CHITARRA - GUITAR

BOGDANOVICH JOHN-CLASSICAL GUITAR MAKING-A MODERN APPROACH TO TRADITIONAL DESIGN

 

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   

Price: €99,99
€99,99

JAMAICA GUITAR ATLAS CD TABLATURE reggae-bob marley-ska-calypso-palm mute-libro chitarra

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
 

Price: €21,99
€21,99

HOOKER JOHN LEE Guitar Styles Techniques CD TABLATURE LIBRO SPARTITI CHITARRA ACCORDI

HOOKER JOHN LEE, A Step-by-Step Breakdown of His Guitar Styles and Techniques. CD TAB.

Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Author : Dave Rubin
Artist : John Lee Hooker

Explore the earthy blues of inimitable guitar legend John Lee Hooker with this book/CD pack! Dave Rubin explores licks from:

Blues Before Sunrise
Boogie Chillen No. 2
Boom Boom
Bottle Up And Go
Catfish Blues
Dimples
Hoogie Boogie
It Serves Me Right To Suffer
Mama, You Got A Daughter
Moaning Blues
One Bourbon, One Scotch, One Beer
This Is Hip (This Is It)
Tupelo (Tupelo Blues)
Wednesday Evening Blues

Price: €26,99
€26,99

ASAP CLASSICAL GUITAR Learn How to Play the Classical Way James Douglas Esmond LIBRO CD TABLATURE gymnopedie

ASAP CLASSICAL GUITAR, Learn How to Play the Classical Way, James Douglas Esmond. CD TABLATURE.

LIBRO PER CHITARRA CON CD E TABLATURE


Per chi incomincia a suonare la chitarra classica, ASAP, As Soon As Possible, con il significato di: "al più presto possibile".

Serie: Guitar
Editore: Centerstream Publications
Copertina morbida con CD - TAB
Autore: James Douglas Esmond

Teacher-friendly or for self-study, this book/CD pack for beginning to intermediate guitarists features classical pieces and exercises presented progressively in notes and tab, with each explained thoroughly and performed on the accompanying CD. A great way to learn to play ASAP! 36 pages.

 

List of piece playing tips and explanations of exercises

R.H.Exercise Group #1
An easy introduction to the most basic finger patterns used in these pieces as well as good reading for the open strings.

R.H.Exercise Group #2
Moreindex and middle combinations. Start slowly and work for balance in the hand and an even tone.

L.H.Exercise #1
Stay on one string for as long as necessary to get perfect. Moving each finger deliberately and independent of others.

L.H.Exercise #2
Work to keep fingers down until they absolutely need to move.

Spanish Theme
Use this as a reinforcing piece for first position reading by saying notes out loud while playing. Index and Middle throughout for the top line. Work this line separately for awhile before adding the Bassline.

Ode to Joy
This piece, like the last is introduced in two parts and the Bassline will require a bit more attention.

Minuet in C
This piece should be approached like the last two but the parts require even more attention. Follow the left hand fingerings very closely. Get the left hand and the Bassline very good before adding together.

R.H.Exercise Group #3
These arpeggiations will be useful and comprehensive in regards to learning the next pieces in the book. Take one at at a time and practice very slowly.

L.H.Exercise #3
The L.H. and RH. should be practiced equally in this exercise. Practice the right hand alone and don't go too fast.

Pastoral Theme
Feel the left hand being free even thought the 3rd finger is rooted to the low G. Practice the top line by itself as well.

Gymnopedie #1
This is the first Chordal piece and therefore working on it by "Blocking" the left hand and just practicing the motions that the left hand uses from ms. to ms. will be beneficial. Also practice the Bassline and right hand motions alone.

New World Theme
Approach this piece the same way as the first three "Break-Down" pieces.

Etude in C
For this piece just looking at the tablature and practicing the arpeggio patterns by themselves with no left hand is a good way to start. Then incorporate blocking the left hand motions as well before putting together slowly.

Etude in A minor
Approach this piece the same way as the Etude in C.

