CHITARRA - GUITAR

HILAND JOHNNY, LICKS & TRICKS VOL.2. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

Product Description:
Recorded lessons from one of America's greatest guitarists Johnny Hiland teaches essential Licks and Tricks every great country player should know. Lessons in standard notation and TAB with complete audio instruction.

Song Title:
B-Bender Chord Licks
B-Bender Licks
B-Bender Licks Without Using The B-Bender
Bending Behind The Nut
The Funky Chicken Lick
The Tractor Trailer Lick
Train Whistle Lick

VIVALDI, CLASSICAL GUITAR MUSIC OF.  SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

CONCERT MASTERWORKS

Classical Guitar Music of Vivaldi
Series: Creative Concepts Publishing
Publisher: Creative Concepts TAB
Artist: Antonio Vivaldi
Arranger: Joseph Harris

Features 31 pieces by Antonio Vivaldi arranged for solo guitar with tablature. Includes historical notes, performance suggestions, explanation of ornaments, and more.

Inventory #HL 00315187
ISBN: 9781569221945
UPC: 073999158755
Publisher Code: 074090
Width: 9.0"
Length: 12.0"
80 pages

About Classical Guitar Music Of Vivaldi - Guitar Solo
By Antonio Vivaldi (1678-1741), arranged by Joseph Harris. Guitar tablature songbook for guitar. 80 pages.
With standard guitar notation, guitar tablature, introductory text and instructional text. Baroque. 9x12 inches.

Features 31 pieces by Antonio Vivaldi arranged for solo guitar with tablature. Includes historical notes, performance suggestions, explanation of ornaments, and more.

For many years remembered only for his contribution of hundreds of violin concertos, Antonio Vivaldi is regarded today as a key musical figure of the Italian Baroque. Although his most visible and enduring influence was indeed in the development of the solo concerto, Vivaldi was also admired in his day as a composer of excellent chamber music, a stunning violinist and a popular composer of Italian opera. This composer of "The Four Seasons" was a bold and impetuous individual who managed to focus his musical impulses in a unique voice that was consistent yet expressive. Vivaldi was born in Venice in 1678 and trained for the priesthood, but ended up practicing this vocation for only a brief time. Vivaldi served for nearly forty years (from 1703 until just before his death in 1741) as musical director of the Conservatorio dell'Ospedale della Pieta, one of four girls' orphanages in Venice. The Ospedale provided outstanding musical instruction and under Vivaldi's direction created quite a musical sensation. Vivaldi's tasks at the Ospedale included teaching private lessons, composing music for both concerts and church services, repairing musical instruments and commissioning works from other composers for concerts at the Ospedale. Vivaldi was extremely prolific, composing over 50 operas, 90 sonatas and 450 concertos. Despite the apparent ease with which he could produce a composition (he once boasted he could compose a piece faster than it could be copied), Vivaldi is criticized sometimes for being too predictable. The twentieth century Italian composer Luigi Dallapiccola once asserted that Vivaldi did not compose 450 separate concertos, but wrote the same concerto 450 times. Whereas during the Baroque many musicians believed that the particular intent of a composition (church, chamber or theatre) should dictate its musical language, Vivaldi's style varied little between genres and even between mediums. His vocal music and instrumental music share similar musical characteristics, as do his sacred and secular works. Furthermore, Vivaldi's compositional style remained remarkably consistent throughout his career and evolved very little. The only major variances one finds are in surface details, such as melodic contour, which tended to reflect public tastes. However, it is a tribute to Vivaldi's skill as a composer that within such a limited musical vocabulary he exhibited a virtually inexhaustible variety of invention.

Sonatas for Violin, Op. 2
The 12 Sonatas for Violin, Op. 2 were Vivaldi's first solo sonatas. The Sonatas were published in Italy in 1709 and dedicated to Frederick IV of Denmark on the occasion of his visit to Venice. For the Sonatas, Vivaldi drew upon models of Arcangelo Corelli, a conservative Italian composer whose works are tidily constructed, yet highly expressive. Vivaldi's Sonatas are a composite of church and chamber styles, demonstrating his tendency to blur boundaries between genres. In the Sonatas, dance movements intermingle with abstract movements (those with only tempo designations). Baroque dances of the Italian variety differ considerably from their French or German equivalents. The slight differences in the names of dances (for example, compare the Italian giga to the French gigue) do not signify nationality only, but salient musical traits. Whereas the French gigue is a lively, bouncy dance in an imitative texture, the Italian giga has a more restrained sense of pulse, a less rhythmically active bass line and little or no imitation between voices. The Italian gavotta lacks the characteristic two upbeats and musette-like middle section of the French gavotte. The Italian corrente is faster and more "running" in character than the French courante. Also, the French courante may emphasize dotted rhythms and an alternation between duple and triple meter, while the corrente is more rhythmically consistent and metrically stable.

