FINGERSTYLE

MORGEN HOWARD PREPARATIONS AN INTRODUCTION TO FINGERSTYLE PLAYING CHITARRA LIBRO METODO

MORGEN HOWARD, PREPARATIONS: AN INTRODUCTION TO FINGERSTYLE PLAYING.

Preparations: An Introduction to Fingerstyle Playing. This edition of Preparations: An Introduction to Fingerstyle Playing is in a Paperback format. This books publish date is January 1979. There are 100 pages in the book

SHEET MUSIC BOOK FOR GUITARISTS.

LIBRO DI MUSICA PER CHTARRA.

Prezzo: €139,50

€139,50

MORGEN HOWARD, CONCEPTS: ARRANGING FOR FINGERSTYLE GUITAR.

MORGEN H., CONCEPTS: ARRANGING FOR FINGERSTYLE GUITAR. Laura -the boy next door -sweet and lovely -blue moon -stompin' at the savoy -have yourself a merry little Christmas -just friends -what are you doing the rest of your life? -taking a chance on love -whispering -in a mellow tone -don't blame me -the shadow of your smile -on green dolphin street, ... and meny more.

Concepts: Arranging for Fingerstyle Guitar
By Howard Morgen
SERIES: The Howard Morgen Fingerstyle Jazz Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book
--------------------------------------------------------------------------------
Beginning with an explanation of how a bass line defines the harmonic scheme, this edition leads the player through dozens of fingerstyle arrangements. Including: Laura * Green Dolphin Street * The Shadow of Your Smile * Stompin' at the Savoy * Just Friends * Don't Blame Me * Nobody Does It Better.
--------------------------------------------------------------------------------
Includes the Following Selection:
Title Composer

BELL BOTTOM TROUSERS H MORGEN

BLUE MOON
L: HART, LORENZ/RODGERS, RICHARD

BLUES FOR HY/H MORGEN CONCPTS

BOLD MACDONALD H MORGEN

BONFIRE/H MORGEN CNCPT'S

BONNIE H MORGEN

C JAM BLUES
ELLINGTON, DUKE

CRAWDAD SONG H MORGEN

DON'T BLAME ME
FIELDS, DOROTHY / MCHUGH, JIMMY

DON'T GET AROUND MUCH ANYMORE
ELLINGTON DUKE/L: RUSSELL, BOB

FIVE FOOT TWO, EYES OF BLUE
HENDERSON, RAY/L: LEWIS, SAM M./L: YOUNG, JOE

FORTUNE COOKIE (MAIN TITLE)

FREIGHT TRAIN H MORGEN

GENTLE RAIN

GREENSLEEVES H MORGEN

HANDY MAN
BLACKWELL, OTIS/JONES, JIMMY

HAVE YOURSELF A MERRY LITTLE CHRISTMAS
BLANE, RALPH/L: MARTIN, HUGH

I'M WALKIN' PRINT (C)
ANTOINE DOMINO, DAVE BARTHOLOMEW

IN A MELLOW TONE /INST{PRINT (C)}
ELLINGTON, DUKE

JOSHUA/H MORGEN CNCPT'S

JUST FRIENDS
JOHN KLENNER, SAM M. LEWIS

JUST YOU, JUST ME
JESSE GREER, ROYMOND KLAGES

LAMB STEW H MORGEN

LAURA
RAKSIN, DAVID/L: MERCER, JOHNNY

LONESOME ROAD/H MORGEN CNCPT'S

MY GRANDFATHER'S CLOCK H MORGEN

NOBODY DOES IT BETTER
L: SAGER, CAROLE BAYER/HAMLISCH, MARVIN

OLD TIME RELIGION H MORGEN

ON GREEN DOLPHIN STREET
KAPER, BRONISLAW/L: WASHINGTON, NED

PEG O MY HEART PRINT (C)
FRED FISHER; ALFRED BRYAN

SAINT JAMES INFIRMARY H MORGEN

SIDEWALKS OF NEW YORK H MORGEN

STAIRWAY TO THE STARS (PRINT ONLY)
M. PARISH, M. MALNECK AND F. SIGNORELLI

STOMPIN' AT THE SAVOY
GOODMAN, BENNY/L: RAZAF, ANDY/SAMPSON, EDGAR/WEBB, CHICK

SUR LES PONT D' AVIGNON H MORGEN

SWEET AND LOVELY PRINT (C)
ARNHEIM, TOBIAS, LEMARE

SWEET GINGERBREAD MAN (PRINT(C)}
MICHEL LEGRAND, A. & M. BERGMAN

TAKING A CHANCE ON LOVE
DUKE, VERNON/L: LATOUCHE, JOHN/L: FETTER, TED

THAT OLD FEELING PRINT (C)
LEW BROWN, SAMMY FAIN

THE BOY NEXT DOOR PRINT (C)
HUGH MARTIN, RALPH BLANE

THE GREEN LEAVES OF SUMMER (PRINT ONLY)
PAUL F WEBSTER, DIMITRI TIOMKIN

THE SHADOW OF YOUR SMILE (FROM "THE SANDPIPER")
L: WEBSTER, PAUL FRANCIS/MANDEL, JOHNNY

TOWNHOUSE BLUES

WHAT ARE YOU DOING THE REST OF YOUR LIFE?
LEGRAND, MICHEL/L: BERGMAN, ALAN/L: BERGMAN, MARILYN

WHISPERING PRINT (C)
SCHONBERGER/COBURN/ROSE

ZOOM

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GUITAR SOLO JAZZ STANDARDS Silverman TABLATURE SPARTITI LIBRO CHITARRA

GUITAR SOLO JAZZ STANDARDS. Silverman. TABLATURE

LIBRO DI SPARTITI PER CHITARRA IN NOTAZIONE E TABLATURE.

