Seven by Gershwin

Gregory Stone has transcribed these three selected preludes for one piano-four hands. For much of his life George Gershwin sought to integrate the worlds of jazz and classical music. These pieces are not jazz improvisations but they do show something of the style of his own playing. Gershwin had intended to compose a set of twelve a sort of jazz Wohltemperierte Clavier but his unexpected death from a brain tumour at the age of 38 prevented this. At least seven survive (others may have ended up as songs) and this set of three as published form a satisfying unit. The first opens with a blue-note riff which forms the basis of the first theme.Contrasting material follows making use of a distinctive repeated note figure then the first idea reappears in a quasi-orchestral climax. The second prelude shows a curious kinship with Chopin???s A minor Prelude with its eerie accompaniment and hypnotic melody. The third exploits a similar major/minor ambivalence but dextrous syncopation gives it driving rhythmic energy.

The guitar styles and techniques of Blind Blake Big Bill Broonzy and Rev. Gary Davis combine blues and ragtime techniques into a style that can be best described as raggin' the blues. This exciting and challenging approach tofingerstyle playing combines complex right hand picking with intricate left hand fingerings single string runs and rhythmic licks. In this lesson Stefan Grossman illustrates and explains seven famous ragtime blues instrumentals.A detailed 44-page tab/music PDF booklet is included.

Take seven of George and Ira Gershwin's classic songs, add Mark Hayes' stunning and unpredictable arrangements, and it all adds up to a winning collection for singers and listeners alike. Songs include: By Strauss * Clap Yo' Hands * I Got Rhythm * Love Is Here to Stay * The Man I Love * Summertime * They Can't Take That Away from Me.

Gregory Stone has transcribed these three selected preludes for one piano-four hands.For much of his life George Gershwin sought to integrate the worlds of jazz and classical music. These pieces are not jazz improvisations but they do show something of the style of his own playing. Gershwin had intended to compose a set of twelve, a sort of jazz Wohltemperierte Clavier, but his unexpected death from a brain tumour at the age of 38 prevented this. At least seven survive (others may have ended up as songs), and this set of three, as published, form a satisfying unit.The first opens with a blue-note riff which forms the basis of the first theme. Contrasting material follows, making use of a distinctive repeated note figure, then the first idea reappears in a quasi-orchestral climax. The second prelude shows a curious kinship with Chopin's A minor Prelude, with its eerie accompaniment and hypnotic melody. The third exploits a similar major/minor ambivalence, but dextrous syncopation gives it driving rhythmic energy. / Piano 4 Mains

George Gershwin's works incorporate elements of jazz, creating a rich style that is unmistakably American. This volume contains 18 pieces, including songs later published for solo piano, seven preludes for piano, and more. / Piano

Six classical piano solos in their original form and seven advanced piano transcriptions, including a new piano solo arrangement of the main theme from the ever-popular Rhapsody in Blue. This superb collection of classical hits is certain to appeal to all! Titles include: Sleeping Beauty Waltz (Tchaikovsky) * Air for the G String (J.S. Bach) * Intermezzo from Cavalleria Rusticana (Mascagni) * Funeral March (Chopin) * Rondo Alla Turca (W.A. Mozart) and more.

British traditional folk music is rooted in a vocal tradition of hundreds of years as well as a strong dance culture. It is not bound by any time or bar structure. The guitarist must find ways to explore reinforce accent andembellish these melodies. Martin Carthy has successfully done this with the C G C D G A tuning. He plays with a heavy percussive attack and has a unique sense of phrasing and a strong emotional and atmospheric feel for his music.In this DVD lesson Martin explains in detail his playing techniques and style for seven of his most popular arrangements. Featured titles include: Old Tom of Oxford The Heroes of St. Valery The Siege Of Delhi LaCardeuse McVeagh The Harry Lime Theme and Seven Yellow Gypsies.

Jody Stecher?s guitar arrangements are blues tinged banjo influenced and highly inventive. They are fluid evolving and subject to flights of fancy and improvisation in actual performance. Yet they contain a lot thatis ?fixed? or repeated from performance to performance. The seven arrangements presented in this lesson are crystallisation's of the motifs and patterns typically used by Jody when playing these tunes. Five tunings andfour styles of picking are presented. Jody?s music has the flavor and atmosphere of traditional old time country music country blues and mountain music but the actual details of execution and arrangement are uniquelyhis. This practice of original expression is itself an important element of American traditional music which is fundamental to aspiring guitarists. Titles include: Boat?s Up The River Buddy Won?t You Roll DownThe Line Red Rocking Chair Old Country Stomp Casey Jones Riley And Spencer and Those Two Blue Eyes.