Musette
Approach this piece by breaking up the two lines, but pay very close attention to the top line. De-emphasize the
Bass notes as much as possible. A light touch when holding down the repeated C and G is good for the other fingers.

Academic Festival Overture
Practice the chords that happen on every other beat to start. Try to de-emphasize the middle voices as well.

A Dance
Get familiar with the repeating Bassline in this piece so it can be put into the background while the top voice and middle voices can focused on more. Follow the fingering strictly.

Simple Lamentation
Practice the Bassline a lot by itself, being careful to shape it and work on having a good volume and even tone.

Soldier's March
Practice the chords without worrying about the rhythm at first and then after working the RH. motions, combine.

Sunrise
Approach this piece in the same way as Musette, being careful to have a light left hand, especially when moving up
the neck.

Reflections
Practice the RH. arpeggio pattern by itself before learning the L.H. Focus on some of the harder chord changes.

Adagio
Practice the melody by itself a lot to get a very good, even sound. Make sure to de-emphasize the middle voices.

Musetta's Waltz
Use the same approach as with Adagio, take your time to plant the L.H./ RH. fingers on the ending 8th note run

Cannon
Practice the repeating Bassline first to get it very solid, then work on each 4 measure piece before connecting them.

Eine Kleine Nachtmusic
Special care on the opening octaves should be taken. Be careful not to tense up the right hand on repeated fingerings throughout.

 

Foreword - How to use the Book
This book, while organized progressively, is constituted of all pieces that are developmental in nature for a beginner's technique. It is therefore recommended but not necessary to go through the book in a stepwise fashion. In addition the pieces can be broken in to several technique categories( i,m studies, arpeggio studies, chordal, etc.) and some pieces fall in to several of these categories. To ease the student into reading on the guitar the pieces have been arrange in very manageable keys, no more than 1# used.
I strongly suggest following all the fingerings that are suggested, however, if there are places in the book where a teacher or student wishes to change a fingering then that should be fine as long as the student adheres to it. There are many options for fingerings on the guitar and the important thing to remember is that the student is building what I like to call a "Technique Memory" and that each piece, or section of a piece can be seen as a set of directions that will, if practiced carefully, be absorbed and adhered readily to the next similar piece. As Guitarists, we are always building towards more difficult pieces but in a way always dealing with some of the same as well so it makes sense to stick closely to fingerings for some time.
Write in even more if necessary.
The exercises and 1st section of Broken-Down pieces are meant to really help the student ease into the book. The exercises do not have to be mastered before studying the pieces, especially due to the reading aspect, but should be incorporated into a daily practice routine.
I hope you enjoy the pieces and find this to be fun and helpful on your journey as a Classical guitarist.

 

Biography
James Douglas Esmond started playing the guitar
seriously in his teens. He received his Bachelor's
of Music Theory and Classical Guitar performance
from Ithaca College, Ithaca, N.Y.Upon graduating
he became involved in church music. He has held
positions in various churches, as a guitarist, organist,
singer and conductor. In addition to his church
work, he also teaches Guitar and Piano at Blue Sky
Studios in Delmar, N.Y., and writes and arranges
compositions in various genres and styles. He currently
serves as the Organist/Music Coordinator at
Newtonville Methodist Church in Loudonville, N.Y.
He resides in Albany N.Y.with his wife Meighan.

 