Guitar Solo Jazz Standards
Arr. Jerry Silverman and Gregory Coleman
SERIES: Guitar Solo
CATEGORY: Guitar Mixed Folio
FORMAT: Book
Nineteen classic jazz standards in beautiful and playable solo guitar arrangements. 82 Pages.Titles include:

Ain't She Sweet
Bess, You Is My Woman
Body And Soul
The Boulevard Of Broken Dreams
Don't Get Around Much Anymore
Emily
Fascinating Rhythm
In A Mellow Tone
In A Sentimental Mood
It Don't Mean A Thing (If It Ain't Got That Swing)
Li'l Darlin'
Mood Indigo
The More I See You
Mood Indigo
The More I See You
'Round Midnight
Skylark
Solitude
Sophisticated Lady
Take Five
Stardust

Prezzo: €19,99

€19,99

JUBER LAURENCE THE GUITARIST ANTHOLOGY VOL.2 CD TABLATURE SPARTITI CHITARRA LITTLE WING

JUBER LAURENCE, THE GUITARIST ANTHOLOGY VOL.2. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO DI MUSICA PER CHITARRA ACUSTICA,

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.

FINGERSTYLE, FINGERPICKING,

ALONG THE WAY -BREAKING POINT -BUFFALO NICKEL -CANNERY ROW -CATCH! -DANCING ON STREAMS -DIFFERENT TIMES -EYE OF THE STORM -GREEN KITCHEN -I SAW HER STANDING THERE, LENNON MCCARTNEY (non è sul CD) -LAYLA, Eric CLAPTON Jim GORDON -LEANING POST -LIQUID AMBER -LOVE AT FIRST SIGHT -THE 5:55 -LITTLE WING, JIMI HENDRIX (non è sul CD). CD TABLATURE

Acoustic Masterclass Series: Laurence Juber -- The Guitarist Anthology Vol. 2
By Laurence Juber
SERIES: Acoustic Masterclass
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Guitar arrangements transcribed by the artists themselves, in standard notation and tab. Each edition includes a masterclass-style CD in which the artist walks you through the key aspects and techniques for each arrangement.

Laurence Juber, the former lead guitarist for Paul McCartney and Wings, is the premier solo acoustic guitarist of our generation. This new anthology contains 16 of LJ's most popular solo guitar pieces, in DADGAD, CGDGAD, and standard tuning. All are transcribed by LJ himself, including his classic arrangements of the Beatles' "I Saw Her Standing There," Jimi Hendrix's "Little Wing, " and Eric Clapton's "Layla." Also included is a masterclass-style CD, in which LJ walks through the key aspects and techniques for each arrangement. Songs include: Dancing on Streams - Different Times - Leaning Post - Gate 43 - Liquid Amber - Along the Way - Love at First Sight - Buffalo Nickel - Cannery Row - Catch! - The Green Kitchen - The 5:55 - Breaking Point - Eye of the Storm - I Saw Her Standing There - Little Wing.

Includes the Following Selection:
Title Composer

ALONG THE WAY
LAURENCE JUBER

BREAKING POINT
LAURENCE JUBER

BUFFALO NICKEL
LAURENCE JUBER

CANNERY ROW
LAURENCE JUBER

CATCH!
LAURENCE JUBER

DANCING ON STREAMS
LAURENCE JUBER

DIFFERENT TIMES
LAURENCE JUBER

EYE OF THE STORM
LAURENCE JUBER

GREEN KITCHEN
LAURENCE JUBER

I SAW HER STANDING THERE
LENNON, JOHN/MCCARTNEY, PAUL

LAYLA
CLAPTON, ERIC/GORDON, JIM

LEANING POST
LAURENCE JUBER

LIQUID AMBER
LAURENCE JUBER

LITTLE WING
JIMI HENDRIX

LOVE AT FIRST SIGHT
LAURENCE JUBER

THE 5:55
LAURENCE JUBER

Prezzo: €139,99

€139,99

PETTEWAY AL CELTIC BLUES BEYOND CD GUITAR TABLATURE DADGAD Tuning DADDAD DGCFAD CHITARRA

PETTEWAY AL, CELTIC, BLUES AND BEYOND. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

After Dark
Alphonso Brown is Back
The Darkest Hour
E Funk
Lightning Rod
Meant to Be
Meant to Be
She Moved Through the Faire Slinky Soozie
Smoky Mountain Morning
Spindrift
St. Clair's Rag
Station to Station
The West Wind
Tony's Rag

Acoustic Masterclass Series: Al Petteway -- Celtic, Blues, and Beyond
SERIES: Acoustic Masterclass
CATEGORY: Guitar Method or Supplement
VERSION: Guitar TAB
FORMAT: Book & CD
--------------------------------------------------------------------------------
Guitar arrangements transcribed by the artists themselves, in standard notation and tab. Each edition includes a masterclass-style CD in which the artist walks you through the key aspects and techniques for each arrangement.

Al Petteway has a unique solo guitar style that mixes varied influences, from folk and Celtic music, to R&B and blues. Includes: After Dark * Alphonso Brown Is Back in Town * The Darkest Hour * E Funk * Eureka Hotel * Lightning Rod * Meant to Be * Requiem * She Moved Through the Faire * Slinky Soozie * Smoky Mountain Morning * Spindrift * St. Clair's Rag * Station to Station * The West Wind * Tony's Rag.

