PENTAGRAMMA E TABLATURE - STANDARD NOTATION and TABLATURE

TARREGA, IN TABLATURE. 25 composizioni per chitarra: Marieta! -Rosita -la mariposa -capricho arabe -recuerdos de la Alhambra, Maria. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

By Francisco Tarrega (1852-1909), edited by Ben Bolt. Guitar solo book (includes tablature) for guitar. Text language English, Spanish, French, Japanese. 125 pages. With guitar tablature, standard notation and introductory text.

The importance of Francisco Tarrega in the history of the classic guitar is immeasurable. With his original compositions and transcriptions, Tarrega brought the classical guitar to new heights by giving it a repertoire of its own and consequently influencing virtually every modern day classical guitarist. In this volume, Ben Boldt presents 29 pieces by Tarrega in standard notation and tablature. Text in English, Spanish, French, and Japanese. Titles include:

Contents:
Prelude In E
Prelude In A Minor
Lagrima
Prelude In G Major
Prelude In D Major
Prelude In D Minor
Prelude In D
Prelude (Endecha)
Prelude (Lento)
Prelude (Moderato)
Prelude
Prelude
Prelude
Prelude
Prelude In A
Prelude In A Minor
Prelude In A Major
Danza Mora
Marieta! (Mazurca)
Mazurca En Sol
Maria
Minuetto
Adelita (Mazurca)
Pavana
La Alborada
Capricho Arabe (Serenata)
The Butterfly (La Mariposa)
Rosita
Recuerdoes De La Alhambra

RIMSKY-KORSAKOV : SHEHERAZADE FOR GUITAR, ARRANGED BY Larry Coryell. SHEET MUSIC BOOK WITH STANDARD NOTATION AND GUITAR TABLATURE. 

LIBRO DI MUSICA CLASSICA.

SPARTITI PER CHITARRA CON :

PENTAGRAMMA E TABLATURE.

1ST MOV. - I THE SEA AND SINDBAD'S SHIP. 

2ND MOV. - II THE STORY OF THE CALENDER PRINCE. 

3RD MOV. - III THE YOUNGF PRINCE AND YOUNG PRINCESS

4TH MOV. - IV FESTIVAL AT BAGHDAD - THE SEA - THE SHIPWRECK

PUMPING NYLON, IN TAB. THE CLASSICAL GUITARIST'S TECHNIQUE HANDBOOK.

LIBRO DI MUSICA CLASSICA, 

SPARTITI PER CHITARRA CON:

PENTAGRAMMA, TABLATURE.

TECNICA, METODO, CLASSICA FLAMENCO

Manuale completo che comprende: i 120 studi per arpeggio di Giuliani, esercizi per di controllo della velocità, le scale, il tremolo, la tecnica del flamenco, il suono, le unghie della mano destra, con esempi da J.S. Bach. TABLATURE

Scott Tennant, world-class classical guitarist and well-respected guitar eduactor, has brought together the most comprehensive technique handbook for the classical guitarist. It is presented here in both standard music notation and TAB. In addition to technical information not available elsewhere, he has compiled selections from Giuliani's 120 Right-Hand Studies; musical examples by Bach, Turina, Rodrigo and others; Tarrega arpeggio studies; and original compositions by Andrew York and Brian Head. Essential information and a great sense of humor are effectively combined in this best-selling book.

Author Preface

Welcome! This is my little book about guitar technique. I want to make it clear from the start that the material in this book is meant to reflect my own way of doing things on the instrument. The exercises are those that have helped me, some of which I still practice every day.

The goal of Pumping Nylon is to offer ideas that will help solve various technical problems. The idea was to steer clear of assembling anything that resembled a method book. Rather, my intent was to focus only on specific technical issues which I felt had not been clearly explained elsewhere. Generally, the issues dealt with in this book are those that have been brought up time and time again by students in master classes and lessons over the past ten years or so.
The exercises and musical examples have been chosen because of their unique technical challenges. For instance, the Bach DOUBLE was taken from a solo guitar arrangement, stripped of all its bass notes and more comfortable fingerings, and transformed into a very effective string-crossing and scale study.
I don't pretend to have addressed every issue. (There are too many out there for one book!) The reader, however, is strongly encouraged to invent hislher own exercises whenever necessary, since all of our technical needs are so very different.
I hope you find a few answers to some of your questions. Go get 'em!