Sonata No.3
In the Adagio (found on page 7), the bass line should be played with a warm tone, especially in areas where it is exposed (as in the opening and in measure 9). To achieve a warm tone on the guitar, play with the right hand close to the fretboard and strike the string with the side of the thumb, using as much flesh as possible. The Giga (found on page 8) should be played dynamically strong throughout and in a lightning fast tempo.

Sonata No.6
The Preludio (found on page 12) should sound very elegant and graceful. Exaggerate the dotted rhythms by playing the long notes longer and the short notes shorter. The Giga (found on page 16) should be played in a moderately fast tempo. Count two beats per measure, not four, to give the piece a stronger and more stable sense of forward motion

Sonata No.7
The tempo of the Corrente (found on page 19) should be very fast. However, in areas where the bass line becomes more active (especially in mm. 17-21), make sure that neither voice breaks down.

Sonata No.9
The Preludio (found on page 23) is an energetic and dramatic piece. The movement contains elements of a "learned" style, which show off a composer's contrapuntal skills. Be sure to emphasize the points of imitation (as in the first few measures).

Sonata No. 11
The abundance of syncopated rhythms presents an interesting technical problem for the solo performer in the Gavotta (found on page 28). In order toconvey the meter clearly, keep the tempo steady and count two beats per measure. Hold on to notes with the left hand for as long as possible before fingering new notes.

Sonatas for One or Two Violins, Ope 5
The Six Sonatas, Op. 5 were first published in 1716. By this time, Vivaldi had chosen a new publisher, Etienne Roger in Amsterdam. There were at least two significant reasons for the switch: superior printing methods and an increased demand for the music of Vivaldi and other Italians in northern Europe. The Sonatas, Op. 5 were actually engraved and published at Roger's own expense. Such a practice was quite rare in Vivaldi's time and testifies to his immense popularity.

Sonata No. 13
The Sarabanda (found on page 30) lacks the lasciviously strong accent on the second beat characteristic of the Spanish sarabande. Keep the tempo slow, the meter even and play with as much vibrato as possible. Sonata No. 14

For the Gavotta (found on page 32), the left-hand slurs (as in mm. 7-9 and 39-41) may require some extra attention during practice. Isolate each slur and treat it as a trilling exercise. Devote a few minutes each day to these passages until they sound crisp and clear.

Sonata No. 16
In the Preludio (found on page 35), exaggerate the dotted rhythms and apply vibrato liberally. Because of the slow tempo, it will be necessary to think ahead and be aware of the melody's direction and shape. At some point, you may want to do a simple phrase analysis of the Preludio. Break the piece into small phrases, study how they relate to one another and then group them into longer phrases. The longer the phrases you envision, the better the sense of forward motion you will convey.

Sonata No. 18
The Air-Minuet (found on page 38) demonstrates an ambiguity in Vivaldi's choice of titles for movements. The designation "Air" suggests the vocal-like quality of the melody. The piece is also an instrumental dance movement, containing the clear four-bar phrasing and clear cadences typical of a minuet. Overall, the piece should sound stately, yet singing.

II cimento dell'armonia e dell'inventione, Op. 8
The Concertos, Op. 8 were first published in 1725 and dedicated to the Bohemian Count Wenzeslaus von Morzin. The first four concertos are collectively known as "The Four Seasons." A significant feature in each of these concertos is the inclusion of an explanatory sonnet, each line of poetry corresponding to a particular passage in the music.

Il cimento dell'armonia e dell'invenzione, Op. 8
Pubblicati per la prima volta nel 1725, i primi 4 concerti sono conosciuti come "Le quattro stagioni".

