MUSIC SALES

BURRELL KENNY, A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend.

LIBRO DI MUSICA JAZZ,

SPARTITI PER CHITARRA CON CD : 

ACCORDI, PENTAGRAMMA, TABLATURE . 

All Night Long -All Of You -Autumn Leaves -Do What You Gotta Do -Groovin' High -In A Sentimental Mood -K.B. Blues -Lyresto -Moment's Notice -My Favorite Things -Since I Fell For You -Soulful Brothers -This Time The Dream's On Me -Wholly Cats. CD TABLATURE

Techniques of a Jazz Legend
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist : Kenny Burrell
Author : Wolf Marshall

Inventory #HL 00695830
ISBN: 9780634074431
UPC: 073999567892
Width: 9.0"
Length: 12.0"
128 pages

It is hard to think of a jazz artist-make that any artist·with as much breadth depth, and sheer longevity as Kenny Burrell. His career, now over a half long has spanned all the major epochs of the art form and continues to flourish. Him gegan his professional life in the mid forties as swing music made its inexorable trans to bebop and modern jazz. He was one of the earliest guitarists in the medio to assimilate the novel innovations of Charlie Parker, Dizzy Gillespie, Clifford Brown, O. Peterson and mix them with his seminal swing and blues influences. Burrell early mosaic, already a diverse mix of swing, blues, and modern jazz, included Christian, Django Reinhardt, and Oscar Moore as well as T-Bone Walker, John L. Hooker, Waters, Floyd Smith, Johnny Moore, and the full gamut of jazz and keyboard players. The results were heard in strong relief with his output of the mid '50 on the Blue Note and Prestige labels. From there, Burrell assumed the role of trendsetter and has si ce been viewed as one of the genre's major innovators and leaders. By decade's end he as redefining the sonic possibilities of jazz guitar on his groundbreaking guitar-bass-drums recordings and set new standards in the organ-trio medium through his inventive and sympathetic work with Jimmy Smith. A Night at the Vanguard (1959) demonstrated wha a gui ar could do as the sole melodic/harmonic instrument in a combo setting. And Jimmy Smith recordings like The Sermon (1958), Home Gookin' (1959), Back at the Ghicken Shack (1960), and Midnight Special (1960) produced a template which is followed assiduously to this day. Never content to rest on his laurels, Burrell continued with a number of ambitious and successful experiments mating the jazz guitar to a wider variety of combo and orchestral applications. Moreover, Burrell's landmark efforts in the burgeoning soul-jazz style influenced legions of guitar players and other instrumentalists across various stylistic divides and indeed presaged the funk styles percolating and emerging in the late sixties. Since then, Burrell has touched virtually every form in the genre from the grittiest, folksy blues, funky soul-jazz, and traditional gospel hymns to esoteric modal jazz and the loftiest post-bop modern styles-always delivered with taste, musical sensitivity, and his personal, highly identifiable stamp. His appropriately titled opus Guitar Forms (1965), presented another side of his artistry and showcased many of his diverse tangents in microcosm, from the acoustic classical guitar/amplified jazz guitar and orchestral combinations in "Greensleeves" and his solo nylon-string adaptation of George Gershwin's "Prelude #2" to his Spanish/Mexican-influenced original "Loie," the down-home blues bent of "Downstairs," and the straight-ahead jazz rendition of "Breadwinner." Kenny Burrell continues to lead and inspire guitarists to the present day. His legacy is assured and implicit in his overriding credo: "Let your spirit come through and you will always touch others. Give the music your personal best. Be yourself-it works.". Truer words were never spoken. Kenny Burrell personifies and epitomizes the word and mood "blue." An attribute that permeates the heart of jazz, blue is a universal feeling, a resonance extending to all forms of music. Kenny said as much, in words and sounds, in his aptly titled work Blues: the Gommon Ground. And he has done much to show us the many hues of blue in his copious repertory. Over the years, Kenny has gained considerable cachet with evocative titles like K.B. Blues, Blue Moods, Blue Lights, Bluesin' Around, Midnight Blue, Blue Bash, Blues: the Gommon Ground, and his recent Blue Muse. Each underscores the fact that shades of indigo are primary colors in his artistic palette and convey the essence of his musical persona.

