DUELLING BANJOS, Based on "Feudin' Banjos", written by Arthur Smith. Film "Deliverance". SHEET MUSIC FOR BANJO & GUITAR TABLATURE .

SPARTITO DI MUSICA COUNTRY.

SPARTITI PER CHITARRA E BANJO CON:  

ACCORDI, PENTAGRAMMA, TABLATURE.

TABLATURE for BANJO & TABLATURE for GUITAR.  

DUELLING BANJOS ("DELIVERANCE" FILM)
"Un tranquillo week-end di paura" Un film di John Boorman.

By Arthur Smith. Guitar / banjo single for guitar and 5-string banjo. From the motion picture "Deliverance". G Major. 11 pages. With standard notation, guitar tablature, banjo tablature, chord names and strum and pick patterns. Bluegrass.

R&B GUITAR BIBLE. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA RHYTHM & BLUES: 

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Recorded Version TABLATURE
Artist: Various
A divine collection of 35 R&B classics:

About Hal Leonard Guitar Recorded Versions
Guitar Recorded Versions are note-for-note transcriptions of guitar music taken directly off recordings. This series, one of the most popular in print today, features some of the greatest guitar players and groups from blues, rock, and heavy metal. Guitar Recorded Versions are transcribed by the best transcribers in the business. Every book contains notes and tablature.

In 1951, Turner and the band recorded what some historians have called "the first rock and roll record", "Rocket 88". The song was allegedly written as the group drove down to Memphis to record at Sun Studios. Turner came up with the introduction and first verse, the band collaborated on the rest with Brenston, the band's saxophonist, on vocals. Phillips sent the recording to Chess who released it under the name "Jackie Brenston and His Delta Cats". The record sold approximately half a million copies. In Turner's account book he recorded that he was paid $20 for the record. The record contained one of the first examples of guitar distortion, which happened by accident as a result of one of the amplifiers being dropped before the recording. The amplifier was sitting on top of a car which was occupied by a band member; when the band member got out and closed the door, the amplifier slid off and the speaker was punctured. The amplifier was brought inside and was fixed with a piece of paper and tape, which ended up creating the distortion. The amplifier stands in Sun Records in Memphis Tennessee today. The success of Rocket 88 caused tensions and ego clashes in the band, causing Jackie Brenston to leave to pursue a solo career, taking some of the original members with him.

Contents:
SHOT GUN - PERFORMED BY JR.WALKER AND THE ALL STARS - 1965
BUT IT'S ALRIGHT - PERFORMED BY J.J. JACKSON - 1966
GET UP (I FEEL LIKE BEING) A SEX MACHINE - PERFORMED BY JAMES BROWN - 1970
I GOT THE FEELIN' - PERFORMED BY JAMES BROWN - 1968
PLEASE ACCEPT MY LOVE - PERFORMED BY B.B. KING - 1970
I JUST WANT TO CELEBRATE - PERFORMED BY RARE EARTH - 1971
LOVE ROLLERCOASTER - PERFORMED BY OHIO PLAYERS - 1976
FIRE - PERFORMED BY OHIO PLAYERS - 1974
PICK UP THE PIECES  -PERFORMED BY AVERAGE WHITE BAND - 1974
SHINING STAR - PERFORMED BY EARTH, WIND AND FIRE - 1975
SUPER FREAK - PERFORMED BY RICK JAMES - 1981
BOOGIE OOGIE OOGIE - PERFORMED BY A TASTE OF HONEY - 1978
PAIN IN MY HEART - PERFORMED BY OTIS REDDING - 1964
BOOM BOOM (OUT GO THE LIGHTS) - PERFORMED BY LITTLE WALTER - 1957
DANCING IN THE STREET - PERFORMED BY MARTHA REEVES AND THE VANDELLAS -- From: GOOD MORNING VIETNAM - 1964
I CAN'T HELP MYSELF (SUGAR PIE, HONEY BUNCH) - PERFORMED BY FOUR TOPS - 1965
I GOT YOU (I FEEL GOOD) - PERFORMED BY JAMES BROWN - 1966
I HEARD IT THROUGH THE GRAPEVINE - PERFORMED BY MARVIN GAYE - 1966
I SECOND THAT EMOTION - PERFORMED BY SMOKEY ROBINSON - 1967
I WISH - PERFORMED BY STEVIE WONDER - 1972
IT'S YOUR THING - PERFORMED BY THE ISLEY BROTHERS - 1969
MUSTANG SALLY - PERFORMED BY BUDDY GUY - 1968
MY BABE - PERFORMED BY LITTLE WALTER - Written by: Willie Dixon - 1955
MY GIRL - PERFORMED BY SMOKEY ROBINSON - 1964
NADINE (IS IT YOU) - PERFORMED BY CHUCK BERRY - 1964
NO PARTICULAR PLACE TO GO - PERFORMED BY CHUCK BERRY - 1964
PAPA WAS A ROLLIN' STONE - PERFORMED BY THE TEMPTATIONS - 1972
PAPA'S GOT A BRAND NEW BAG - PERFORMED BY JAMES BROWN - 1965
REACH OUT, I'LL BE THERE - PERFORMED BY FOUR TOPS - 1964
ROCKET 88 - PERFORMED BY JACKIE BRENSTON - 1951
SIR DUKE - PERFORMED BY STEVIE WONDER - 1976
THIS MASQUERADE - PERFORMED BY GEORGE BENSON - 1972
BRICK HOUSE - PERFORMED BY THE COMMODORES - 1977
YOU'VE REALLY GOT A HOLD ON ME - PERFORMED BY SMOKEY ROBINSON AND THE MIRACLES - 1962
(YOUR LOVE KEEPS LIFTING ME) HIGHER AND HIGHER - PERFORMED BY JACKIE WILSON - 1967