ACOUSTIC MASTERCLASS

16 SOLO GUITAR MASTERPIECES
DAZZLING CONTEMPORARY FINGERSTYLE GUITAR
MASTERCLASS CD INCLUDED

Acknowledgments
Thanks to all the folks who helped make this project a reality.
Years ago, after hearing a tune on one of my early albums, James Jensen of Solid Air Records
had the idea for me to do a blues-oriented recording. The resulting solo guitar project, Shades
of Blue, would not have happened without him.
Aaron Stang of Warner Bros. Publications has been a great inspiration during this project and
its sister DVD. His kind patience and knowledge of guitar were instrumental in making it all
come together.
Frank LaRouche helped immensely by transcribing my music so that the folks at Warner Bros.
Publications would have something from which to work.
And finally, my wife, Amy White, helped every step of the way by being my best ~usical editor
and my best friend.

TRANSCRIBED BY: FRANCOIS LaROUCHE

Introduction
A number of varied techniques are represented in this book. Some come directly from my
blueslrock guitar past and others from playing lute in the university madrigal group or playing
funk bass with a top-40 dance band during the '70s. My acoustic guitar career began with some
serious flatpicking of bluegrass, newgrass, and swing during the '80s and eventually led to writing
and interpreting Celtic music for fingerstyle guitar in the '90s. I'm always amazed at how much of
each style stays with me when I sit down to write or arrange a tune for fingerstyle guitar.
Playing Celtic music in DADGAD tuning taught me new ways to approach the guitar and brought
me full circle to the blues and rock styles of my youth. I was struck with how easy it was to play
these styles on an acoustic guitar when three of the strings are tuned down a whole step and the
bottom two strings make an open fifth. Suddenly, I could bend notes as I did on electric guitars,
and with a bit of practice, I could even add bass and drum parts to accompany myself. A whole new
world opened to me.
Most of the tunes in this book are from my Shades of Blue album on Solid Air Records. I let the spirit
of improvisation carry me many times during the recording of that album, and most of the tunes
are played a bit differently each time I revisit them. In addition, there are three pieces that are more
from the Celtic side of the spectrum and are also included on the DVD Celtic, Blues and Beyond.
These tunes also differ somewhat from my original recordings. The important thing is to get the
melody and the feeling in each of the tunes. The rest is up for grabs. I think it's always best for each
guitarist to reinterpret the tune to fit his or her style and showcase his or her own strong points.
In every case, however, it is important to set up a hierarchy within the parts of an arrangement. The
melody is always played loudest, the bass line a bit softer, and the chord flll notes softer yet. This
approach helps separate the different parts and make everything clearer and easier to listen to.
Ballad tunes should be played as if they were being sung. The music should breathe and not feel
restricted by the meter.
The next few pages contain specific notes about each of the tunes included in this collection. I hope
you enjoy everyone of them.
AI Petteway

The Compositions

After Dark
This one is a relatively straightforward jazzy blues built from a melody and bass line. Note that the
first section is played with a swing feel as if the tune were in 12/8. The second part is played straight
and a bit faster. The transition back to the swing feel happens over a few measures and should be
gradual and smooth.

Alphonso Brown Is Back in Town
My name really is Alphonso Brown Petteway. I always fancied Alphonso Brown as my funk bass playing alias. The primary techniques used in this tune combine a funk bass sensibility with blues licks.
The hardest part (and the most satisfying) is keeping that downbeat happening at all times. The
intro and the funky rhythmic patterns that occur throughout the piece use a technique I came up
with to imitate bass and drums playing together. My right hand maintains a constant slap on the
strings by playing notes on the downbeat with the back of my nails and by pulling the string away
from the fingerboard with the flesh of my finger for any notes on the upbeat. With the addition of
hammer-ons and pull-offs, this technique can result in an incredible groove. You can teach yourself
this technique by playing simple melodies on one string while maintaining the downbeat hit on the
strings. It's not easy, but once you get it, you'll be able to improvise easily. During the main section
of the tune, I use a pretty straightforward technique of muting the bass string with my right-hand
palm while playing blues licks with my fingers. There's lots of bending and snapping going on.

The Darkest Hour
This one is a total improvisation. I used the trick of tuning the entire guitar down a step so that I
could bend the strings further and with more expression.

E Funk
Again the hierarchy of melody, bass, and chords comes into play. The "x" represents a rhythmic hit
on the strings. You can execute the funky bass lines by pulling the string away from the fingerboard
and letting it slap down for the note to sound. This technique takes very little effort but results in a
nice loud slap sound.

Eureka Hotel
Here's a great use for DADGAD tuning: Play the melody in parallel octaves on
three pairs of strings. The repeating bass notes on the downbeat keep this tune
rolling along, and the melody comes right out of the chords. Many times, my
fingers are holding down the entire chord even when I play only one or two notes
of it. That way, I'm safe if I hit one of the other strings by accident or if I want to
fill out the chord a bit more.

Lightning Rod
This tune evolved from an exercise I wrote for my students to teach them how
to jam with themselves. Learning to playa repeating quarter note on the low
E string while improvising on top can lead to hours of fun.

