This deluxe edition of Chet’s Get Started On Guitar presents a DVD containing the original video lesson of the same title along with a more detailed 96-page book with both TAB and standard notation. Chetteaches the basics to his style. Tips on tunings playing and changing chords harmonics rolls playing by ear playing melodies and fingerpicking chords are carefully explained.Songs like On Top Of Old Smoky Yesterday Jambalaya Greensleeves Knucklebusters Yankee Doodle Dixie Take Me Home Country Roads Playing For Scale and New Guitar Blues are taught in detail with both chords and melody. As a bonus Chet showssome of his hottest licks which will even challenge intermediate players.
SKU: MB.31060M
ISBN 9781513468051. 8.75x11.75 inches.
As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. Titles include: Oh, You Beautiful Doll, I’ve Got The Blues, High Society, St. Louis Blues, Davenport Blues, Poor Butterfly, Dixie Jass Band One-Step, Memphis Blues, Big Foot Ham, Grandpa’s Spells, The Original Jelly Roll Blues, Midnight Mama, Milenberg Joys, Fizz Water, Back Home in Indiana, Sweet Georgia Brown, Red Wing (An Indian Intermezzo), There’ll Be Some Changes Made, Way Down Yonder In New Orleans, Charleston, Where The Morning Glories Grow, Limehouse Blues, Susie (of the Islands), I Need Some Pettin’, Weather Bird, Cornet Chop Suey, Kansas City Stomps, King Porter Stomp, Jubilee Stomp, Take It Easy, If I Had You, Moonlight Serenade
SKU: IS.FG7346EM
ISBN 9790365073467.
Jukk a-Pekka Lehto is a contemporary composer and flutist. He started his career in the Finnish marine-band and played afterwards in the Turku Philharmonic Orchestra. Currently he is principal flutist in the Pori Sinfonietta. His compositions are neo-classicist with contemporary influences, many of which have been awarded prizes at international composition competitions. His works include music for wind band, chamber music, choir and various instrumental combinations.
SKU: UT.CH-321
ISBN 9790215326293. 9 x 12 inches.
Dediche< /i> is a series of short miniature pieces for solo guitar written in 1991 by Chiara Benati, an authoritative exponent of what can be called the School of Bologna, and who has devoted many pages of her catalogue to the guitar (Chiara won a first prize in 1986 at the Competition for Guitar Composition organized by the historic magazine Il Fronimo).From the point of view of the guitar idiom, it is striking how the compositional research of Chiara Benati (who does not play the guitar) has penetrated deeply into the nature of the instrument. In my job of adding the fingering to the pieces, I started from the precise indications concerning the strings already provided by the Composer, who meticulously imagined the instrumental result created by the play of resonances and the consequent precise distribution of the parts on different strings (let us think of the tremolos superimposed on different strings in the second Dedica and the counterpoint in three parts each written on its own musical stave), with a skilful use of glissandos and other instrumental effects.From the musical point of view, a similar meticulousness in writing is evident, shown, for example, by indicating the temporal separation between the figures by means of their spatial distance indicated in the score.The result is an instrumentally and musically rigorous writing which also helps the performer by appealing to his ability to empathize, following the indications written in the score and in the key, with the expressive atmosphere of the work, and through that specific aspect of controlled performance flexibility and sound sensitivity necessary to render it properly.These delicate miniatures, suffused with mystery and melancholy, and so masterfully written for the guitar, are in my opinion an important addition to the contemporary repertoire of the instrument. (Piero Bonaguri).