I would like to thank ...
Nat Gunod, for coaching me through this process for the last two years; Brian Head and Andy York for composing their wonderful "made-to-order" etudes; Billy Arcila for posing for the photos that were used to create the illustrations; Durmel DeLeon for the photography; John Dearman and Matt Greif for their technical assistance; an endless list of friends for their constant encouragement; and the students at the ational Guitar Summer Workshop, San Francisco Conservatory and the University of Southern California for being (not always voluntary) "guinea pigs" for much of the [I1aterial contained herein.
And special thanks to Ron Krown at Alfred Publishing for encouraging us to do this new edition.

Glossary of Signs
This list will help you to interpret the various markings in the music.
1, 2, 3, 4 Left hand fingers, numbered from index (1) to pinky (4).
p, i; m, a, Right hand fIngers: p = thumb, i = index, m = middle, a= ring finger.
The six strings of the guitar, numbered from low E 6 to high E 0.
IV, V, VII etc Roman numerals. Here is a quick review of these symbols: 1=1, 11=2, III=3, IV =4,
V=5, V1=6, VII=7, VIII=8, IX=9, X=IO, XI=11 and XII=12.
BII4 The B indicates a barre. The Roman numeral indicates the fret to be barred, and
the small subscript arabic numeral indicates the number of strings to be barred.
So, this symbol would indicate to barre four strings at the second fret.

-1, -2, -3, -4 A dash in front of a fingering indicates a guide finger shif . A shift is a movement
from one position to another. is a finger that can be used just before
and just after a shift. For instance, if the 4th finger has been used to play G on the
J st string. 3rd fret, and then moves to play A on the 1st string, 5th fret, it will be
marked -4.

Editor Preface
I hope you will enjoy this new edition of Scott's gratifyingly popular book. As a response to public
demand, we are happy to provide a version of the book that includes tablature. Hopefully, this will make the book useful to more guitarists. After all, everyone who plays the guitar has something to gain from learning some c1assical guitar technique, and something to learn from a great teacher.
This book evolved from a warm-up routine and technical regimen that Scott Tennant began teaching and writing about several years ago. It is this daily warm-up that has inspired the whimsical title.
Pumping nylon. But in the following pages Scott has done far more than merely map out an exercise routine.
He has provided a wealth of technical information not readily available elsewhere. He has also compiled a variety of both well- and lesser-known technical exercises such as the 120 Right Hand Studie" of Mauro Giuliani and some arpeggio studies by Francesco Tarrega, and has offered some exercises of his own as well. It is also through Scott Tennant that four great new studies. two by Brian Head and two by Andrew York, have been written and published.

But I think he has done a lot more than even those things.
What students and teachers alike will find inPumping Nylon is a joyful attitude toward problem-solving on the classical guitar. There is an underlying message that says if you are willing and able to look at an issue from a different perspective, and if you can bring the same creative powers that you bring to your music-making to your technical work, you can overcome obstacles. Furthermore. there's no law that says it can't be fun.
Anyone who has studied classical guitar is going to hnd ,lOl/lethùl.9 in this book that directly contradicts what you have been taught-or what you teach-about ,1olllethùl.q. This is inevitable. But ifyou dismiss this work for that reason. you will be missing much. I encourage you to read ono Take a look at ali the ideas presented here by this great player and teacher. You will come away better for it.
I expect that for years to come it will be commonplace to hnd well-worn copies of this book in students' hands. I am sure that for Scott Tennant, as for myself, that will be the biggest reward for this efrort.
Many thanks to the wonderful people at Alfred Publishing-especially the M.I. team-for helping to
make this and many other National Guitar Workshop books a reality.
Nathaniel Gunod Litchheld, Connecticut
July, 1997
How to Read Tablature
4th string,5th fret
An open C chord
T
A
B
An H over a slur - indicates a hammer-on.
A P over a slur - indicates a pull-off.
1st stringo 10th Fret ] __Played together
2nd string, l0th fret