Table of Contents and C.D. Track List

Exercises and Pieces in graded order, with playing Tips

Foreword and Biography

Track 1. -R.H.Exercise Group #1
Track 2. - R.H.Exercise Group #2 .
Track 3. -L.H.Exercise #1 .
Track 4. -L.H.Exercise #2 .
Track 5. -Spanish Theme (Melody and Bassline) .
Track 6. -Spanish Theme .
Track 7. - Ode to Joy (Melody and Bassline) .
Track 8. - Ode to Joy .
Track 9. - Minuet in C (Melody and Bassline) .
Track 10. - Minuet in C .
Track 11. -R.H.Exercise Group #3 .
Track 12. -L.H.Exercise #3 .
Track 13. - Pastoral Theme .
Track 14. - Gymnopedie #1 .
Track 15. - New World Theme .
Track 16. -Etude in C .
Track 17. -Etude in A minor .
Track 18. -Musette .
Track 19. - Academic Festival Overture .
Track 20. - A Dance .
Track 21. - Simple Lamentation .
Track 22. - Soldier's March .
Track 23. - Sunrise .
Track 24. - Reflections .
Track 25. - Adagio .
Track 26. - Musetta's Waltz .
Track 27. - Cannon .
Track 28. - Eine Kleine Nachtmusic .

Price: €16,99
€16,99

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar Tim Quinn CD TABLATURE CHITARRA

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar, Tim Quinn. CD TAB.

MBGU Rock Curriculum: Fluid Pentatonics, Book 2
84 Melodic Studies for Guitar
by Tim Quinn

Product Description:
Fluid Pentatonics for Guitar: 84 Melodic Studies for Rock Guitar is a comprehensive manual for developing blistering pentatonic motion that moves freely over the entire fretboard, using position-shifting slides, hammer-ons, and pull-offs for speed and fluidity. Emphasis is on overcoming the restrictive nature of traditional pentatonic "box" scale fingerings by developing pathways that continually shift between and connect the five pentatonic “boxes”. Complete whole-neck control is developed through an extensive series of repeating melodic exercises and etudes. Section One presents 35 sequential whole-neck studies, each of which spans the range of twelve frets, thus unlocking virtually every possible position shift. Section Two develops complete non-shifting control through a series of 15 interesting and useful sequential patterns, applied to each of the five pentatonic "boxes". Section Three presents 10 whole-neck/position-shifting studies that are non-sequential in design, in order to develop unpredictable melodic flow. Then, in Sections Four and Five, two vital extensions/variations of the pentatonic scale are fully explored; the Hexatonic and Dominant Pentatonic scales.

The result is a complete matrix of pentatonic moves and connections that allow the guitarist to float freely across the entire fretboard without being locked into any single particular pentatonic "box". The resulting sound is definitely NOT bluesy (very little string bending), but closer to a modern jazz-rock fusion style; fluid and unpredictable. Great for all guitarists in rock, jazz, fusion, blues, country, and pop styles who want to unlock complete whole-neck freedom and develop a fast, modern pentatonic sound. CD included.

Presented in standard notation and tablature.
85 PAGES.

Price: €27,99
€27,99

BRUNO JIMMY INSIDE OUTSIDE JAZZ GUITAR TABLATURE DVD VIDEO CHITARRA

BRUNO JIMMY, INSIDE OUTSIDE JAZZ GUITAR. TAB. DVD

A classic Hot Licks title available once again! Jimmy focuses on deepening your understanding of "outside" playing, encouraging you to take chances, showing you where these ideas come from and where they are going! He teaches melodies over chords, improvisation of the highest order, listening vs. thinking, playing the "outside" notes, circle of pitches, arpeggios and triads, the 5 regions of the guitar, transposing, Charlie Parker lines, pitch collections instead of scales, working in various keys, creating your own melodies, and much more. This new DVD transfer includes slow-motion segments in standard pitch, all right and left hand techniqes shown in split-screen, a new introduction by Arlen Roth, more! Includes 74 page note/tab booklet. 124 min.
 

Price: €33,99
€33,99

FLUID SOLOING BOOK 3 CHORD-LEAD SOLOING FOR GUITAR Tim Quinn CD TABLATURE LIBRO CHITARRA SPARTITI

FLUID SOLOING, BOOK 3, CHORD-LEAD SOLOING FOR GUITAR, Tim Quinn. CD TAB.

