Try It With Gershwin Bass Recorder Part

Grossman writes: I love fingerpicking blues in the key of C. Blind Blake Big Bill Broonzy Rev. Gary Davis Mississippi John Hurt Mance Lipscomb and Tommy McClennan all favored this key. All approached their playing from different angles and perspectives. Mississippi John Hurt had a happy sounding alternating bass style. Big Bill Broonzy combined a driving bass technique. Blind Blake's 'sportin' right hand' would stumble his bass alongside quick single string licks and his piano sounding guitar. Rev. Gary Davis had several techniques playing in C. His most unique was using an alternating bass that never played the root C note. In other arrangements his playing took BlindBlake's ideas and explored them with complex bass movements rhythmic licks and quick single string runs. And then there's Tommy McClennan and his heavy rhythmic right hand. These legendary blues guitarists all played out of first position chords using different right hand approaches and touch. How amazing that there were so many different sounds produced. So many that I found it necessary to expand this lesson to two DVDs running close to four hours of instruction in all. Each tune is taught phrase by phrase and played slowly on a split-screen. A detailed tab/musicbooklet is included as a PDF file on the DVD. As well the original old recordings are included in the Bonus Audio section. Titles and topics include: Cocaine Habit Blues People That I Use To See Can't See No More Hot Time In The Old Town Tonight You Are My Sunshine Tryin' To Get Home You're Gonna Quit Me Love With A Feeling Troubles You May Leave Taking Your Place At The Break Of Day Turn Arounds in C and Searching the Fingerboard 227 minutes - Level 2/3 - Detailed tab/music PDF file on the DVD

After Pentangle split in 1973 Bert Jansch returned to his prolific solo career but missed playing in a group context. The Bert Jansch Conundrum came into existence as the 1970s waned. Jansch recorded a solo album called A Rare Conundrum in 1977 with mandolinist Rod Clements and fiddler Mike Piggott as supporting players. When Piggott was unable to go out on a Scandinavian tour Martin Jerkins hired on to play violin on the dates. They hit it off and Nigel Portman-Smith came aboard to play bass. They toured Europe and America. Bert recalled: ?I got to know Martin in that period between the original Pentangle splitting up and the beginning of the eighties. I knew him prettywell and we did a lot of gigs together. At one point we were playing with Rod Clements who used to be in Lindisfarne and Pick Withers on drums - I seem to remember Mike Piggott was involved as well; I?ve been in so many different line-ups I just can?t honestly remember!?The first part of this DVD collection presents Bert Jansch Conundrum in concert recorded in Athens Ohio. This is followed by three tunes by Bert and Martin recorded in 1978 in Stockholm Sweden. The DVD concludes with a documentary that Bert recorded in 1985 that combines interviews solo concert performances and rehearsals.

'Stefan Grossman one of the finest of the East Coast guitar pickers has put together a collection of some classic ragtime pieces. It's a wonderful album demonstrating all the light easy exciting sounds of ragtime. All the players perform with authority and the commitment that master musicians have.In Leo Wynkamp's Grace and Beauty Rag and Eric Shoenberg's Piano Roll Blues the players perform the walking bass and play tingling high strings with great feel and expertise. Woody Mann's Tenth Street Scratch his own composition has the great funk slapping bass and drive of the down and dirty and David Laibman's Nola is magic up and downthe neck with great grace.This is a perfect record far those interested in contemporary ragtime techniques; if you're not it's still great.'- Come For To Sing/Edward Mark HolsteinAlso included is a PDF TAB/music booklet featuring these songs from the recording: Wild Cherries Rag; The Old Piano Roll Blues; At A Georgia Camp Meeting; Nola; Livin' In The Country; Dill Pickle Rag; Bye Bye Blackbird. You will need Adobe Acrobat (a free download) to open and print this file from your computer.