Nathaniel Gunod has edited many guitar books including
Benjamin Verdery's by Howard \Vallach, and Play AIM. co-authored Benjamin Verdery's
instructional directed the video, is the author of Cla. Guitar. A recital·ist on Baroque. Classical period and modern c1assical guitars, he has taught students from ali over the world at the Peabody Conservatory of Music and the National Guitar Workshop. where he is Associate Director.
He is the founder of the NGSW Classical Guitar Seminar and the D'Addario Guitar Concerto Competition. Preface

Inspiration
Inspiration only lasts a relatively brief time. We alI eventually fìnd ourselves experiencing a "dry spell."
We get stuck on something in our practicing and can't seem to improve, and sometimes it may seem that we're getting worse. At times we may even think of just quitting. Have you ever felt that the joy you once had for playing is gone forever?
These are not emotions you're experiencing alone. They visit everyone now and then. OccasionalIy we need to give ourselves a break and put down the guitar for a day, a few days, or however long it takes to feel refreshed again. For those who play for a living and don't always have that luxury, some digging back into one's past might be the key. Why did you want to play the guitar in the fìrst piace? Try to recall the feelings you experienced when you fìrst decided that you really wanted to play. Perhaps recall the joy you felt when you heard that fìrst recording or concert that thrilled you. What qualities about the instrument first drew you to it?
As I have done for several circumstances in my life, it may make you feel better to jot down a few of these positive thoughts on a piece of papero Then, when you hit another rough period, you can read through them.

In Conclusion
Music is the most powerful of ali the arts. It instantly stirs up emotions, conjures visions, and offers
glimpses of other, higher dimensions. It arouses men to battle; kindles amorous passions in lovers; soothes a baby to sleep; comforts us when we grieve. It engages our hearts and our minds, and can bring out the best that we are. One can safely presume that not a single emotion, nor any human or natural event, has been left undocumented by music.
As musicians, our objective is to command the elements of music as best we can in order to tap into that other dimensiono It is our access into heaven, if only for a while. But while we are there we can take aH who are listening ith uso If just one person is uplifted by our playing and walks away feeling better than before he carne, we have made a difference. A healing has taken piace.
I very much hope that you have found at least one thing in this book that has helped you. I also hope that, as you work to improve your technique, you do not lose sight of the larger goals: to be able to express yourself freely on your instrument and to turn every note you play into great music. When you can do those things, you cease to be just a guitar player and become a healer and magician.

Table of Contents

Author' s Preface 
Glossary of Signs 
Editor' s Preface 
How to Read Tablature 
Some Do's and Don'ts 
About the Hands 
About the Body 
About Holding the Guitar- The Triangle 

The Left Hand 

Finger Placement and Accuracy 
Pressure and Release 
Pressure/Release Exercise 
Finger Exchange 
Ascending Slurs (Hammer-ons) 
Descending Slurs (Pull-offs) 
Finger lndependence 
 #3 - Opposing Motion 
#4 - Horizontal Character Builders 
#5 - Odair's Favorite Drill 
#6 - "The Spider" 

The Barre 
Weight vs. Pressure 
Being Selective 
Summing It AlI Up 
Quadrivial quadrary by Andrew York - 

A Four-Voice Study for the Left Hand : 
Fanfare by Brian Head-A Slur Study 

The Right Hand 
Tone Production 
Nail Length and Shape : 
Nail Length 
Nail rypes 
Shaping the Nails 
Angle and Placement 

Rest Stroke (Apoyando) 
Position 
The Movement 
Planting 
Press ure 
Release

Free Stroke (Tirando) 
Right-Hand Finger lndependence 
Walking 
Arpeggios from Tarrega's The Complete TechnicaL Studies 

The Thumb 
Shaping the Nail 
Develop That Thumb! 