TABLE OF CONTENTS: 
Historical Notes & Performance Suggestions
Explanation of Ornaments
Adagio Sonata for Violin, Op. 2, No.3
Giga from Sonata for Violin, Ope 2, No. 3
Preludio from Sonata for Violin, Ope 2, No. 6
Giga from Sonata for Violin, Ope 2, No. 6
Corrente from Sonata for Violin, Ope 2, No. 7
Largo from Concerto for Flute, Op. 10, NO.3 (''il Gardellino") ,
Preludio from Sonata for Violin, Op. 2, No. 9 ,
Gavotta from Sonata for Violin, Ope 2, No. 11
Sarabanda from Sonata for Violin, Ope 5, No. 13
Gavotta from Sonata for Violin, Ope 5, No. 14 .
Preludio from Sonata for Violin, Ope 5, No. 16 .
Air-Menuet from Sonata for Two Violins, Op. 5, No. 18 .
Allegro non molto From the Four Seasons, Op. 8, NO.2 (Summer) .
Largo From The Four Seasons, Op. 8, NO.4 (Winter) .
Affettuoso From Sonata for Flute, RV 48 .
Allegro assai From Sonata for Flute, RV 48 .
Allegro Sonata for Flute, RV48 .
Preludio from Sonata for Flute, RV 49 .
Sarabanda from Sonata for Flute, RV 49 .
Siciliana from Sonata for Flute, RV 49 .
Preludio from Sonata for Recorder, RV 52 .
Allemanda from Sonata for Recorder, RV 52 .
Aria di Giga from Sonata for Recorder, RV 52 .
Largo from Concerto for Lute and Two Violins, RV93 .
Largo from Concerto for Flute and Oboe, RV95 ("La Pastorella") .
Andante from Concerto for Flute, RV429 .
Grave from Concerto for Violin and Organ, RV541 .
Allegro alla Francese Violin and Oboe, RV 543
Largo from Concerto for Oboe and Violin, RV 548 .
Largo from Concerto for Flute, Op. 10, No.4 .
Largo from Sonata for Musette, Vielle, Flute, Oboe or Violin, Op. 13, No.6

Catalog #07- 4090
ISBN# 1-56922-194-4
CREATIVE CONCEPTS PUBLISHING CORPORATION
Creative Concepts Publishing Corp.

ESSENTIAL BLUES GUITAR, Dave Celentano. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover with CD
Composer: Dave Celentano

This handy guide to playing blues guitars emphasizes the essentials, such as: chord changes, scales, rhythms, turn arounds, phrasing, soloing and more. Includes lots of examples, plus 10 rhythm tracks for soloing and improvising. 80 pages. 

GUITAR ATLAS: MIDDLE EAST. Jeff Peretz. CD TABLATURE

LIBRO PER CHITARRA CON CD, IN NOTAZIONE E TABLATURE

Guitar Atlas: Middle East
By Jeff Peretz

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

The Guitar Atlas series is your passport to a new world of music. Learn the characteristic rhythms and techniques of some of the world's most remarkable guitar music, discovering the history, origins, and pioneering artists of distinctive styles from around the globe.

This introduction to the exotic music of Algeria, Egypt, Israel, Kuwait, Morocco, Nubia, and neighboring regions includes insights into cultural and religious influences and the major musicians of each locality. Discover unique plucked instruments, the Arabic tone system and exotic scales, and open your mind to new forms of improvisation that will forever alter your approach to soloing. The examples and compositions throughout all 48 pages are presented in standard notation and TAB and demonstrated on an enclosed CD.

An introduction to the exotic and exciting music of:
Algeria
Morocco
The Bedouins
Nubia
Egypt
Sudan
Israel
Turkey
Kuwait
and more
Examples in standard music notation and TABLATURE
JEFF PERETZ

Jeff Peretz, author of Zen and the Art of Guitar, takes you on a whirlwind tour of the exotic and diverse music of the regions of "The Dry World": Mashrig ("where the sun rises" in the Eastern Mediterranean), Mahgrib ("where the sun sets" in North Africa), the Arabic peninsula, and Asia Minor. The roots of the wonderful musical traditions from the Middle East are taught in a way the contemporary guitarist can understand, including cultural and religious infiuences, unique plucked instruments (predecessors of the guitar), the major musicians of the region, the Arabic tone system,and exotic scalesand forms. Discover the basicsofTaqsim, an improvisatory form that will open your mind to a new dimension in music,forever altering your approach to guitar soloing.
The CD demonstrates all the examples and compositions featured in the book.

INTRODUCTION
This book assumes that you are an intermediate guitarist with the ability to read guitar tablature and/or standard music notation. You should have a good grasp of basic music theory, including scales and chords. You should also have some experience using scales to improvise, although the style you prefer to play is not important.
With this book, you'll be learning to create new sounds that will stretch your imagination, and the imaginations of your listeners.
About the Written Music in This Book The written examples printed in this book are doorways into the performance of this music. The key that unlocks them, however, is the CD. The musics of the Middle East are aural traditions, and capturing them in writing is only partially possible. While the written music examples are not literal transcriptions of the performances on the CD, they will serve as maps to what you are hearing.