Meant to Be
In DADGAD, the key of Am lends itself nicely to blues styles. On this tune, I set up a rhythmic
pattern with my right hand hitting the strings on beats 2 and 4 rather than on every beat. This
creates a nice backbeat to play the melody over. The same technique is used as in "Alphonso
Brown," where any notes that fall on 2 or 4 must be played with the back of the nails to maintain
the rhythmic pattern. Many times I'll stretch notes up without releasing them or start
notes at the top of a stretch and bring them down. Both of these techniques sound great on
acoustic guitar.

She Moved Through the Faire
Traditionally sung a cappella, this melody in the Mixolydian mode falls nicely under the fingers
without having to change positions. Remember to breathe and let the tempo relax at the ends of
phrases. These kinds of tunes just don't sound right if they are played with a metronomic feel. In
measure 23, the triplet can be played by alternating the thumb and first finger or using all three
fingers on the right hand in quick succession on the one note.

Requiem
This tune needs lots of space as well. The ornaments are very Celtic, but the chord structure is not.

Slinky Soozie
I cheated on this one by tuning the entire guitar down a whole step. Many of my favorite blues
techniques involve stretching pairs of strings. On an electric, it's easy, but with a wound mediumgauge
third string on an acoustic, it's nearly impossible unless you tune down. Since I wanted
to play in standard tuning, this meant tuning down all six strings. It really feels slinky when
you do this.

Smoky Mountain Morning
This Celtic-sounding piece evolves into more of a mountain tune complete with the sound of
a frailing banjo. DAD GAD tuning is wonderful {or these kinds of things because of its modal
character. The melody in the frailing section is played with the thumb while the backs of the first
and second fingernails are used to strum in a down-up pattern creating a banjo-like drone.

Spindrift
The right-hand arpeggio in measures 3 and 7 is played T 1 2 3 2 1 T. Practice this
move slowly until it becomes relaxed and flows easily from the tips of your fingers.
I used this arpeggio to relax my right hand when warming up since it's almost
impossible to do when the muscles in your hand are tensed.

St. Clair's Rag
Simple alternating bass lines drive this Am rag.

Station to Station
The technique used here is the same as the one in the second half of "Smoky Mountain
Morning:' The melody is played in octaves, and the chords are strummed with the fingertips
using a down-up pattern. The intent is to imitate a train speeding up to full speed before pulling
into the next station. The rhythm should be kept even as it speeds up and then slows down. On
some of the double-stops, use vibrato to emulate a slide guitar.

Tony's Rag
This one is just a fun rag based on thousands of similar rags I've heard. The time signature says
4/4, but it feels more like it is in 2/4 when played up to speed. If you tap your foot, tap on beats
1 and 3 instead of all four to get this feel. Pay close attention to the cascading line that appears in
measures 43 and 44. It's a tricky one since some of the higher notes are played on the lower
strings. Using open strings in conjunction with fingered notes can be really effective, especially
in fast passages like this one.

The West Wind
Better known as an Irish tune called "The South Wind," this old Celtic piece is claimed under
different names by all of the Celtic nations. Since I learned it from a piping record, it had a
decidedly Scottish flavor. One of the typical musical figures in Scottish music is the "Scottish
Snap." Typically written as a 16th-dotted-eighth-note pattern, it appears here as a 32nd-dotted16th-
note figure due to the tune being transcribed in 6/8 rather than 3/4. It still sounds exactly
the same.

Outro
DADGAD Tuning Track
DADDAD Tuning Track
DGCFAD Tuning Track
Standard Tuning Track

Introduction :
Performance Notes
After Dark
Alphonso Brown Is Back in Town
The Darkest Hour
E Funk
Eureka Hotel
Lightning Rod
Meant to Be
She Moved Through the Faire
Requiem
Slinky Soozie
Smoky Mountain Morning
Spindrift
St. Clair's Rag
Station to Station
Tony's Rag
The West Wind
Title
Contents
Page CD Track

AI Petteway
The Guitarist
AI Petteway has played music professionally since he was 12 years old, performing nearly
every type of popular, folk, and classical music. Though his primary instrument has always
been the guitar, he has also studied lute, string bass, percussion, and music composition. His
compositions for acoustic fingerstyle guitar are strongly influenced by his love of Celtic
music and his own roots in folk, rock, and blues. His recordings, music books, and instructional
videotapes have helped to win him international acclaim and appearances on National
Public Radio. Before relocating from Takoma Park, Maryland, to the mountains of western
North Carolina, AI was awarded 45 Wammies by the Washington Area Music Association,
including the top honors of Artist of the Year and Musician of the Year. He was the recipient
of two Maryland State Arts Council Individual Artist Awards for Music Composition and has
performed at the Vice President's Residence and the White House. His playing is featured on
more than 60 recordings by some of the world's best-known folk and Celtic musicians, and
his music is heard daily between segments on NPR. He performs extensively with his wife,
Amy White. He teaches private lessons and records acoustic music in their home studio in
Fairview, North Carolina. He is also the Guitar Week coordinator for the world-famous
Swannanoa Gathering music camp at Warren Wilson College near Asheville, North Carolina.

Prezzo: €39,99

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ELLINGTON DUKE GREAT JAZZ STANDARDS LIBRO CD TABLATURE CHITARRA CARAVAN-SATIN DOLL-SOLITUDE

ELLINGTON DUKE, GREAT JAZZ STANDARDS, FRED SOKOLOW. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ CON CD .

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA E TABLATURE.