Flamenco Techniques .
What Else Can the Thumb Do? .
Sofeare. Falseta ,
Alzapua .
Alzapua Falseta ,
Rasgueados .
Some Practical Applications .
from Turina's Sevillana .
from Turina's Rafaga .
from Rodrigo's Conciato de Aranjuez, 2nd Movement .

Daily Warm-Up Routine .
Left-Hand Walking-#l, #2 & #3 .
Ascending Slurs - #4 .
Descending Slurs - #5 .
Triplets - #6 .
Fixed-Finger Exercises-#7 & #8 .
Right-Hand Walking - #9 .
Two-Finger Rasgueados-#10 .

Tremolo .
Psychological Outlook 
Exercises .
Lopsided Tremolos .
Chant by Brian Head: A Tremolo Study .

Scales: Control and Velocity .
Misconceptions about speed .
Right-Hand Velocity .
Synchronization .
String Crossing .
Piecing Things Together .
Some Other Speed Aids .
Rhythmic Variations .
Speed Bursts .
Problem Solving in Scales .
Marking String Crossings .
Evolution of a Scale .
Scale Study - Double from the Courante, Partita No.1, BWV 1002, Johann Sebastian Bach .

Arpeggios .
Full Planting and Sequential Planting .
Giuliani's 120 Right-Hand Studies .
Practicing Tips .
Didactic Doodle by Andrew York .

Afterword .
Performance Anxiety .
Practice
Inspiration
In Conclusion 

Scott Tennant .
 

RENAISSANCE MUSIC FOR FLUTE & GUITAR. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO DI MUSICA RINASCIMENTALE PER FLAUTO E CHITARRA CON CD .

INCLUDING ANCIENT MUSIC FROM IRALAND AND SCOTLAND

Dance of the washerwoman -I serve a worthie ladie -saltarello -a fancy -a merry ronde -a child's ronde -a winter's ronde -ronde -medieval song no.3 -the troubadour song -italiana -medieval song no.1 -the gypsy's lilt -volta no.1 -angelus ad virginem -canaries -blind mary -two medieval dances -adew dundie -the english hunts up -sumer is icumen in -kemp's jig -Out in the meadows -song of the ass, -medieval song no.2, e altre. CD TABLATURE

The Gypsy's Lilt - Anon/Jessica/Allan. This piece is a great example of why you never know what sounds you will find in Renaissance music. The dissonance that the guitar plays over and over is very modem sounding. There is no doubt that this is the chord that was intended, as there are two versions of this piece in the same lute book, and the chord comes up often. It's always written the same way. I love the melody that Jessica wrote for the second section. - Allan

Volta #1- Allan/Jessica. Volta means "turning" in Italian, and this piece reminds me of dancers whirling around. The Volta was actually a very complicated dance which involved a lot of leaping and turning. This tune has the same pedal as the Italiana. - Jessica

Kalenda Maya - Raimbaut de Vaqueiras/Allan • The "Calends of May" is the first of May, or May Day. In Medieval times it was a favorite holiday, filled with flowers, ribbons, and dancing. In Raimbaut's poem "Kalenda Maya" he tells us that none of the beauty of May Day can move him until the lady he loves looks on him also with love. - Jessica

Angelus ad Virginem - Anon/Allan. When I hear this tune I think of the very strident sounds of some of the Medieval wind instruments. The meter changes are especially fun to play and fall very naturally in the piece. - Jessica

Canaries - Skene/Allan. The Skene manuscript is a tremendous source for music of Scottish origin. There are pieces in it for the lute, but the majority of the material is for a smaller, more limited instrument called a mandora. Many of the melodies are delightful though, so I tune one of my instruments as the mandora is tuned, and play through a copy of the manuscript until I find the pieces I want to work with. - Allan

Blind Mary - Carolan/Allan/Jessica. Turlough Carolan lived in Ireland. He, like the girl he wrote about in this tune, was blind. This is a lovely melody - sad and gentle. I think that it is better to let it sing for itself than to say too much about it. - Jessica