Product Description:
Chord-Lead Soloing for Guitar is a complete method for developing fluid double-stop chord melody. This style of playing can be heard most notably in the playing of Jimi Hendrix (in songs such as The Wind Cries Mary, Little Wing, and Castles Made of Sand), as well in the music of the guitarists he influenced, including Steve Vai, Eric Johnson, and Stevie Ray Vaughan. Chord-lead style playing bridges the gap between straight lead and strictly rhythm, because it is simultaneously chordal (implying a specific major or minor chord) and melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm into one flowing melodic chordal texture. This is accomplished through a comprehensive collection of chord-lead phrases, each of which is presented in at least three different fingerings (important for whole-neck flow). These phrases are then assembled into soloing etudes that demonstrate practical application over different chord progressions

Chord-lead playing can be adapted to every style of music, including rock, jazz, blues, alternative, funk, R&B, country, and pop. Mastering chord-lead soloing also greatly increases a guitarist’s ability to "stand alone"; that is, to play by himself unaccompanied by other musicians, mixing and switching between chording and lead improvisation. This book is perhaps the most definitive guide ever written for mastering this highly sought after (yet elusive) style of playing. CD included. Standard notation and tablature.

Price: €24,99
€24,99

CANZONI NAPOLETANE ALIRIO DIAZ SPARTITI CHITARRA CLASSICA LIBRO SANTA LUCIA NEAPOLITAN SONGS

CANZONI NAPOLETANE, ALIRIO DIAZ.

Neapolitan Songs
Series: Guitar
Format: Softcover
Arranger : Alirio Díaz
Composer : Various

Includes: 'A vucchella - L'aniello - Fenesta vascia - Funiculi funiculà - La Luisella - Raziella/Graziella - Michelemmà - Santa Lucia - Tu ca nun chiagne - Il saltimbanco. 34 pages.

Price: €38,99
€38,99

BUSTER B. JONES JUST US 14 Complete Notation & Tab Transcriptions CD TABLATURE LIBRO SPARTITI

BUSTER B. JONESJUST US: 14 Complete Notation & Tab Transcriptions. CD TABLATURE

Product Description:
Although his scorching fingerpicking was most impressive at first glance, a closer look at "Just Us" reveals that he is equally adept at what many musicians consider as a more difficult task: playing fewer notes... ones that mean more, and say more with less, as he does on album opener "A Simple Gift", title cut "Just Us", and "One Sad Clown".

"Just Us" is an album consisting largely of his own compositions inspired by his two main guitars "Merle" and "Pearl". Along the way we are treated to a barn-storming version of "Alabama Jubilee" (it must be tunes like this that caused Chet Atkins to say of Jones "He plays like he's double-parked"), "Collage-a-Reed" and "Clawin'" (each inspired by mentor Jerry Reed), while "Let the Sun Shine In" sounds like an instant fingerpicking classic that you could swear you have heard before, but haven't. Including detailed notation on 15 of Buster’s songs from "Just Us", this Book/CD lesson will challenge even the best players. Presented in standard notation and tablature.

Song Title: Composer/Source:

A Second Glance
A Simple Gift
Alabama Jubilee
Be Like Dad
Collage-A-Reed
Flight Path
Just Us
Last Request
Let the Sun Shine In
One Sad Clown
Pierpaolo
Still Live Five
The Thoughts of One
Thom's Thumb

Price: €39,99
€39,99

KESSEL BARNEY Step-by-Step Guitar Styles Techniques CD TABLATURE LIBRO SPARTITI CHITARRA

KESSEL BARNEY, A Step-by-Step Breakdown of His Guitar Styles and Techniques. Barney's Blues -Begin The Blues -Contemporary Blues -Easy Like -Foreign Intrigue -Indiana (Back Home Again In Indiana) -(I'm Afraid) The Masquerade Is Over -Minor Mood -On A Slow Boat To China -Salute To Charlie Christian -64 Bars On Wilshire -Speak Low -Tenderly -Vicky's Dream. CD TAB.

Wolf Marshall guides guitarists through the styles and techniques of jazz legend Barney Kessel, examining in depth 14 top tunes. 96 pages.

Price: €33,99
€33,99
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