HISTORY
Music has been on the planet longer than humans have been recording them history.
Archeologists have discovered musical instruments dating back almost 30,000 years; many
believe that music may even predate human speech. Ancient Mesopotamia (modern day
Iraq) is believed to be where it all started.
The Middle East is the birthplace of many things in this world, from civilization and
religions to paper, our alphabet and recorded history (not to mention calendars and
time keeping). It should come as no surprise that the Middle East is also a birthplace of
improvised music. The music of the region that we call the Middle East is a tradition
that has been cultivated for thousands of years. It is mentioned in the Bible and has been
academically documented since the late 6th century. Many styles which are still played
today date back as far as the Sassanid Dynasty (Persia, 224-651 A.D.), the Byzantine
Empire (4th-5th century) and earlier. The concept of using a stringed instrument as a
vehicle for melodic improvisation comes from these ancient stYles.
To truly understand how the music of the region evolved, we must paint a picture of
what life was like during pre-Islamic Arabia. The era that predated Mohammed and the
birth of Islam was a time of tribal unions, trade routes and gypsies. From North Africa
through the Eastern Mediterranean coast up to the Caspian and Aegean seas, and as
far east as the Zagros mountains and the Iranian Highlands, life was defined by tribal
association. Its story was told through the sung poetry known as Laya/i. The sung poetry
was often accompanied by an ud (also spelled oud) or other string instruments that were
light and portable and could be carried easily in a trade caravan.
There were three ways in which people lived in the early days of the Middle East. One
either lived in an urban center such as Baghdad or Damascus, a rural region as a farmer
or a shepherd, or you were a nomad (Bedouin/Gypsy) and traveled the land according
to the seasons and trade. While each way of life had its own unique contribution to the
musical development of the region, the concept of using a group of notes (scale) as a basis
for free expression (solo) is a common theme in the ancient music of the Middle East.
The ud, along with the tanbar, saz, bazooki, tar and setar, all precursors to the guitar, are
the key instruments in the development of melodic plucked string improvisation. The
approach to playing these instruments is the genesis of the way we play the guitar today.
In other words, this is where the pre-historic Hendrixs and Wes Montgomerys came
from. It is the birthplace of the guitar solo.

ABOUT THE AUTHOR
PRONUNCIATION GUIDE/GLOSSARY

CHAPTER I-Introduction
History
Geography: Four Regions
Musical Diversity of the Four Regions
Religious/Cultural Influence
The Guitar/Instruments
The Arabic Tone Systems

CHAPTER 2-The Maqam Phenomena
How the Maqam Are Created (Tetrachords)
Maqam Playable by the Guitar
Taqsim
Temple of Dum 15
Harmonic Major/Harmonic Minor Modulation
People of the Dark (Modulation)
Daftze's Dilemma

CHAPTER 3-Wasn Rhythm .
Basic Belly Dance Rhythms .
Belly Dance Excerpt .
Maqsum Belly Dance .
Morrocan 6 .
Cafl Shohor 9 .
CHAPTER 4-Musical Forms and Styles .
Sung Poetry .
Oriental Art Styles .
Sama-I. .

CHAPTER 5-Modern Middle Eastern Styles .
Rai .
2:30 A.M .
Other Styles and Artists .
Rosh Shel Lee (My Head) .

APPENDIX: Middle Eastern Tonal Systems .
The Persian Dhagsta System .

The author wishes to thank his wife, Neta, and his children Maya and Zohar, for their
patience and support.

A compact disc is included with this book. This disc can make learning with
the book easier and more enjoyable. The symbol 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, interpreting the rhythms correctly,
and so on. The track number below the symbol corresponds directly to the
example you want to hear. Track 1 will help you tune your guitar to this CD. Have fun!
 

acoustic guitar magazine, ESSENTIAL ACOUSTIC GUITAR LESSONS. CD TABLATURE

LIBRO CON CD, IN NOTAZIONE E TABLATURE

8 FULL SONGS TO PLAY

BASICS

RHYTHM

LEAD

EXPLORATION

Essential Acoustic Guitar Lessons
14 In-Depth Lessons for Players of All Levels
Series: String Letter Publishing
Publisher: String Letter Publishing
Format: Softcover with CD - TAB
Author: Various Authors

Inventory #HL 00695802
ISBN: 9780634068355
UPC: 073999958027
Width: 9.0"
Length: 12.0"
66 pages