Caravan -do nothin' till you hear from me -don't get around much anymore -I got it bad (and that ain't good) -In a sentimental mood -it don't mean a thing (if it ain't got that swing) -moon indigo -prelude to a kiss -satin doll -solitude -sophisticated lady. CD TABLATURE

Great Jazz Standards of Duke Ellington
Duke Ellington / arr. Fred Sokolow

SERIES: Jazz Masters Series
CATEGORY: Guitar Personality
FORMAT: Book & CD

Solid, clear, and accessible solo arrangements for eleven memorable jazz standards. Every song is presented with the guitar part, written in standard notation and tablature, combined with the lead sheet for analysis. All arrangements are demonstrated on the included CD. Titles are:

Includes the Following Selections:
Title Composer
CARAVAN - IRVING MILLS, DUKE ELLINGTON, JUAN TIZOL
DO NOTHIN' TILL YOU HEAR FROM ME - DUKE ELLINGTON; BOB RUSSELL
DON'T GET AROUND MUCH ANYMORE - ELLINGTON DUKE/L: RUSSELL, BOB
I GOT IT BAD {PRINT (C) - DUKE ELLINGTON; PAUL WEBSTER
IN A SENTIMENTAL MOOD (PRINT ONLY) - DUKE ELLINGTON , I. MILLS & M. KURTZ
IT DON'T MEAN A THING (IF IT AIN'T GOT THAT SWING) - ELLINGTON DUKE/L: MILLS, IRVING
MOOD INDIGO - ELLINGTON DUKE/MILLS, IRVING/BIGARD, ALBANY
PRELUDE TO A KISS (PRINT (C) - DUKE ELLINGTON, I MILLS, I GORDON
SATIN DOLL (INSTRUMENTAL) - STRAYHORN, BILLY/ELLINGTON, DUKE
SOLITUDE - ELLINGTON DUKE/L: DELANGE, EDDIE/L: MILLS, IRVING
SOPHISTICATED LADY {PRINT (C) - DUKE ELLINGTON, I. MILLS, M. PARISH

SERIES: Jazz Masters Series
CATEGORY: Guitar Personality
FORMAT: Book & CD

Solid, clear, and accessible solo arrangements for eleven memorable jazz standards. Every song is presented with the guitar part, written in standard notation and tablature, combined with the lead sheet for analysis. All arrangements are demonstrated on the included CD.

Prezzo: €29,99

€29,99

GERHARD ED THE GUITAR SONGBOOK Acoustic Masterclass CD TABLATURE LIBRO SPARTITI CHITARRA

GERHARD ED, THE GUITAR SONGBOOK. Blue highway -crow -duet -farther along -homage -promised land -shallow brown -si bhig si mhor -the water is wide -wild mountain thyme. CD TABLATURE

Acoustic Masterclass Series: Ed Gerhard The Guitar Songbook
By Ed Gerhard

SERIES: Acoustic Masterclass
CATEGORY: Guitar Method or Supplement
VERSION: Guitar TAB
FORMAT: Book & CD

Guitar arrangements transcribed by the artists themselves, in standard notation and tab. Each edition includes a masterclass-style CD in which the artist walks you through the key aspects and techniques for each arrangement.

Ten of Ed Gerhard's most beautiful solo guitar pieces transcribed in full notation and tablature. On the accompanying master class-style CD, Ed carefully describes and demonstrates all the key passages for each song. Titles are:

Big thanks to Aaron Stang for his interest in this project, Mark Herndon for his great work with the transcriptions, and Chief Noda for his invaluable help and friendship throughout the years. Thanks to all of my friends and listeners around the world who have honored me with their attention and encouragement. Very special thanks and love to Kelli Bertram. Introduction I grew up listening to the world around me; for some reason, just the phenomenon of sound itself was enormously entertaining to me as a kid. It didn't even matter what kind of sound it was. Music, animals, machines, and voices-all held equal intrigue for me. When, at the age of ten, I first heard Segovia, watching him in the grainy flicker of a little black-and-white TV, I knew that this sound was different. I had never heard a guitar played alone before, and the sound that came out of that instrument changed me profoundly. Even at the age of ten I knew it. It wasn't until I was 14 that my Dad finally gave in and got me a guitar. My life was changed again the moment I put my hand on it. That was in 1970, when the accepted method for learning the guitar was to go to the local music store and learn to read music, play one string at a time, and generally struggle to play the uncoolest music ever. Where was the payoff? How far down the line would I get to enjoy the guitar? I lasted for about three lessons. I began teaching myself, learning from friends, and immersing myself in any music that had an acoustic guitar in it. I slowed down records to help figure out the hard parts. I fell in love with blues and wore out at least two copies of Mississippi John Hurt's Today! Within months I was making up pieces, experimenting with altered tunings, and playing slide. My appreciation for the guitar fueled my interest in all kinds of music, and I listened to everything from Blind Willie Johnson to Joseph Spence to Shostakovich to Debussy to Miles Davis.