This series of lessons explores various fingerstyle blues guitar styles and techniques. It delves in to the alternating and monotonic bass techniques; blues slides hammer-ons and pull-offs and blues slurred notes. The aim of thislesson is to give you a freedom to improvise playing a blues and the playing techniques of Mississippi John Hurt Rev. Gary Davis and Blind Blake are discussed with each tune being taught phrase by phrase and played slowly on asplit-screen.Bonus audio tracks are included featuring rare recordings of the songs and styles presented on the DVD. A detailed tab/music booklet is included as a PDF file on the DVD which includes lyrics to the songs aswell as tab/music transcriptions of the guitar playing.

Of Mickey Baker and The Alex Sanders Funk Time Band-Mickey Baker best known for his Mickey & Slyvia hit Love is Strange lived in France for the last thirty years of his life. During that time he played jazz as well as delving back into the roots of Black American music. As a result he began to experiment with various country blues techniques and styles. This exploration led to his album Blues and Jazz Guitar of Mickey Baker (SGGW107). At the same time he also began to perform as a solo jazz and blues artist which was quite different than his past where he usually fronted either a jazz or a rock band. His solo blues playing took him around Europe and during the last years of histouring throughout Africa on three occasions. On his last tour of Africa he was joined by the excellent bass player Alex Sanders and Mickey's show was able to expand to the full gambit of his musical experiences - from country blues to jazz. During this tour Alex and Mickey started to compose together and decided to try and record an album that would highlight their sounds and explorations. This is in fact the first jazz rock guitar album that Mickey Baker has ever done. It is full of surprises and intriguing sounds from a rendition of Rachmaninoff's Prelude In C# Minor to the disco sound of Alexander's Funk Time to the 7/4 of Ouagadougou. Plus for this album Mickey combined his skills of being one of the finest jazz guitarists with those of a teacher and prepared a tab/music booklet for students.

for Clarinet Quartet. Par GERSHWIN GEORGE / CURTIS MIKE (Arr.). American composer and woodwind performer Mike Curtis is equally comfortable in classical, jazz, and ethnic settings. He has toured the world as a klezmer clarinetist, played bassoon with symphonies and opera companies, and recorded on sax with jazz greats Charlie Rouse and Anthony Braxton. His compositions show the influence of those experiences and more. The Adagio (2nd movement) from George Gershwin's Concerto in F for Piano and Orchestra. / Date parution : 2022-11-29/ Répertoire / 4 Clarinettes

In this lesson John Miller will provide you with the tools you need to develop your ability to tell what position or tuning a Country Blues performance was played out of simply by listening to the recording. Believe it or not this is a learnable skill and John who has taught it for many years will show you what to listen for and help you get started hearing the various auditory clues that identify the distinctive sound of the different playing positions and tunings most commonly used in Country Blues guitar playing. Developing your ability to do this kind of informed listening or listening with knowledge will reap significant rewards for your playing most especiallyimproving your ability to learn by ear and increasing the speed with which you're able to pick up new material.One of the real advantages of having this material presented in this 2DVD format is that it allows John to go over the material in real detail presenting the sound characteristics of the different playing positions and tunings at length and providing you with memory devices to help you remember the sound of alternating bass for the different positions and tunings. The material is not presented in the abstract either - as John goes along he plays a host of examples drawn from Country Blues performances that help illustrate and exemplify the characteristic sound of each playing position. The PDF study guide that accompanies the lesson includes a summary of the sound characteristics that identify each of the playing positions/tunings presented in the lesson as well as the memory devices that will help you remember the sound of the bass in the different positions. Also included on the DVD is a test to take when you have completed the lesson with a selection of recordings of Country Blues played out of different positions and tunings for you to identify using your new skills. Disc One: E position standard tuning • C position standard tuning • D position standard tuning • A position Standard tuningDisc Two: G