The Guitar playing of Merle Travis has been a great influence on generations of guitarists. In this unique 95 minute lesson Marcel Dadi teaches seven of Merle's greatest instrumentals.

This book is a collection of seven pieces written with the fingerpicking guitarist in mind. Each piece makes use of an open tuning either DGDGBD or DGDGBbD and is presented in both standard notation and tablature. Includes anextensive 3-CD set of instructional and performance-based recordings

To Chord Theory and Chord Voicing For The Guitarist-In this 2-DVD set master guitarist and instructor John Miller walks you through the fundamentals of chord theory providing you with the conceptual tools needed to understand chord structure and then shows you how to apply thatknowledge to the neck of guitar making practical sense of the information so that you will be equipped to voice chords up and down the neck in any key.In Volume One of the set John goes over the major scale and itsstructure and then moves on to intervals familiarizing you with the different interval types and the language used to define and describe them. He moves then into triads and shows how the diatonic triads are derived from scalestructure following up triads with seventh chords the diatonic seventh chords and the various seventh chord types. As you move through these topics you will find a variety of exercises on the PDF that is included on your DVD exercises that will test and build your knowledge of these topics. Having laid the initial theoretical groundwork John then shows you how to voice triads and seventh chords out of the E A C D and F positions.In VolumeTwo John starts out by defining sixth chords and showing how to voice them then discusses tonic function and seventh chord function. The remainder of Volume Two is devoted to working on songs seeing how to play the same song ina variety of keys and positions and how to use the way the guitar is tuned to transpose from one key to another in the easiest possible fashion. After working through this 2-DVD set you will have a sound fundamental understandingof triad sixth and seventh chord structures in a variety of positions and won't be deterred from learning songs in flat keys or playing up the neck without a capo. If you are really interested in understanding chords and readyto work on developing your understanding Introduction to Chord Theory and Chord Voicing for the Guitarist will get you well on your way towards that goal.On the PDF accompanying the DVD you'll have the opportunity to

John Jackson grew up in rural Virginia listening to the older musicians around him and the blues stars whose records he heard on his family's wind-up phonograph. For a while in his youth he played at country dances but mostly he just picked the guitar and banjo for his own amusement and his tastes ranged from the Piedmont blues of Blind Blake Josh White and Blind Boy Fuller to the hillbilly yodels of Jimmie Rodgers and an old-time banjo style that reached back to the 19th century.?I can play most anything I put my mind to if I want to ? he would say with a big smile. ?Blues mountain hoedowns dance tunes... I don't get into soul or disco or rap music or nothing likethat but I ain't got anything against it; it just didn't come along when I did.?Jackson always seemed supremely relaxed and easy-going but under his friendly country manner he was an indefatigable worker. He recalled a time when musicians would walk twenty miles over dirt roads to get to a house party play till the wee hours of the morning then walk home and put in a full day on the farm and he kept numerous jobs most famously as a grave digger into his seventies. He was just as dedicated onstage an all-around entertainer who mixed his songs with jokes and stories and tried to give his audiences a sense not only of the music he loved but of the world that had produced it.That world is long gone but it lives on in the loping rhythms of Jackson's intricate guitar picking and the mellow flow of his honey-slow Virginia drawl. This is old-time back-porch country music played by a man who always seemed like he was just kicking back and enjoying himself with some friends but put all he had into every note.

Reels Rags and Hoedowns-Here's your chance to discover the very roots of the flatpick guitar style through the old-time fiddle tunes that started it all taught be Eric Thompson.In this DVD presentation Eric shares his soulful arrangements ofseven fliddle standards guiding you phrase-by-phrase through classics including Texas Gals Fish In The Millpond the Scottish/Irish Miller’s Reel and Stony Point the mountain modal Falls ofRichmond and more.Build your repertoire and hone your technique exploring fingering patterns in six different keys which are all clearly illustrated in split-screen close-ups.

One of the foremost personalities in the world of Jazz Guitar Larry Coryell has played against the best and here presents an insight into his distinctive and fluid approach.From bebop heroes Sonny Rollins and CharlesMingus to fusion superstars Chick Corea and John McLaughlin Coryell's guitar playing has graced the recordings of the hottest stars in Jazz making him a guitarist of huge reputation and respect. In this three-part DVD seriesCoryell analyses his own Jazz perspective providing an empirical method of solo and chord improvisation.Volume two includes:Creating the improvised lineChord substitutionsImportance of the major/minorseventh soundThe 'Jazz' minor and its related chordsApplying scales to standardsRepositioning chords to fit a single-note lineVocabulary of improvisationBlues phrasing and Bebop sophisticationsGuitaristdevices and techniquesApproaching a solo and small-group performance of the same songDetailed discussion of Autumn Leaves and Coltrane's Moment Of Notice