Two Medieval Dances - Arbeau/ Allan. I find some of these Renaissance and Medieval melodies very addictive. Because they exist as just one-line melodies, we often have to add many notes to fillthem out, so it can be a surprise to play them for the first time. Often, they sound better when we come back to them, and sometimes we donlt even know how much we will end up liking them. We just have to wait and see. - Allan

Adew Dundie - Skene/Jessica. Dundee (the modem spelling) is a Scottish town that was rarely at peace throughout the Renaissance. It may be that the mandora player who wrote this melody left Dundee becuuse of the beating that his town was taking at the hands of the English. I wonder if he ever saw his home again. - Jessica

Kemp's Jig on lute and Renaissance flute. If you have the CD, you will hear this piece twice. This last time it is played on Renaissance instruments. - Allan & Jessica

Allan Alexander is a guitarist / Lutenist whose love is arranging and composing for both instruments. Allan is continuing to add to the repertoire of both guitar and lute, but is focusing on the flute and guitar repertoire with his performing partner Jessica. He lives in Troy, NY, with his lovely wife, an artist and sculptor. Jessica Walsh is composing, performing, and working on both books and recordings with Allan. She lives in Troy with her husband and their three exuberant children.

"Renaissance Music for Flute & Guitar" by Allan Alexander and Jessica Walsh. There is great music to be found in all times and from all countries. This is what we are always looking for... pieces that surprise us (pleasantly of course), tunes that make us say, "I want to hear that again," and music that we can't stop playing. Allan & Jessica have compiled a tremendous collection of Renaissance and Medieval duos for flute and guitar. If you love playing independent, interesting parts and if you like communicating with your musical partner, this is the book for you.This music captures the feeling of the Medieval and Renaissance times. It comes alive when you play it. During the Renaissance, it was the performers who wrote the music. Often they added variations; they were excited about the melodies. Allan & Jessica bring some of this approach to the music in this book. Good music need not be difficult to play. When doing arrangements, they make sure that the pieces lay well on the instruments. A few of the pieces in this book are composed by Allan & Jessica, because they also love to write. Nothing is more satisfying, nothing gives us greater pleasure than creating a tune that they want to come back to over and over again... and this is truly in the spirit of the Renaissance.

There are almost seventy minutes of music on the CD, and 29 pieces in the book. This book is perfect to take on gigs, or just to play with a friend. The point is, the music is great. You have to play the tunes in this book to appreciate what Allan & Jessica are talking about. The CD will give you insights into the music, and it will be enjoyable to listen to on its own merit.

Songs include Dance of the Washerwoman, I Serve a Worthie Ladie, Saltarello, A Fancy, A Merry Ronde, A Child's Ronde, A Winter's Ronde, Ronde, Medieval Song No. 3, The Troubadour Song, Italiana, Medieval Song No. 1, The English Hunts Up, Sumer is Icumen in, Kemp's Jig, Out in the Meadowe, Song of the Ass, Medieval Song No. 2, Bransle Charlotte, Cantiga de Santa María, Untitled from Rowallan, The Gypsy's Lilt, Volta No. 1, Kalenda Maya, Angelus ad Virginem, Canaries, Blind Mary, Two Medieval Dances, Adew Dundie.

Customer Comment About This Book:
just bought your music issue "Renaissance Music for Flute & Guitar" today. I am a kind of guy that is constantly search for beautiful music, especially guitar, flute, and piano. I have two kids. The older plays guitar and the younger plays flute. They are 14 and 11 but quite good in the instrument. It have been very few times that I bought a tape or book that I felt worth it. Sometimes I even felt waste the money. But this book of yours including the CD is really worth it. I chose 11 songs out of that I like most: Volta No.1, Bransle Charlotte, A Fancy, A Child's Ronde, A Winter's Ronde, Italiana, I serve a Wothie Ladie, Blind Mary, Adew Dundie, Dance of the Washerwoman, and Kemp's Jig. I am training my kids so that someday they will be able to play like you and Jessica. My kid's guitar teacher said guitar & flute make a very good duet. I agree with that. It is beautiful, especially when I listen to your CD. You guys are doing very good.