General technical notes:

Weissnborn and Lap-style playing

Lap-style intruments

Slides, steel and bars

General playing

Vibrato

1993 - Blue Highway - ED GERHARD

1987 - Crow - ED GERHARD

1999 - Duet - ED GERHARD

2001 - Farther Along - ED GERHARD

1999 - Homage - ED GERHARD

2001 - Promised Land - ED GERHARD

1999 - Shallow Brown - TRADITIONAL

1999 - Si Bhig, Si Mhor - TRADITIONAL

1996 - The Water Is Wide - TRADITIONAL

1996 - Wild Mountain Thyme - TRADITIONAL

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MORE SOUNDS... Thorsten Plath LIBRO CD GUITAR TABLATURE fingerstyle Spice Girls-Ciccone-Aerosmith-Janet

MORE SOUNDS... Plath Thorsten. 10 Canzoni in fingerstyle: Spice Girls, Ciccone, Aerosmith, Don Cherry, Janet Damita Jackson, Oasis, Celine Dion, Metallica, Des'ree, Alanis Morissette. CD TABLATURE

ROCK POP for guitar

LIBRO PER CHITARRA CON TABLATURE

Product Description:

Ten songs for acoustic guitar that sound like they've been written for Aerosmith, Celine Dion, Metallica, Alanis Morissette, etc. You can either expand your solo repertoire by playing the etudes unaccompanied, or play along with the tracks on the enclosed CD and get valuable experience practicing in a band situation. For each etude, the author includes preliminary technical exercises for the right and left hands to help eliminate any technical difficulties you may encounter. For the more adventurous or advanced player, the author provides the scales or notes from the songs which can be used for a few years. Those who have been playing longer can have fun with improvisation and chordal accompaniment. In notation and tablature.

Forword
Welcome to the second volume of Rock Pop Studies for
acoustic guitar. Again we have ten studies from ten of the
world's greatest pop stars: from Celine Dion to Eagle Eye
Cherry to Aerosmith. You can either expand your solo
repertoire by playing the etudes unaccompanied, or play
along with the tracks on the enclosed CD and get
valuable experience practicing in a band situation.
I hope again, through the varied working methods in this
book, to be able to offer something to guitarists of every
level. Slowly played, these studies could be the first solo
pieces for someone who has been playing guitar for a
few years. Those who have been playing longer can
have fun with improvisation and chordal accompaniment.
Here I would like to thank AMA Publishing, Konni, and
Juergen Kumlehn, whose skillfull programming of the
playbacks will help guitarists everywhere make the most
of these songs.

Vorwort
Willkommen beim zweiten Band der Rock-Pop-EWden
fUr akustische Gitarre. Wieder standen zehn PopgrbBen
Pate fUr zehn weitere EWden: von Celine Dion Ober
Eagle Eye Cherry bis hin zu Aerosmith. Solo oder mit
dem Play-back auf der beiliegenden CD bieten diese
EWden eine hervorragende Mbglichkeit, das Solorepertoire
zu erweitern oder Erfahrungen im Zusammenspiel
mit einer Band (CD) zu machen.
Durch die verschiedenen Arbeitsmbglichkeiten, die
dieses Buch bietet, hoffe ich wieder, viele Gitarristinnen
und Gitarristen auf unterschiedlichstem Niveau anzusprechen.
Wer ein bis zwei Jahre Gitarre spielt, der findet
hier schon die ersten SolosWcke, wenn auch vielleicht
langsamer gespielt als auf der CD. Diejenigen, die schon
langer musizieren, werden ihre Freude neben den EtOden
auch mit der Akkordbegleitung oder Improvisation haben.
An dieser Stelle mein Dank an den AMA Verlag, an Konni
und an JOrgen Kumlehn, der wiederum wunderbare Playbacks
programmiert hat, so dass viele Gitarristinnen und
Gitarristen aufs neue Neue viel SpaB an den Songs haben
werden.

How To Use This Book
For all of those who didn't read, or more accurately, didn't
play through the first volume of Rock Pop Studies for
Guitar, here are a few tips for using this book.
Try playing the studies alone on the guitar. If you can
read music, use the music provided. Otherwise you can
try the tabulature notation. You can play along with the
band or the CD. Unfortunately, we couldn't send the band
along with this book, the drums were too heavy!
For each etude I've included preliminary technical
exercises for the right and left hands to help eliminate
any technical difficulties you may encounter. We've
printed chord diagrams and the harmony for each song
before each study. So, for example, if you can't
remember how to play Bm7, just look at the diagrams
above the music. We've also listed many different ways
to playa chord, an F for example, so that you can start
collecting them for your musical future. Most chords are
kept to three- or four-part voicings. Maybe we'll see
Fmaj7/9 # 11 the next time!
Lastly, for the more adventurous, we've provided the
scale or notes from the song which can be used for
improvisation. There is a great deal of literature available
for learning improvisation. In this book we want to
concentrate on fully utilizing the playbacks. Try improvising
using the given scales. You can notate your own
improvised melodies on the tab and music paper
provided after the tab version of each song.
If something doesn't work the first time, try it again a few
times. This is called practice, a word we sometimes fear.
Let me help you to enjoy practicing with these studies!