VAN HALEN, THE BEST OF BOTH WORLDS. 33 trascrizioni. SHEET MUSIC BOOK with GUITAR TABLATURE .

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Thirty-three classic Van Halen songs transcribed in note-for-note tab:

Includes the Following Selections:
Title Composer

AIN'T TALKIN' 'BOUT LOVE - 1978 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

AND THE CRADLE WILL ROCK - 1980 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

BEAUTIFUL GIRLS - 1979 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

BEST OF BOTH WORLDS - 1988 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

BLACK AND BLUE - 1988 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

CAN'T STOP LOVIN' YOU - 1995 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

DANCE THE NIGHT AWAY - 1979 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

DANCING IN THE STREET - 1964 -
STEVENSON, WILLIAM MICKEY/GAYE, MARVIN/HUNTER, IVY

DREAMS - 1986 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

ERUPTION - 1978 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

EVERYBODY WANTS SOME - 1980 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

FEELS SO GOOD - 1988 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

FINISH WHAT YA STARTED - 1988 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

HOT FOR TEACHER - 1983 -
VAN HALEN, EDWARD/VAN HALEN, ALEX/ROTH, DAVID LEE

I'LL WAIT - 1983 -
MCDONALD, MICHAEL/VAN HALEN, EDWARD/VAN HALEN, ALEX/ROTH, DAVID LEE

IT'S ABOUT TIME - 2004 - 
HAGAR, SAMMY/VAN HALEN, EDWARD/VAN HALEN, ALEX

JAMIE'S CRYIN' - 1978 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

JUMP - 1983 -
VAN HALEN, EDWARD/VAN HALEN, ALEX/ROTH, DAVID LEE

LEARNING TO SEE - 2004 -
VAN HALEN, EDWARD/VAN HALEN, ALEX/CHERONE, GARY

LOVE WALKS IN - 1986 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

OH, PRETTY WOMAN - 1964 -
ROY ORBISON

NOT ENOUGH - 1995 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

PANAMA - 1981 -
VAN HALEN, EDWARD/VAN HALEN, ALEX/ROTH, DAVID LEE

POUNDCAKE -1991 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

RIGHT NOW - 1991 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

RUNAROUND - 1991 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

RUNNIN' WITH THE DEVIL - 1978 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

TOP OF THE WORLD - 1991 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

UNCHAINED - 1981 -
VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX/ROTH, DAVID LEE

UP FOR BREAKFAST - 2004 -
HAGAR, SAMMY/VAN HALEN, EDWARD/VAN HALEN, ALEX

WHEN IT'S LOVE - 1988 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

WHY CAN'T THIS BE LOVE - 1986 -
HAGAR, SAMMY/VAN HALEN, EDWARD/ANTHONY, MICHAEL/VAN HALEN, ALEX

YOU REALLY GOT ME *DO NOT CLAIM* - 1964 -
DAVIES, RAY

STARSAILOR, SILENCE IS EASY. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK POP. 

SPARTITI PER VOCE E CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Second album of melancholic pop nuggets from Starsailor. Brimming with confidence and choc-full of cracking tunes, including the anthemic title track, produced by Phil 'Wall of Sound' Spector. Aranged at intermediate standard with guitar tab, notation, lyrics and chords.

Born Again
Bring My Love
Fidelity
Four To The Floor
Music Was Saved
Restless Heart
Shark Food
Silence Is Easy
Some Of Us
Telling Them
White Dove 

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.