Author: Allan Alexander and Jessica Walsh

Category: Instrumental Collections

Renaissance Music for Flute and Guitar 

PAGANINI FOR ACOUSTIC GUITAR. Tutti i pezzi tranne i capricci sono sul CD. Caprice in e no.9, caprice in a minor no.24, allegro, 4 andantinos, 3 allegrettos, andante, 4 sonatas, 3 valtzes, andantino in c, allegretto in a, allegretto in a minor, valtz in c, rondo in a minor, rondoncino, valtz in e, sonata in a, sonata in c.

SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

Niccolo Paganini, was born in Genova October 27, 1782, and died in Nice on May 27, 1840, was an Italian violinist, guitarist, and composer. Other instruments he played included the viola and mandolin. He is considered to be the World's gift to the violin and his virtuosity and showmanship are legendary. Being a gambler, he was forced to pawn his violin to pay his debts. Perhaps it was his gambling instinct that led to his technical risk taking when performing Although he owned a Stradivarius, his favorite violin was a Guarnerius. Ironically, his Guarnerius was in fact the property of a wealthy merchant who loaned to him and which Niccolo refused to return. Paganini first performed outside Italy in Vienna and his legend spread throughout Germany, France, and England. Although the exact age he started playing the guitar is uncertain, he composed his first pieces for violin and guitar when he was 12. In later years he associated with the most notable guitarists of his day, including Giuliani, Carulli, and Legnani. Carulli remarked that "It is not generally known that Paganini was an excellent guitarist and that he composed most of his airs on that instrument, arranging and developing them on the violin according to his fancy." Niccolo's brother Carlo was also a guitarist. Niccolo once considered bringing his brother to Milan to play the guitar part for his quartets. Paganini lived during the Golden Age of the Guitar. Listed below are the names of great guitarists of the past, all born within a span of 32 years:
Fernando Carulli 1770-1841
Francisco Molino 1775-1847
Fernando Sor 1778-1839
Mauro Giuliani 1781-1829
Anton Diabelli 1781-1858
Niccolo Paganini 1782-1840
Dionisio Aguado 1784-1849
Luigi Legnani 1790-1877
Matteo Carcassi 1792-1853
Zani Ferranti 1801-1878

The dream of Andres Segovia (1893-1987) was to take the guitar out of the hands of the Spanish folklore
guitarists, who performed mostly in taverns and place it on the concert stage. He decided
that in order to have the guitar receive the respect that he felt it deserved, it would need to
be taught in the colleges, universities, and conservatories. Because of this intense concert
career and his mature years, for his dream to be fulfilled he had to train teachers, who he
called his disciples. Segovia accomplished his dream. Today the guitar has respect and
credibility because of his vision and work. Bravo to the maestro!
While my performing career began in Miami nightclubs, much like the Spanish folklore
guitarist, I went on to study with Segovia, who personally awarded me a scholarship that
he paid for. I have performed on the concert stage with symphonic orchestras, and I am now
a college professor. I have come to understand the significance of his dream.
Ironically, my dream is the complete opposite to that of Segovia. I believe that for the
acoustic classical style to flourish, it must be put back into the hands of the people. My vision
includes all guitarists, regardless of style or background, becoming familiar with the
classical guitar technique and repertoire. To see my dream fulfilled, I have had to make
learning fun and simple, without sacrificing the integrity of the information. By the mid
1980s my vision came to life in the form of a book entitled A Rock Player's Guide to Classical
Guitar. It was the first classical guitar book that included the notation/tablature/tape
format. I chose the rock market because at that time they were the only guitarists who were
genuinely interested and eager to learn" classical" from me. This, of course, didn't surprise
me, since I too began as a rock guitarist. It was obvious that when classical guitar was
accessible to all guitarists, more people would hear and enjoy the beauty of the pure guitar
style. Since my first publication, thousands of new classical guitarists have surfaced.
All of my books come in notation/tablature/CD format. The recordings prove that all of
my arrangements have been tested and do sound guitaristic. All of the great late composers
were fine musicians, as well as composers. They could play the music they composed.
you can also play the great classics! With the tablature and the recording, great music is
closer to your fingertips than you might imagine.