Take an in-depth look at Kenny Burrell's jazz guitar mastery with Wolf Marshall, who will teach you how to play some of his hottest licks. Wolf covers 14 tunes. The CD features a demo of each. 128 pages

Preface
Introduction
The Kenny burrell sound
Discography
The Recording
History and Highlights
Tuning
Guitar Notation legend

1959 - All Night Long - All night long, 1959
1954 - All Of You - COLE PORTER - Burrell, 1957
1947 - Autumn Leaves - JOSEPH KOSMA, parole: JACQUES PREVERT - sunup to sundown, 1991
1971 - Do What You Gotta Do - God bless the child, 1971
1944 - Groovin' High - John "Dizzy" Gillespie - Groovin' high, 1981
1935 - In A Sentimental Mood - DUKE ELLINGTON - Lucky so and so, 2001
1957 - K.B. Blues 
1958 - Lyresto - Kenny Burrell - BURRELL with JOHN COLTRANE 1958 - 
1957 - Moment's Notice - JOHN COLTRANE - Guilding spirit, 1989
1959 - My Favourite Things - RICHARD RODGERS - the sound of music, 1966
1948 - Since I Fell For You ('Round midnight) - Buddy Johnson - 'ROUND MIDNIGHT, 1972
1968 - Soulful Brothers - BURRELL, WARREN STEVENS - Blues the common ground, 1968
1941 - This Time The Dream's On Me - Music: HAROLD ARLEN - Parole: Johnny Mercer - Burrell, 1956
1941 - Wholly Cats - BENNY GOODMAN - a genaration ago today, 1966

GALLAGHER RORY, THE ESSENTIAL VOLUME 2. TABLATURE

L'innovativo chitarrista irlandese tra i famosi degli anni '70, ha ispirato molti musicisti venuti dopo come il chitarrista degli U2, The Edge. Questo volume segue The Essential Rory Gallagher Volume 1 e contiene 12 canzoni trascritte per la chitarra con i testi, pentagramma standard e tablature. 128 pagine

As a young guitarist, I really got into the way Rory Gallagher played. I found his phrasing fascinating; importantly, I also found it accessible. I would sit in my bedroom for hours figuring out what he was doing. His playing had a beautiful elegance to it. There were never too many notes; just the right amount to get the message across. This was Dublin, Ireland, in the mid-seventies: a grey place offering little to kids like me other than music. On the weekend I would go and hang out with friends and just listen to records and talk, sometimes until the sun came up. Music was our signifier - the way we defined ourselves - but most of the bands we were into back then were from Britain or America. Rory Gallagher was one of the exceptions. Everyone loved Rory. He was so important for my generation: the Irish guitarist up on the international stage with all the greats. Albums like Live In Europe and Against The Grain sat next to Sgt. Pepper's ... and Dark Side Of The Moon, and probably spent more time on the turntable. There was a huge sense of pride in his achievements. He had done the impossible: come out of Ireland and gone all the way, playing on the same stage at the Isle Of Wight Festival as Jimi Hendrix, and taking most of the world by storm with his band Taste, before starting his hugely successful solo career. He showed us all what was possible. He also did it with great integrity, keeping true to the essence of who he was as an artist and a person. Rory was about the Blues as a heart-cry: the truthful unadorned telling of how it is, not how it should be. What was most interesting about Rory's particular version of the blues - a form that is purely Afro-American - was how Irish it was. Through subtle inflections and nuances, his roots came through. Maybe something in the Irish experience gave him access to the spirit of the blues, giving his music an authenticity that eluded many other white bluesmen. Believability - the rarest of all things - came to Rory without any effort at all, because he didn't know how to make music in any other way other than with total commitment and passion. He remains a giant of a musical influence for all those who pick up the guitar, but particularly for any young boy or girl from Ireland who hears something calling to them in the music of the Mississippi  Blues.

