTATION GUIDE
H = Hammer-on.
P = Pull-off.
SL = Ascending slide.
= Descending slide.
P.M. = Palm Mute.
= Fermata. Pause, or hold note longer than its indicated duration.
> = Accent. Emphasize the note or chord.

1,2,3,4,0 = The left-hand fingers starting with the index finger;
0= open string. Thelen-hand fingers are indicated under the TAB.
rit. = Abbreviation for ritardando. Become gradually slower.
Swing 8ths = Eighth notes written like straight eighth notes, but played with a long-short rhythm that produces the shuffie feel.When Swing Bths appears at the beginning of a piece, eighth notes are played like triplets with the first two eighth notes tieden =.en).
= 185 = Tempo marking. In this case, there are 185 quarter nores, or beats, per minute. (If you have a metronome, set it to 185.
4x = Play four times.
D.S. al Fine = Dal Segno al Fine. Go back to the symbol .. and play to the Fine, which is the end of the piece.

= Staccato. Make note shorter than its indicated duration.
= Chuck. Muted, percussive, unpitched nore.
p, i, m, a = The right-hand fingers starting with the thumb.

= Repeat signs. Repeat music between the two symbols When only the end repeat sign is present, repeat music from the beginning.

ABOUT THE AUTHOR
Acknowledgements
otation Guide

INTRODUCTI0N
Jamaican History
Jamaican Music Overview .

CHAPTER I-Mento
History of Mento
Mento Strumming
Lord of the Fleas
Mento Mama
Men to Lead Melodies
Facing Forward
Check YtJurPockets
Papaya Paradise
Mento-Calypso
Color Me Calypso

CHAPTER 2-Ska
The Beginnings of Ska
Jamaican Lady
The Skank
Straight Ahead
Fountain ofYtJuth
Ska Horn Lines
Strum It Up
Tie the Knot
The Skatalites
Skanks for the Memories

CHAPTER 3-Rocksteady
History of Rocksteady
Slow It Down
Rude Boyfriend
Slow Skank
Keep It Muted
Chill Out Rude Boy
Steady Sixteenths
Stay Steady
Alphabet Soup

CHAPTER 4-Reggae
Early Reggae
Jamaican Peach
Roll with the Punches
All Aboard
The Rastafari Movement and Roots Reggae
The "Bubble"
Never Forget
African Riddim
Reggae Rhythm Embellishment
Back Alley Dreadlock
Dub-Style Effects
The Question

CHAPTER 5-Bob Marley
In the Style of "Stir It Up"
Natty Dreadlock
In the Style of "Rasta Man Chant" .
Nyabinghi Beat
In the Style of "I Shot the Sheriff" .
Dread Man "Walking
In the Style of "Exodus"
On the Run
In the Style of "Redemption Song" .
Rasta Farewell

CHAPTER 6-Ernest Ranglin .
The Journey Begins .
Conclusion