About the Author
Ben Bolt is credited with being the first classical guitarist to introduce thousands of new people to the classical style of guitar through his videos and books, which use a revolutionary format of learning. In the past, guitar students needed to learn to read music at the same time they were learning to play the guitar, which was complicated. Since the publication of Bolt's book/ recording packages, beginners are able to play immediately. The tablature, using lines and numbers to show where the notes are, and the recording, which is rhythmically self explanatory, empowers all students to play. Bolt's work has been mimicked throughout the publishing world. Because of his vision of making classical guitar accessible to all kinds of musicians, the classic guitar is being experienced by the masses.
Andres Segovia, the father of classical guitar, said, "Ben Bolt is an excellent guitarist with fine tone." Segovia personally paid for a scholarship so that Bolt could continue his studies at the Musica en Compostela, which Segovia had founded. During the Spanish Civil War Segovia had been in exile in Montevideo, Uruguay. He was not concertizing in Europe, due to World War ll. Because of extra time he took on one of this most talented students, Abel Carlevaro. Carlevaro took lessons every other day for over ten years in Uruguay. Because of this historic fact, Bolt sought out Carlevaro in order to attain more information about Segovia. In Paris Bolt studied with Maestro Carlevaro, who wanted to continue teaching Bolt in Brazil at the International Guitar Conservatory. There, under full scholarship Bolt was introduced to more Segovia information, but equally important, the Carlevaro school of technique. During the next several years he went on to Montevideo, Carlevaro's home town, and completed his music studies under the direction of Maestro Carlevaro and Guido Santorsola, the great late distinguished Italian composer and conductor. Several Ben Bolt books have appeared on the best seller list. His video, Anyone Can Play the Classic Guitar has been become a reference for college students as the authority on basic fundamentals concerning classical technique. He also appears in Mel Bay's video of the Modern Guitar Method Grade One, a huge commercial success, selling millions of copies. Bolt divides his time between publishing, performing with orchestras, and teaching at the college level. He believes anyone can play the guitar well, provided they have these three ingredients: a good instrument, a knowledgeable teacher, and music that holds the student's interest. Bolt's work is distri1?uted internationally and has been featured at the yearly NAMM show (National Association of Music Merchants) in California, as well as the International NAMM show in Germany. His influences include Mel Bay, Beatles and Segovia. Ben Bolt is available for concert and master classes.

Mel Bay Publications, Inc. has been a driving force in music performance, education and instruction since 1947. Our tradition of quality music, carefully arranged and edited for maximum ease in learning, has received international acclaim. We are dedicated to providing the best in all styles of guitar performance, acoustic instruments such as banjo, mandolin, dulcimer, harp, harmonica, recorder, tinwhistle, and fiddle, as well as keyboard, wind and percussion instruments. We also offer CDs, concert and instructional DVDsof all stylesand instruments. Mel Bay offers an extensive catalog covering most musical styles-from classical to jazz to celtic to bluegrass to blues.

Song Title: Composer/Source:

Allegro
Andantino
Allegretto Paganini Arr: Ben
Allegretto In A Paganini Arr: Ben
Allegretto In A Minor Paganini Arr: Ben
Allegro Paganini Arr: Ben
Sonata
Sonata
Allegro
Andante Paganini Arr: Ben
Andantino Paganini Arr: Ben
Andantino In C Paganini Arr: Ben
Andantino Paganini Arr: Ben
Sonata
Caprice In A Minor, No:24 Paganini Arr: Ben
Caprice In E, n.9 Paganini Arr: Ben
Rondo In A Minor Paganini Arr: Ben
Rondoncino Paganini Arr: Ben
Sonata Paganini Arr: Ben
Sonata In A Paganini Arr: Ben
Sonata In C Paganini Arr: Ben
Valtz Paganini Arr: Ben
Valtz In C Paganini Arr: Ben
Valz In E Paganini Arr: Ben