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Mel Bay Presents... The Original 'You can teach yourself Classic Guitar' a comprehensive book of instructions, chord charts, scales and more, everything you need to know to start playing Classical Guitar.

As you are undoubtedly already aware, society's preference for right-handedness runs deep. And nowhere has this been more true than in the field of guitar. In years past, left-handed players have had to adapt their technique to right-handed guitars, playing them upside down and "backwards." Thankfully, that is changing. Many guitar companies today routinely make left-handed versions.

This book is for players and parents who need a working knowledge of basic fiddle maintenance and routine adjustments. It is also for more ambitious do-it-yourselfers interested in experimenting with minor adjustments to their instrument setup.

This book is not for owners of valuable violins. Owners of valuable instruments should do nothing to their own instrument except daily maintenance and changing strings.

The ukulele is a small, guitar like instrument from Hawaii. It is fast becoming one of the most popular instruments in the world, with many pop stars using it in their music.

If you follow the songs and activities in this book you too will become a ukulele musician and maybe even a member of your school ukulele orchestra.

So come on, join the ukulele revolution!

A selection of hymns written in both standard notation and tablature for flatpicking guitar.

Mel bay and Warner Bros. Presents... Guitar Tabsongs/Popular Country for fingerstyle. This book contains: 14 Country Classics, Easy Arrangements for Fingerstyle Guitar and Standard Notation and Tablature.

The great sound of tenor banjo is a cornerstone of Dixieland and traditional jazz. Using classic favorites, Joe Carr teaches the basics of accompaniment, basic melody and the popular chord melody style. Chords and melody are combined to produce professional sounding solo arrangements. This book / CD combo includes play-along practice tracks that speed up the learning process. It doesn't get any easier! Also available as a book/ CD/ DVD set.

This is a selection of 5 pieces for solo guitar, dedicated to 6 great performers of the instrument. Each of these works reflects, for the most part, the rhythms and forms of Latin American dances.

This book is intended for players with limited or no jazz playing experience who wish to develop their own style of improvisation at an acceptable performance level while achieving personal musical goals. The challenge of playing more interesting and difficult progressions of the jazz standard repertoire requires a thorough knowledge of scales and chords. The three sections of this book build this knowledge by focusing on technical facility, chord knowledge, and improvisation styles. Theory topics covered include major and minor scales and arpeggios, blues scales, pentatonic scales, whole tone scales, diminished scales, the cycle of dominant 7th chords, balancing phrases, chord structures and substitutions, and turnarounds. Improvisation styles taught include embellishing a melody, the melodic line approach, the vertical (chordal) approach, and a combined approach. This edition is written entirely in the bass clef for string bass, trombone, electric bass, euphonium, and other bass clef instruments.

This volume in the Frank Vignola Play-Along Series contains nine solos which have been written and recorded over blues and rhythm changes in many different keys. One of the etudes has been recorded both at a slower tempo for practice and also at performance tempo. The performance-tempo recordings of the solos include numerous choruses of rhythm section only. This allows for individual practice of the written solos or practice of original ideas with a live rhythm section. Occasionally, during these rhythm only sections, Frank Vignola will play an improvised solo for four, 12, or 24 measures. This allows the student to interact with the recording by copying ideas, building upon what has just been played, or practicing the chords to the piece. The Frank Vignola Rhythm Changes series gives any student of jazz guitar great ideas for playing solos over one of the most popular musical forms in jazz. Written in notation and tablature.

Solo Solutions is a 3-step guideline for the Electric Guitar player who intends to develop his soloing skills. While the 1st step explains different playing techniques and stylistic devices, the 2nd step is dealing with lead Guitar related music theory and scales. The 3rd step combines the two first chapters with countless examples and suggestions on developing your own style.

This book features an exclusive hands-on approach, which makes it a great learning tool and a must for the modern Guitar player.

A delightful collection of chamber music by Jean Phillipe Rameau and Johan Helmich Roman arranged for four guitars. These seven dances vary in style and tempo and are uniquely interesting both harmonically and rhythmically. Parts range in difficulty from easy to moderate in the lower parts and moderate to more advanced in the first part. Pedagogically, these pieces will challenge and engage both high school and college students. Fingerings have been left out to allow students and directors to explore different possibilities. These dances will make a fine addition to an ensemble's recital program or gig repertoire. In standard notation only. Score and all guitar parts are included in the book. In addition the 2nd, 3rd, and 4th guitar parts are available as online downloads.

It is a challenge to arrange and play American fiddle tunes and Celtic melodies on the guitar. This set of lessons presents several approaches for the intermediate guitarist with 3 CDs containing 3 full hours of instruction. Written in notation and tablature. LESSON ONE: Dave Laibman's arrangement of ""Colored Aristocracy"" features a Chet Atkins approach. ""Midnight on the Water,"" a beautiful Texas waltz, was arranged by Duck Baker and features counterpoint lines and variations on the theme. ""The West Wind"" is an evocative Irish air played with a classical feel. LESSON TWO: American fiddle tunes: ""Boys, My Money's All Gone"" played in a Nashville style and ""Last of Callahan,"" an arrangement using a counterpoint bass line played against the melody. LESSON THREE: Fiddle tunes from Ireland and America: ""Rights of Man"" and ""Drunken Wagoner"" both played in a dropped D tuning (D A D G B E).