Elenco delle canzoni

Anno - Titolo 

1976 - Barley & Grape Rag
1976 - Calling Card -
1988 - Continental Op
1976 - Do You Read Me
1971 - I Fall Apart
1971 - In Your Town
(2002) - Lonesome Highway
1976 - Moonchild
1979 - Shadow Play
1978 - Shinkicker
1988 - The Loop
1973 - Who's That Coming

THE SALUTATION, A Collection of Christmas Carols from England, Ireland, Scotland, Sweden, Germany, Italy and France, ARRANGED FOR FINGERSTYLE GUITAR, Duck Baker. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA FOLK, CON CD .

SPARTITI PER CHITARRA :

PENTAGRAMMA E TABLATURE.

Product Description:
This collection of carols arranged for guitar solo brings together twenty-four melodies that have had broad appeal through the ages. They were a spontaneous expression of musical joy that occurred over much of northern Europe in the fifteenth century, coinciding with the dawning of the modern age and the ending of the long medieval night. The selections include universal favorites, some tunes which are popular in their native lands and reasonably well-known elsewhere, and others which are unfamiliar even in their homelands. Some familiar texts, including "Away in a Manger" and "Angels from the Realms of Glory," have been set to different tunes. Notes on the origin of each tune are included. Written in notation and tablature. The companion CD features performances of all of the tunes, with some grouped into medleys.

Product Number: 99815BCD
Format: Book/CD Set
ISBN: 078662602X
UPC: 796279040402
ISBN13: 9780786626021
Series: Non-Series
Publisher: Mel Bay Publications, Inc.

Contents:
Song Title: Composer/Source:
A Virgin Most Pure arr. Duck Baker
Angelus Ad Virginum arr. Duck Baker
Es Ist Ein' Ros' Entsprungen arr. Duck Baker
Furry Day Carol arr. Duck Baker
Good Christian Men Rejoice arr. Duck Baker
I Saw Three Ships arr. Duck Baker
Il Est Né arr. Duck Baker
In Bethlehem arr. Duck Baker
Let All Earthly Flesh Keep Silent arr. Duck Baker
Noël Nouvelet arr. Duck Baker
O Come, O Come Emmanuel arr. Duck Baker
Patapan arr. Duck Baker
Rorate arr. Duck Baker
The Bagpipers' Carol arr. Duck Baker
The Blessed Virgin's Lullaby arr. Duck Baker
The Boys' Carol arr. Duck Baker
The Holly and the Ivy arr. Duck Baker
The Salutation arr. Duck Baker
The Snow Lay on the Ground arr. Duck Baker
The Wexford Carol arr. Duck Baker
Trettondedagsmarschen arr. Duck Baker
What Is This Fragrance? arr. Duck Baker
While Shepherds Watched Their Flocks arr. Duck Baker

SERRANO JUAN & COREY WHITEHEAD, THE FLAMENCO CLASSICAL GUITAR TRADITION, VOLUME 1,
A Technical Guitar Method and Introduction to Music. 175 Pagine, 4 CD con 235 tracce audio. NO TABLATURE

LIBRO DI MUSICA FLAMENCO - CLASSICA CON 4 CD,
METODO, SPARTITI PER CHITARRA. CON ACCORDI E PENTAGRAMMA.

Product Description:
This beginning guitar method is written for aspiring classical or flamenco guitarists who want to learn how to read music up to the intermediate level. Music from the Spanish tradition such as Romanza, Pica-Pica, El Vito, Café de las Chinitas, Perfidía, La Virgen de la Macarena and flamenco music of Juan Serrano provides a technical and musical foundation that improves facility in playing scales, arpeggios, tremolo, and rasgueado.