This book/CD pack offers a superb selection of lessons and songs for the acoustic guitar, expertly played by teachers on the accompanying CD. It includes exercises, licks and 8 full songs to play, in standard notation and tablature with chord diagrams. The CD includes two versions of each song: one played slowly and the other, up to tempo. The book is divided into four main sections: Basics - covering the fretboard, barre chords and flatpicking; Rhythm - bluegrass in dropped D, bass lines, classic pop changes; Lead - Celtic jigs, melodic improvisation, soloing with arpeggios; and Exploration - capo use, Hawaiian slack key, classical etude variations; and modal harmony. Players of all levels will find lessons to benefit them. 66 pages

Introduction

There
has never been a better time to play the guitar! Guitar makers call this the Golden Age of Lutherie for good reason; it's a time where players of all levels can find high-quality guitars in an price range. But this era could just as easily be called the Golden Age of Guitar Instruction. Never before have we had so many high-quality instructional materials and accurate song transcriptions for virtually any style of music. In Essential Acoustic Guitar Lessons, the experienced teachers at Acoustic Guitar offer up something for everyone. The Basics section will help you learn the notes on the guitar's fret board and get started with barre chords and flatpicking. More advanced lessons include styles as diverse as jazz improvisation, Celtic jigs, slack-key guitar, alternate tunings, and more. You'll even learn how to play your guitar like a bass, if the need arises! If one style particularly grabs you, log on to where you'll find a multitude of books delving into specific styles and techniques. So pick up your guitar, and let's get started!
Andrew DuBrock Music Editor

DAVID HAMBURGER
David Hamburger is a performer and writer who lives in Austin, Texas. He has been playing
folk and blues music since first picking up the guitar at the age of 12 and has been on the
faculty of the National Guitar Workshop since 1988. Hamburger's guitar, slide guitar, and
Dobro playing can be heard on his solo albums King of the Brooklyn Delta (Chester, 1994)
and Indigo Rose (Chester, 1999), as well as on numerous other independent recordings.
Hamburger is the author of many books, including The Acoustic Guitar Method, and has
contributed dozens of lessons and articles to Guitar Player and Acoustic Guitar magazines.
For a discography, performance schedule, and other information, visit his website at

KAREN HOGG
Karen Hogg is a multi-instrumentalist, music teacher, yoga teacher, and freelance writer living
in New York City. She has written two instructional books for Workshop Arts/Alfred
Publishing: Women in Rock and Guitar Made Easy. Hogg has been teaching for ten years and
is an instructor at the National Guitar Summer Workshop and the American Institute of
Guitar. She performs regularly on guitar and mandolin in various country and rock bands
around New York.

PAUL KOTAPISH
Paul Kotapish started playing guitar in bands shortly after he first heard the Beatles on his
transistor radio. He has toured the globe and recorded numerous albums with Irish fiddler
Kevin Burke, the Hillbillies from Mars, and Wake the Dead an acoustic ensemble that meshes Grateful Dead songs with traditional Irish music. During the day he messes around on computers doing forensic multimedia work for an Oakland,
California law firm.

TONY MARCUS
Tony Marcus plays lead guitar and violin in the '30s and '40s swing band Cats and Jammers,
which records for the Tuxedo label (2557 Wakefield Ave., Oakland, CA 94606). He's also
played with the Arkansas Sheiks, the Cheap Suit Serenaders (featuring counter-culture cartoonist
Robert Crumb), and the Royal Society Jazz Orchestra.

PETER MULVEY
Peter Mulvey began his musical career playing guitar in the subways of Boston and on the
streets of Dublin. Since those early busking days, he has recorded four critically acclaimed
albums (his latest, Ten Thosand Mornings, was released in 2002) and has captivated audiences
across the U.S. and Ireland with his intelligent lyrics and percussive, inventive guitar
work. You can find him.

CONTENTS

CD Track List
Introduction
Music Notation Key
About the Teachers

BASICS

Unlocking the Fretboard - KAREN HOGG

Barre Chords - DAVID HAMBURGER

Flatpicking 101 - DAVID HAMBURGER
Blackberry Blossom

RHYTHM
Bluegrass in Dropped D - HAPPY TRAUM
Angel Band

Bass Lines for Guitarists - PAUL KOTAPISH
Levis Beaulieu

Classic Pop Changes - ANDREW DUBROCK

Swing Voice Leading - TONY MARCUS

LEAD

Celtic Jigs - DAVID SURETTE
Coleraine/Monferrine

Melodic Improvisation - CHRIS GRAMPP

Soloing with Arpeggios - JAMIE FINDLAY

EXPLORATIONS

Getting Low Lows with a Partial Capo - PETER MULVEY

Hawaiian Slack Key - KEOLA BEAMER
A Grandmother's Wish
Wa'apa

Classical Etude Variations - MARK SMALL
Prelude

Modal Harmony - SCOTT NYGAARD
Winter Waltz