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This collection of 35 Celtic tunes represents ten different performance styles from Ireland, Scotland, Wales and Brittany. the majority of these pieces are dance tunes such as the jigs and reels popular at Irish sessions, the informal gatherings of musicians in pubs, community halls, and homes. Although relatively new to the session ensemble, the autoharp bears a distinct resemblance to the Irish folk harp. Fittingly, this collection includes harp tunes by famed Irish harpist Turlough O'Carolan as well as other slow airs. All of the pieces in this book have been arranged to be played on any standard 15 or 21-bar chromatic autoharp in either melodic or rhythmic (backup) style. A melody line with suggested chord accompaniment is included so other instrumentalists can easily join in. the book's companion CD includes performances of all 35 selections, ably illustrating the rhythmic and stylistic nuances of this engaging music. In notation and tablature.
The Autoharp Owner's Manual covers autoharp maintenance,conversions, tuning and string schedules (both diatonic and chromatic), buildingyour own instrument, playing techniques, evaluating instruments, chord bar setups, amplification, history, and much more. Each subject is addressed by a current premier musician/builder. The articles in this book have been taken frompast issues of Autoharp Quarterly and have been updated to address current innovations, problems, and instruments. It is a must have for every autoharp player
This book is the story of the autoharp, and includes comprehensive information about the instrument gathered from many people.
(Autoharp). If you're new to autoharp or want to add to your repertoire, this book has melodies, chords and lyrics for some of the most popular songs that are suited to the instrument: Amazing Grace * Blowin' in the Wind * Crazy * Hallelujah * I Will Always Love You * Imagine * Keep on the Sunny Side * Love Me Tender * Man of Constant Sorrow * Over the Rainbow * Scarborough Fair/Canticle * Stand by Me * This Land Is Your Land * What a Wonderful World * Yesterday * You Are My Sunshine * and more.
A collection of favorites in easy-to-play arrangements for either autoharp melody solos, or basic rhythm accompaniment. the format can be easily understood by a novice autoharpist, as well as a more advanced skill-level musician. Each song includes standard melody notes, chord progressions, autoharp tablature, and lyrics for sight-reading a tune on the fly, or the information can be a helpful guide for play-by-ear enthusiasts. Since love is universal to all ages and stages of life, this book is a potpourri of songs about love, lost loves, longing for love, and a never-ending desire to be loved by someone.
This step-by-step approach to learning to play the autoharp will help beginners and teachers understand the many ways in which this versatile instrument can be used. You will learn a variety of strumming techniques, how to work the chord bars, how to use the different areas of the strings effectively, how to play songs and simple melodies, and even a brief history of how the Autoharp began and developed.
Evoke the traditional sounds of the Celtic lands with these instrumental arrangements of songs for solo Celtic harp. These 25 tunes are Manx, Welsh, Irish, Scottish, Cornish, Hebridean, and Bretton, including pieces by Turlough O'Carolan and Robert Burns. Notes at the end of the book give insights into the meanings of the texts of the songs, aiding interpretation and inviting you to experience the ambience of the Celtic lands through their music. Lyrics for selected songs are given in the notes in English.
This time-honored method addresses the six-string lap steel guitar in E7 tuning. This approach incorporates both note reading and melody chord playing. The melody chord approach is the one utilized and made famous by New Orleans' great guitarist and teacher, Roger Filiberto. This book contitutes one of the most practical, well-written methods available for the lap steel guitar; it teaches techniques and chord harmony applicable to Hawaiian, bottleneck/slide and even resonator styles.
What fascinates me is the fact that the smaller harps, the no-pedal harps, are widely called 'Celtic harps' all over the world. They could have been called 'small harps', 'troubadour harps' or something else. But the term 'Celtid harp' stayed. Believing that there is more to it that just a technical term, I want to explore what draws people to vbuy a 'Celtic harp' and play 'Celtic Music'; The term 'Celtic' points at something deeper, something many people nowadays are looking for and need. This book is not particularly about Ireland, and even less so contemporary, urban Ireland as this, I believe, is not the reason Celtic harpist come to the harp. I am interested to explore what exactly brings them to this quite unique instrument, and why Celtic. Exploring why they mainly play Irish traditional music on it is yet another question I will give some thoughts.