Tablature is not included as the one of the primary aims of this book is to improve note reading and the comprehension of the fundamental elements of music. Performances of all musical examples are available online that includes one performance at tempo for each of the more than 230 musical examples. Short repertoire pieces from Gaspar Sanz, Dionisio Aguado, Fernando Sor, Mauro Guiliani, Ferdinando Carulli, and Mateo Carcassi are included at the end of the book and are repertoire studies that will prepare guitarists for further study in classical and/or flamenco guitar.

Product Number: 21029
Format: Book
ISBN: 0786674652
UPC: 796279100489
ISBN13: 9780786674657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/18/2008
176 PAGES

A Brief History of THE GUITAR

The guitar is a descendant of two different instruments, the Spanish instrument called the vihuela de mano, and the European lute that descended from the Arabian oud. The Arabic word oud translates in English as "wood." The oud has six courses with the lowest sounding string being a single course. The word course refers to a single string or a pair of strings placed closely together. The European lute and the vihuela had a single high string or single course on top. On the lute this string was called the chanterelle. The vihuela and the European lute appeared in six-course versions. Various configurations of the lute used many tunings and had as many as thirteen courses.

The vihuela had as many as ten courses and was tuned like the modern guitar with the exception of the third string, which was lower by a half-step from the modern guitar tuning. It was tuned, from lowest to highest sounding course: E A D F# B E. The six-course lute was generally tuned, from lowest to highest: G C FAD G. There was no absolute tuning pitch at that time and some treatises instructed the student to rune the 1st string as high as possible without it breaking. The lute is often tuned a whole step higher to (A D G B E A) to take advantage of its more brilliant and shimmering tone quality at that pitch. The earliest guitars date from around the middle of the 13th century in Spain and were mentioned in 1265 by Juan Gil of Zamora in the treatise called Ars Musica. In 1487 Johannes Tinctoris wrote about the four-course guitar being invented by the Catalans. The first music published for the four-course guitar was by Alonso Mudarra (1510-1580) in Treslibros de musica en cifraspara vihuela (1546). Nine books of tablature were published by Adrien Le Roy (1520-1598) between 1551-1555. These publications contain the first music for five-course guitar. Later in the same century Juan Bermudo (1510-15-) and Miguel Fuenllana (1525-1585) wrote music in tablature for the guitar. A treatise from the late 16th century in Spain refers to two techniques of playing the guitar; rasgueado (strumming) or punteado (picking with the fingers). The technique of alternate picking toward the palm of the right hand with two fingers, such as the index and middle fingers, was called dos dedos. There was a further explanation of a technique called dedillo that refers to a rapid up and down movement of the index finger to strike an individual string when playing scale passages.

The baroque guitar had five courses that were tuned to unison at the first, second, and third strings and to an octave at the fourth and fifth strings. The two exceptions are that sometimes the fifth string did not have me bourdon or lower octave string, and sometimes the first string was a single course like the chanterelle of the lute. The former would make the fifth string the highest sounding string on the instrument, many performers preferred the latter, and some performers employed both. The fifth string was the highest sounding string and me fourth was the lowest. On the modern guitar the fifth string is tuned an octave lower than the guitar of Gaspar Sanzo In 1674 in Italy, Francisco Corbetta (1620-1681) published Guitarre Royale, dedicated to King Luis XIV of France. In 1596 in Italy there was a school of guitar playing called the Alpha Beta School. The primary scholars of the school were Juan Carlos y Amat and Palumbi. They developed a system of chord notation that was noted .m letters to describe the chord to be played. They also used the terms "rasgueado" and "punteado" in their rreanse. Between 1770 and 1800, the six single-course guitar was commonplace and following this development composers such as Fernando Sor (1778-1839) Spain/France/England, The famous Mauro Giuliani (1781-1829) Italy, ... 