Born in 1956 in Moscow, guitarist Nikita Koshkin is one of Russia's leading composers, teachers and concert artists. This collection includes works from throughout his 30-year career as a composer including his three-movement Hispanic Suite, one of his earliest compositions. The other compositions included in this volume are: Pan, Tristan Playing the Lute, Romance, and a five-movement suite called The Ballads: Suite for Solo Guitar. Koshkin uses dropped-D tuning in several of these pieces and favors rhythmic variety and stylistic diversity. These intermediate to advanced compositions appear in standard notation only with suggested left-hand fingering and generous performance notes.

Many of the devices and techniques used by "Cannonball" Adderley are covered in this text. In addition to the theory chapters, many melodic lines and phrases in the style of "Cannonball" Adderley are presented. All the lines have been transposed into one key and grouped by the harmonic background they can be played against. The accompanying play-along CD enables students to first practice the material in one key, and then master each line in all twelve keys, working around the circle of fourths.

In this book you will find 120 2-bar ii-V riffs--ten different riffs for each of the 12 keys. Learning these riffs in all possible positions and using as many different fingerings as possible will help students learn the fingerboard and find the best fingerings and positions for them.

Twelve tunes arranged for fingerpicking in open tunings. This book contains 3 CDs, each providing an hour of phrase-by-phrase audio instruction. The music is presented in the book in notation and tablature. Lesson One: Introduction to Open G tuning, walk thru of Just A Closer Walk With Thee and Black Mountain Rag. Lesson Two: Walk thru of Sparkling On The Wind and The Landlady. Introduction to Open C tuning and walk thru of House Carpenter and One Kind Favor. Lesson Three: Introduction to EADEAE tuning. Walk thru of La Rotta, Lord Mayo, and Lord Inchiquin. Introduction to DADFAD tunings and lesson on La Rotta.

These beautiful pieces are examples of Mozart's purest classical style, composed in Vienna around 1783. They were originally written for three wind instruments as "Divertimenti for Two Clarinets and Bassoon". They were published as a transcription for piano in the early 1800's and called "Viennese Sonatinas"

My arrangement for solo guitar is based on Willard A. Palmer's edition published for piano by Alfred Publishing Company. Their light-hearted character and thinner texture makes them more suitable for solo guitar than Mozart's keyboard sonatas.

The name ""Little Roy"" is misleading! He was considered an Icon during those early years and was the most imitated player at that time era. That era is long past but the popularity of ""Little Roy"" continues today. Like so many other players Roy used the E13th tuning but had his own sound that complimented Eddy Arnold's singing style. Many players still use this tuning and is your chance to see and hear the sounds that made Roy popular. And more importantly, ""You will be able to duplicate his musical arrangements"" by use of the tablature in this book. The tablature will allow even the novice to play these arrangements as it is presented in a very simple manner. Any serious minded fan of ""Little"" Roy Wiggins will want his book! Member: The Steel Guitar Hall Of Fame, Inc. Inducted: 1985

There have been few previous examples of guitar versions of Schubert' piano music, and practically no attempts to transcribe a complete set of pieces, as Caldern has done here with the six pieces of Schubert's Moments Musicaux. These pieces are superb examples of Schubert's mastery in the miniature form, true "musical moments" of mood and feeling. Two other pieces complete this collection, which also includ notes on the preparation and performance of the pieces in English, German, and Spanish. The music is in standard notation only with an audio recording of performances of the pieces by the arranger.

This volume in the Frank Vignola play-along series contains useful,well-structured solos for 11 choruses of the blues in the most common keys. Funky, bluesy, and bop oriented lines allow you to feel and hear what it is like to play a well-constructed solo. In the performance tempo recordings, the solo segments are often followed by numerous choruses featuring the rhythm section. This format allows for individual practice of the written solos or elaboration of original ideas with a "live" rhythm section. The solos provide an opportunity for the student to interact with the recording by copying ideas, building upon what has just been played, or practicing the chords to the piece.

In this set of audio lessons, Duck Baker presents several approaches for the intermediate guitarist on six fingerstyle guitar solos. The three compact discs feature note-by-note, phrase-by-phrase instruction, and all of the music is in the book in notation and tablature. In addition to an explanation of the tab system, Lesson One includes Gustys Frolics and Humors of Whiskey in Drop D tuning. Lesson Two teaches The Wicklow Hornpipe in Drop D tuning and Bantry Bay in Drop G tuning. Lesson Three presents Jenny Picking Cockles and The Wise Maid, both in Drop D tuning.

This collection will help spark an interest in the development of an American repertoire for the classical guitar. Traditional Scottish and Irish tunes were transformed by the African rhythms of banjo players, which in turn influenced popular music and led to ragtime, jazz and blues. The amount of folk music in America is staggering. The nineteenth century gave birth to many unique American styles and its songs are an important part of our musical heritage. Even today, quite a few of the tunes in this collection will seem very familiar. Written primarily in standard notation, the exceptions being those tunes in altered tunings which logically appear in tablature only.

This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists. The works in this collection: Fantasy on themes from Don Giovanni, Op. 28 Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces. Martha, Op. 16 Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie. The Prophet, Op. 21 Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter. Nabucco, Op. 62 and Rigoletto, Op. 63 Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.