Was kann man mit diesem
Buch machen?
Fur aile, die den ersten Band nicht gelesen, oder besser
gesagt, nicht gespielt haben - bitte schnell nachholen -
gebe ich hier noch einmal ein paar Arbeitshinweise oder
besser Spielhinweise, weil an dieser Stelle das Wort
Arbeit merkwurdig klingt.
Zunachst kannst du die EtUden einfach nur solo spielen.
Wer die Notenschrift beherrscht, nimmt die Notenversion,
dagegen konnen die anderen die Tabulaturnotation benutzen.
Dann kannst du das Ganze mit Band bzw. CD
spielen. Wir haben leider keine Band beilegen konnen,
das Schlagzeug war einfach zu groB.
Damit die EtUden keine technischen Probleme bereiten,
werden in kurzen Vorubungen fUr die linke und die rechte
Hand die Schwierigkeiten der jeweiligen StUcke vorweggenommen.
Weiterhin gibt es Akkorddiagramme der
einzelnen Songs, deren Akkordablaufe direkt darunter
stehen. Falls also einem Hm7 wieder nicht einfallt, Augen
einfach nach oben. Die Akkorde habe ich, wie zum
Beispiel bei F-Dur, verschiedenartig dargestellt und du
kannst dich freuen, denn in deiner gitarristischen Zukunft
wird es hundert weitere Moglichkeiten geben F-Dur zu
greifen. Da ich in diesem Buch niemanden verwirren
mochte, habe ich mich meist auf Drei- bzw. Vierklange
beschrankt. Fj7/91,l11 gibt es dann nachstes Mal - vielleicht.
Um die Transparenz in dem zweisprachigen Buch
zu erhalten, wird, auBer im Text, bei Tonen und Akkorden
die internationale Bezeichnung (v. a. h= b und b = bb)
verwendet.
Zuletzt werden noch fUr die Mutigen immer einige Tone
des Songs notiert, die sich zur Improvisation eignen. Zum
Erlernen der Improvisation erschien bereits sehr viel
Literatur. In diesem Buch soil Flber nur die Moglichkeit
geschaffen werden, die Play-backs in ihren Funktionen
voll auszunutzen. Probiere einfach, mit den vorgegebenen
Tonleitern zu improvisieren. Hinter der Tabulatur
findest du wieder ein freies Noten- und Tabulaturblatt, auf
dem du improvisierte Melodien aufschreiben kannst.
So lite das Eine oder Andere nicht gleich auf Anhieb
funktionieren, wiederhole es ofters. Wir benutzen dafUr in
der Musik das grassliche Wort "uben". Aber wenn schon
uben, dann mit SpaB, und den hoffe ich mit diesen
Rock-Pop-EtUden erneut vermitteln zu haben.

"Little Alanis", Alanis Morissette, was already performing
on American TV at the age of ten. At the tender age of
eleven she precociously took the money she had made
performing and financed her first single, "Fate Stay With
Me", which sold 2000 copies. Ten years later Flea and
Dave Navarro, the string virtuosos from the Red Hot Chili
Peppers played on her 1995 album "Jagged Little Pill",
and on the hit single "You Oughta Know". With this song
and "Ironic" she had two smash hits.
We would like to honor this exceptional career with
LITTLE ALANIS, the last and most difficult study in this
volume. The rhythm and some of the guitar voicings are
not easy. That's why it's good that there are preliminary
exercises and a CD to listen to. Bar five, which begins
with a pickup, is studied in a left- and right-hand exercise.
When you understand both studies, apply the finger
positions to bar five. Bar 17 is also not easy. There is also
a left- and right-hand exercise for this bar. Separating the
left and right hands is generally a good way to overcome
difficulties. Often it's not the left but the right hand which
causes the problems in difficult sections. Be careful with
the right hand because it's responsible for your tone.
Have fun switching between your left and right hands,
and of course with LITTLE ALANIS!

Bereits mit zehn Jahren schauspielerte die "kleine Alanis",
Alanis Morissette, im amerikanischen Fernsehen. 1m
zarten Alter von elf Jahren nahm sie wie selbstverstandlich
das mit dieser Rolle verdiente Geld und
bezahlte damit ihre erste Singleaufnahme. "Fate Stay
With Me" hieB dieser Song und verkaufte sich immerhin
2000-mal. Zehn Jahre spater, 1995, zupften auf ihrer CD
"Jagged Little Pill" schon die Saitenvirtuosen der Red Hot
Chili Peppers, Flea und Dave Navarro, und zwar auf der
Hitsingle "You Oughta Know". Mit diesem Song und mit
"Ironic" erzielte sie zwei groBe Erfolge.
Diese sprunghafte Karriere wurdigen wir mit LITTLE
ALANIS, der letzten und zugleich wohl auch schwersten
EtUde in diesem Band. Der Rhythmus wie auch manche
Griffverbindungen sind nicht einfach. Wie gut, dass es
Vorubungen und eine CD gibt, auf der man sich dieses
StUck anhbren kann. Zu Takt 5, der mit einem Auftakt
beginnt, findst du jeweils eine Vorubung fOr die linke wie
fOr die rechte Hand. Wenn du jede fOr sich verstanden
hast, ubertrage die Fingersatze auf Takt 5. Auch Takt 17
ist nicht leicht. Hierfur hast du ebenfalls zwei Vorubungen,
eine fOr die Iinke und eine fOr die rechte Hand.
Die Trennung beider Hande ist generell eine gute
Methode, um gitarristische Schwierigkeiten in den "Griff"
zu bekommen. Haufig sorgt nicht die linke, sondern die
rechte Hand bei schwierigen Stellen fOr Unruhe.
AuBerdem macht die rechte Hand den Ton und
deswegen sollte man sie schon mal gesondert betrachten.
Dann viel SpaB beim Hin- und Herschauen
zwischen linker und rechter Hand und natUrlich bei
LITTLE ALANIS!

