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Seven outstanding solos in the Fats Waller post-ragtime style that gain a totally new flavor and life when played on fingerstyle guitar! In notation and tablature. Includes access to online audio.
Beginning with an explanation of how a bass line defines the harmonic scheme, this edition leads the player through dozens of fingerstyle arrangements. Titles: * Laura * Green Dolphin Street * The Shadow of Your Smile * Stompin' at the Savoy * Just Friends * Don't Blame Me * Nobody Does It Better
Much of today's electric guitar centers on playing in a band. We learn the chords, the licks, the solos and sometimes a few of the lyrics. Seldom do we get a chance to play a song by ourselves from beginning to end without band mates or singing. This new book by Berklee faculty and renowned recording artist Jon Finn is a collection of pieces in a variety of musical styles written for unaccompanied solo electric guitar. Techniques covered include pick-and-fingers (reminiscent of Chet Atkins), classical (adapted to electric guitar), jazz, blues, pop, two-handed tapping (like Jennifer Batten or Stanley Jordan) and more. the music is accurately and painstakingly transcribed to match the included recordings. the book also includes pictures and detailed information about playing each piece, both from a technical and artistic point of view. If you want to widen your musical horizons while building up repertoire that you can perform by yourself, this book is for you.
This comprehensive text covers the spectrum of fingerpicking technique and styles. Performance and stylistic notes, fingerstyle guitar solos and a listening guide are presented for each section of the book. Sections include: Folk Songs; Gospel Songs; Country Blues; RagtimeBlues; Rags and Dances; Appalachian Fiddle Tunes; Celtic Airs; Jigs and Reels; Classic Rags; Fingerstyle Jazz Guitar & Fingerstyle Guitar Duets. All solos are in notation and tablature and are written by noted fingerpicking guitarists Stefan Grossman, Elizabeth Cotten, DeanSires, Ton VanBergeyk, David Laibman, Rev. Gary Davis, Duck Baker, Seth Austen, Steve Tilston, John Morris, Sid Percy, Tom O'Farrell, JimMcLennan, Leo Wijnkamp Jr., Lasse Johansson and Claes Palmqvist.
A tribute to the innovators and an analysis of the unique guitar fingerstyles and techniques developed in Great Britain. Presents guitar instrumentals by Davey Graham, Burt Jansch, and John Renbourn - over 20 solos in notation and tablature. the stereo CD features each solo as performed by the respective British composer/guitarist, and contains all but four of the songs in the book. the CD does not contain the following songs: Carolan's Concerto, Mrs. O'Rourke, Lord Inchiquin (arr. by John Renbourn) and Lament for Charles MacCabe.
This book and accompanying audio present the most popular themes from the classical orchestral repertoire adapted for guitar. Historical background is providedfor each piece, as well as warm-ups for both hands. The selections include worksby Vivaldi, Handel, Haydn, Mozart, Beethoven, Rossini, Bizet, Tchaikovsky, Grieg, Rimsky-Korsakov, Grieg and others. The material is written in tablature and standard notation.
Since it was founded in 1982, The Wire magazine has covered a vast range of alternative, experimental, underground and non-mainstream music. Now some of that knowledge has been distilled into The Wire Primers: a comprehensive guide to the core recordings of some of the most visionary and inspiring, subversive and radical musicians on the planet, past and present. Each chapter surveys the musical universe of a particular artist, group or genre by way of a contextualizing introduction and a thumbnail guide to the most essential recordings. A massive and eclectic range of music is celebrated and demystified, from rock mavericks such as Captain Beefheart and The Fall; the funk of James Brown and Fela Kuti; the future jazz of Sun Ra and Ornette Coleman; and the experimental compositions of John Cage and Morton Feldman. Genres surveyed and explained include P-funk, musique concrte, turntablism, Brazilian Tropiclia, avant metal and dubstep. The Wire Primers is a vital guide to contemporary sounds, providing an accessible entry point for any reader wanting to dig below the surface of mainstream music.
The Jazz Masters: Setting the Record Straight is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman’s interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians’ actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century’s extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA’s prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman’s deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.”