Description This is a challenging set of three lessons presenting a variety of tunes from string band rags to classic rags to novelty instrumentals. The three audio CDs give 3 full hours of note-by-note, phrase-by-phrase instruction. LESSON ONE: Two New Orleans standards are presented in this lesson. Both are played in the key of C with a style that combines an alternating bass with single-string runs and counterpoint lines. Mabel's Dream was popularized by the King Oliver Band. High Society is a well known Mardi Gras instrumental. LESSON TWO: Two rags are presented in this lesson. We begin in a dropped D tuning with the classic rag Powder Rag. This is followed by an arrangement of the 1928 Dallas String Band recording of Dallas Rag. This combines alternating bass with counterpoint techniques and single-string runs. LESSON THREE: One of Rev. Davis's most popular show instrumentals was Soldier's March. It has sections played in the keys of F and C and is a challenging guitar solo that takes the listener from early morning to lights out in the day of a soldier.

The key of E shouts out: 'Play the blues.' It is the most popular setting for playing in the style of Lightnin' Hopkins. Chicago bluesmen love playing in E. But there are other approaches of fingerpicking blues in the key of E. In this lesson we will explore styles and techniques as played by some of the legendary bluesmen. Charley Jordan's unique approach will be taught with note-by-note transcriptions of his 1930's recordings of 'Keep It Clean' and 'Hunkie Tunkie Blues'. Big Joe Williams' classic 'Baby Please Don't Go' will combine a little of the old (with a Mance Lipscomb right hand technique) with a taste of the new (licks from Booker T. & the MGs).The perennial 'Careless Love' and 'I Shall Not Be Moved' have touches of Mississippi John Hurt while 'Crow Jane' takes its cues from the playing of Big Bill Broonzy and Brownie McGhee. 'Pigmeat Shuffle' combines the bass and licks of Rev. Gary Davis. And of course Lightnin' Hopkins' playing is included with an arrangement combining many of his trademark licks. A detailed tab/music booklet is included as a PDF file on the DVD. Each tune is taught phrase by phrase and played slowly on a split-screen. The Bonus Audio section presents a wide assortment of bluesmen playing the tunes taught in various settings.  Titles include: 'Baby Please Don't Go' 'Pigmeat Shuffle' 'Crow Jane' 'I Shall Not Be Moved' 'Careless Love' 'Hunkie Tunkie Blues' 'Keep It Clean' and 'Texas Lightnin' Blues'. 107 minutes - Level 2/3 - Detailed tab/music PDF file on the DVD.

Jackson Mississippi attracted a host of blues musicians in the period 1910-1940. Many players from small towns made their way to Jackson which as the capital of Mississippi and a much larger city held forth the promise of moreand better work opportunities and the possibility of making a living playing music rather than driving a mule or chopping cotton. The Jackson Blues scene was an unusually rich one stylistically spanning the gap from thesophisticated Pop blues of Bo Carter to the low-down blues of Rube Lacy and a host of players working between those two extremes.Included on this DVD are transcriptions and teaching of recorded performances from TommyJohnson one of the fountainheads of the Mississippi blues Itta Bena natives Rube Lacy and Ishmon Bracey with their distinctive vocal head tones and intense playing the great Geeshie Wiley a woman who played and sang asstrongly as any man Walter Vinson guitarist and lead singer for the Mississippi Sheiks and Bo Carter a player with a rich chordal vocabulary and Jazzy sound. The songs presented offer a wide range of left and right handapproaches and ways of keeping time and will expand your your ability to play blues moving far afield from the simple alternating bass.A detailed tab/music booklet is included as a PDF file on the DVD and contains all ofthe songs' lyrics as well as transcriptions of the Guitar parts. Also included are the original source recordings from which the transcriptions taught in the lesson were taken.Titles include: Tommy Johnson: LonesomeHome Blues Walter Vinson: Overtime Blues Geeshie Wiley: Eagles On A Half Rube Lacy: Ham Hound Crave Ishmon Bracey: Four Day Blues Bo Carter: Honey