CD Track List
How to use this book

ROSEMARY (SPICE GIRLS)
Introduction, Preliminary exercises, Chords
ROSEMARY - Music
ROSEMARY - Tab

SUBSTITUTE (LOUISE VERONICA CICCONE)
Introduction, Preliminary exercises, Chords
SUBSTITUTE - Music
SUBSTITUTE - Tab

MOUTH (AEROSMITH)
Introduction, Preliminary exercises, Chords
MOUTH - Music
MOUTH - Tab

WINGS OF AN EAGLE (DON CHERRY)
Introduction, Preliminary exercises, Chords
WINGS OF AN EAGLE - Music
WINGS OF AN EAGLE - Tab

AGAIN AND AGAIN (JANET DAMITA JACKSON)
Introduction, Preliminary exercises, Chords
AGAIN AND AGAIN - Music
AGAIN AND AGAIN - Tab

MAYBE (OASIS)
Introduction, Preliminary exercises, Chords
MAYBE - Music
MAYBE - Tab

DON'T GO DOWN (CELINE DION)
Introduction, Preliminary exercises, Chords
DON'T GO DOWN - Music
DON'T GO DOWN - Tab

LARS' GARAGE (METALLICA)
Introduction, Preliminary exercises, Chords
LARS' GARAGE - Music
LARS' GARAGE - Tab

NATURAL (DES'REE)
Introduction, Preliminary exercises, Chords
NATURAL - Music
NATURAL - Tab

LITTLE ALANIS (ALANIS MORISSETTE)
Introduction, Preliminary exercises, Chords
LITTLE ALANIS - Music
LITTLE ALANIS - Tab

Glossary

Prezzo: €26,99

€26,99

BOB DYLAN, THE MUSIC FOR FINGERSTYLE GUITAR. SOKOLOW TABLATURE DVD

DYLAN BOB, THE MUSIC FOR FINGERSTYLE GUITAR. Fred Sokolow. DVD TABLATURE, 72 pagine.

Product Description:
Learn how to play and sing nine classic Bob Dylan tunes from start to finish. You will learn how to fingerpick backup arrangements while singing. You will learn to play instrumental solos and how to begin and end each song. While studying Fred’s arrangements of these Dylan hits you will also learn a lot about fingerpicking: backup patterns, soloing ideas and various chord positions. Each song is played at regular speed and then slowed down with a split-screen that gives you a close-up look at the picking as well as chording hand. All the arrangements are clearly written out in tab and music in the accompanying booklet along with lead sheets and lyrics. 90 MINUTES

Song Title: Composer/Source:
Blowin' In The Wind
Don't Think Twice
I Shall Be Released
Just Like Tom Thumb's Blues
Lay Lady Lay
Mr. Tambourine Man
My Back Pages
The Times They Are A Changing
Too Much Of Nothing

Prezzo: €34,00

€34,00

TAYLOR MARTIN FINGERSTYLE JAZZ GUITAR DVD TABLATURE CHITARRA LEZIONE GEORGIA SPARTITI

TAYLOR MARTIN, FINGERSTYLE JAZZ GUITAR. Georgia -take five -I got rhythm -old man river -the dolphin. Running time: 64 minutes, Booklet 57 pages. TABLATURE DVD

DVD LEZIONE DI MUSICA JAZZ, CON LIBRETTO.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

"One of the great virtuosi of his instrument, producing torrents of the hardly possible without spilling any perspiration. However, behind the racing brain and apparently 16 fingers is a mind that loves the evocative beauty in a good melody and can spread it out shimmering, like no-one else."
Guitar International

"Martin Taylor is one of the greatest and most impressive guitar players in the world."
Chet Atkins

Martin Taylor has been playing guitar for as long as he can remember, ever since his father gave him his first instrument at the age of four. It was to be the start of a career which has delighted audiences worldwide and drawn critical acclaim from some of the world's finest musicians.
He turned pro in 1964 at the age of eight - at least that's when his playing earned him a penny whistle from an appreciative music shop owner. By age 11 Martin had his first electric guitar, Guild Starfire, and was listening intently to the recordings of pianists Bill Evans and Art Tatum as well guitarists Barbey Kessel, Kenny Burrell, and Wes Montgomery. He left school when he was 15, and has earned his living with a guitar ever since.

Chet Atkins, Barney Kessel, John Williams, Joe Pass, Stephane Grappelli, Toots Thielmans, Yehudi Menuhin, David Grisman, Bill Wyman are just some of the musicians who have collaborated with Martin.

"The obvious impetus for playing fingerstyle guitar is the ability to combine bass lines, chords and melody simultaneously, effectively creating the impression of several musicians playing together. But unless you've already heard Martin Taylor, you've never experienced it quite like this. In Martin's playing, the three elements are so well integrated that the music transcends the technique. But you won't miss the details of his touch. Tight left-hand positions move with the precision of a servomotor; each digit appearing to have a mind of its own, but playing in perfect harmony with the others. Arrangements fly off his fingers in such a seemingly effortless manner that they create the illusion of accessibility" (Fingerstyle Guitar Magazine).

In this unique video lesson Martin explains how to play a bass-guitar duet on a single instrument and how to accomplish this without sacrificing the feel and swing of the music. Martin Taylor is the master of this approach and demonstrates his style and technique with five classic jazz standards.

Titles include: I Got Rhythm, Georgia, Old Man River, Take Five and The Dolphin.

64 minutes / Level 4 / 64 page tab/music booklet

Product Description:
How do you play a bass-guitar duet on a single instrument? How do you accomplish this without sacrificing the feel and swing of the music? Martin Taylor is the master of this technique and in this unique lesson, he demonstrates his style and technique with five classic jazz standards. His playing demonstrates a clear register separation and crisp chordal sophistication inspired by his keyboard heroes, Bill Evans and Art Tatum. A detailed tab/music instrucitonal booklet is included as a PDF file on the DVD. 64 minutes.

Format: DVD

Georgia - Hoagy Carmichael
I Got Rhythm - George Gershwin
I Got Rhythm - Variations
Old Man River - Jerome Kern
Take Five - Paul Desmond
The Dolphin - Louis Ecsa