Contents:

A Note from the Authors
The Guitar - A Brief History
La Guitarra (poem)
Preface
Parts of the Classical Guitar
Parts of the Flamenco Guitar
Names of the Open Strings
Tuning
Metronome
Note Locations on the Fretboard
Sitting Position and Holding the Guitar
The Fingers of the Right and Left Hand
Fingernail Shape and Maintenance
Picados (Scales) - Apoyando (Rest Stroke) and Tirando (Free Stroke)
Arpeggios (Broken Chords)
Tremolo (Preparatory Exercise)
Rasgueado (Strumming)
Basic Elements of Music Notation
Musical Expression Symbols
The Musical Alphabet
Half Steps and Whole Steps
The Major Scale
The Open Treble Strings
Systematic Arpeggio Exercises
Alternating Index and Middle Fingers...
Sueño
The Open Bass Strings
Playing on the Bass and Treble Strings
Notes on the First String
Soleares
Notes on the Second String
Music in Two Parts
Playing Eighth Notes
Notes on the Third String
Sevillanas
Sevillanas I (Trio)
Sharps and Flats on the 1st, 2nd and 3rd strings
The Fifth Position on the First String
The Natural Sign
Romanza in A Minor
Romanza
Farrucas
Sixteenth Notes
Slurs
Estudio No. 2
Estudio No. 2 (Duet)
The Major Scale
The Natural (Relative) Minor Scale
The A Harmonic Minor Scale
The A Melodic Minor Scale
The Chromatic Scale
Notes on the Fourth String
Chords
Fandango
Fandango Duo
Notes on the Fifth String
Historia de un Amor
The Dotted Quarter Note
Perfidia
Notes on the Sixth String
Farrucas (Bass Line)
Farrucas
El Zorongo (Bass Line)
El Zorongo (Melody)
Playing the F Major Chord
Playing Two Notes Together (Double-Stops)
El Vito
Rasgueado
Sevillanas Intro
The Natural Notes
Sharps and Flats on the Bass Strings
The Chromatic Scale
El Rancho Grande
Alternating Bass and Chord Progression
El Rancho Grande (Duet)
Ascending and Descending Slurs: Ligados
Left Hand Agility Exercise
Chords in C Major and A minor
Las Mañanitas
Greensleeves
Scales and Chord Progressions
Rumba Rhythm
Scales and Chord Progressions cont
The House of the Rising Sun
Variations on a Theme from Asturias
Malagueña
Intervals
Chords
Triads
C Major Arpeggio and Chord Inversion
The A Minor Arpeggio and Chord
The G Major Arpeggio and Chord
The F Major Triad
Barré Chords
Chord Progressions
Petenera
Café de Chinitas
La Virgen de la Macarena
The High D and E on the First String
Pica-Pica Melody (Guitar I)
Pica-Pica Accompaniment (Guitar II)
Pica-Pica Accompaniment (Guitar III)
Pica-Pica Accompaniment (Guitar IV)
Pica-Pica (quartet)
Key
Chord Substitution
Key Signatures
The Circle of Fifths
Major and Minor Scales in the First Position
More Chords in the Circle of Fifths...
Allegro by Ferdinand Carulli
Allegretto by Carulli
Andante by Carulli
Allegro in E minor by Carulli
Etude in G Major by Carulli
Andantino by Carulli
Larghetto by Carulli
Romanza
Menuet by Robert de Visée
Lección 38 by Dionisio Aguado
Clarines de los mosqueteros del rey de Francia by Sanz
Allegro by Mauro Guiliani
Andante by Ferdinand Carulli
Conclusion
About the Authors

SANTANA, LATIN ROCK KEY OF GM, Guitar Quick Licks, Bull. DVD

DVD DI MUSICA PER CHITARRA, LEZIONE PER IMPARARE A SUONARE NELLO STILE DI CARLOS SANTANA.  

Product Description:
Learn Latin rock licks in the style of Carlos Santana, whose blend of salsa, rock, blues and jazz fusion, made him one of the most acclaimed guitarists of our time! Also includes guitar jam track. Lessons by Stuart Bull.

Each Quick Licks DVD includes an arsenal of licks in the style of your chosen artists to add to your repertoire, plus backing tracks to practice your new licks and techniques. 62 minutes.