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

Next page >> [ 1 ] [16] [31] [46] [61] [76] [91] [106] [121] [136] [151] ... [511] Eff ID instrument descr2 Image Medias Titre descr Auteur descr_uk prix Compo Best image width height url url uk Couverture Extrait Audio/Back cover Jeu date Select Vendeur 1758772 1758772 0 GUITARE METHODES : TECHNIQUES Guitare notes et tablatures Sub instrumentation... Intermédiaire Partition Accès audio Mel Bay Mel Bay 0 0 0

Away Down In The Alley Blues In G Go Back To Your No Good Man Stompin' 'Em Along Slow autres styles : 0 0 Musicroom UK FS UK CD DVD VHS K7 Guitar Of Lonnie Johnson: Guitar: Instrumental Tutor Langue: ID : MB98509M Cotage : MB98509M - Cotage Chercher Video (0) Lonnie Johnson blended blues and jazz styles, performing with blues shouters like Bessie Smith and Texas Alexander on one hand, and Louis Armstrong and Duke Ellington on the other. Now learn essential exercises and tips as they are presented in this compilation of tunes by this legendary musician. As part of Stefan Grossman's Guitar Workshop Audio Series not only does this book contain valuable lessons, but as an added bonus, online audio recording containing three full hours of instruction featuring note-by-note, phrase-by-phrase instruction to make the style and technique of Lonnie Johnson something that anyone can learn. Master instructor Woody Mann teaches you step-by-step to play these selections: Away Down in the Alley, Woke Up This Morning With Blues in My Fingers, Go Back to Your No Good Man, Blues in G, and Stompin' 'Em Along Slow. Written in standard notation and tablature. Includes access to online audio. Extrait : Vide UK Auteurs Int. FR Auteurs FR. 15.99 Lonnie Johnson blended blues and jazz styles, performing with blues shouters like Bessie Smith and Texas Alexander on one hand, and Louis Armstrong and Duke Ellington on the other. Now learn essential exercises and tips as they are presented in this compilation of tunes by this legendary musician. As part of Stefan Grossman's Guitar Workshop Audio Series not only does this book contain valuable lessons, but as an added bonus, online audio recording containing three full hours of instruction featuring note-by-note, phrase-by-phrase instruction to make the style and technique of Lonnie Johnson something that anyone can learn. Master instructor Woody Mann teaches you step-by-step to play these selections: Away Down in the Alley, Woke Up This Morning With Blues in My Fingers, Go Back to Your No Good Man, Blues in G, and Stompin' 'Em Along Slow. Written in standard notation and tablature. Includes access to online audio. Prix MR FR 15.99 0 0 https://img.free-scores.com/IMAGES/vendeurs/Musicroom/img_MB98509M_1_mini.jpg 60 80 https://pdt.tradedoubler.com/click?a(2949881)p(3125)product(85f33a07-58ca-4384-9560-977cf3483e1d)ttid(3)url(https://www.musicroom.com/product/mb98509m/guitar-of-lonnie-johnson.aspx?clid=510) https://pdt.tradedoubler.com/click?a(2949881)p(3125)product(85f33a07-58ca-4384-9560-977cf3483e1d)ttid(3)url(https://www.musicroom.com/product/mb98509m/guitar-of-lonnie-johnson.aspx?clid=510) https://img.free-scores.com/IMAGES/vendeurs/Musicroom/img_MB98509M_1.jpg Voir couverture See cover Vide 0 2016-07-05 00:00:00 0 25 1758713 1758713 0 GUITARE FINGERSTYLE - FINGERPICKING Guitare notes et tablatures Sub instrumentation... Niveau... Partition Accès audio Mel Bay Mel Bay 0 0 0

autres styles : 0 0 Musicroom UK FS UK CD DVD VHS K7 Stefan Grossman: Fingerpicking Guitar in the Dropped D Tuning: Guitar: Langue: ID : MB30731M Cotage : MB30731M - Cotage Chercher Video (0) Fingerpicking Guitar in the Dropped D Tuning. I became aware of the Dropped D tuning in 1960. It literally exploded my playing. Just by lowering the sixth string down a tone ? from E to D, my guitar sounded so much fuller. The tuning seemed to open up the fingerboard whether playing in the Keys of D, G or A. An alternating bass sounded huge and dynamic. Over the last 60 years I, as well as guitar playing friends, have explored playing in Dropped D. From folk and gospel to blues and early jazz to Celtic melodies and O?Carolan compositions to original instrumental compositions. This collection covers a lot of musical terrain. There?s plenty of musical notes, styles, techniques in these pages. Travel slowly and try to absorb the arrangements one by one. The constant throughout is the Dropped D tuning. Includes access to online audio, Extrait : Vide UK Auteurs Int. FR Auteurs FR. 24.99 Fingerpicking Guitar in the Dropped D Tuning. I became aware of the Dropped D tuning in 1960. It literally exploded my playing. Just by lowering the sixth string down a tone ? from E to D, my guitar sounded so much fuller. The tuning seemed to open up the fingerboard whether playing in the Keys of D, G or A. An alternating bass sounded huge and dynamic. Over the last 60 years I, as well as guitar playing friends, have explored playing in Dropped D. From folk and gospel to blues and early jazz to Celtic melodies and O?Carolan compositions to original instrumental compositions. This collection covers a lot of musical terrain. There?s plenty of musical notes, styles, techniques in these pages. Travel slowly and try to absorb the arrangements one by one. The constant throughout is the Dropped D tuning. Includes access to online audio, Prix MR FR 24.99 0 0 https://img.free-scores.com/IMAGES/vendeurs/Musicroom/img_MB30731M_1_mini.jpg 60 80 https://pdt.tradedoubler.com/click?a(2949881)p(3125)product(da90b07f-89ce-4e2e-bf21-728e97f15938)ttid(3)url(https://www.musicroom.com/product/mb30731m/fingerpicking-guitar-in-the-dropped-d-tuning.aspx?clid=510) https://pdt.tradedoubler.com/click?a(2949881)p(3125)product(da90b07f-89ce-4e2e-bf21-728e97f15938)ttid(3)url(https://www.musicroom.com/product/mb30731m/fingerpicking-guitar-in-the-dropped-d-tuning.aspx?clid=510) https://img.free-scores.com/IMAGES/vendeurs/Musicroom/img_MB30731M_1.jpg Voir couverture See cover Vide 0 2016-07-05 00:00:00 0 25 1758712 1758712 0 GUITARE FINGERSTYLE - FINGERPICKING Guitare seul et duo Sub instrumentation... Niveau... Partition Accès audio Mel Bay Mel Bay 0 0 0

autres styles : 12 0 Musicroom UK FS UK CD DVD VHS K7 Stefan Grossman: Folk Blues Fingerstyle Guitar: Guitar: Instrumental Album Langue: ID : MB30950M Cotage : MB30950M - Cotage Chercher Video (0) Folk Blues Fingerstyle Guitar. In Nashville, the studio guitarists joke that all the money is in the first five frets. It is those simple first position chords that make the hits. In this collection we will stay within these boundaries and explore fingerstyle folk, blues, gospel, and ragtime arrangements in the keys of A, C, D, E and G. All you need to know are basic chord fingerings for A, C, D, E, F and G. Tunes include: KEY of C Railroad Bill, Careless Love, I Am A Pilgrim, What A Friend We Have In Jesus, I?ll Fly Away, Troubles, Delia, C. C. Rider, Trouble In Mind KEY of G I?m Troubled, Easy Rider Blues, Try Me One More Time, I?m Wild About My Loving, I Couldn?t Help It, Ragged and Dirty KEY of D Take a Whiff On Me, C. C. Rider, Will The Circle Be Unbroken, Careless Love KEY of E, Oh, Mary Don?t You Weep, Crow Jane, I Shall Not Be Moved, Trouble In Mind, Careless Love, Betty