Matériel : Livre
1833 to the Present Day-First published in 2001 and now updated and expanded History of the American Guitar begins in New York City in the 1830s with the arrival of Christian Martin from Germany to set up the Martin company. From that historic moment the book takes readers on a fascinating and comprehensive visual tour of U.S. guitar history. Over 75 brand names are represented with more than 300 guitars photographed in stunning detail including Bigsby Danelectro D'Angelico D'Aquisto Ditson Dobro Dyer Epiphone Fender Gibson Gretsch James Trussart Kay Maccaferri Martin Micro-Frets Mosrite Oahu Ovation Regal Rickenbacker Stella Stromberg Suhr Taylor Vega Washburn Wilkanowski and many more. The interrelated stories of the Guitar Mandolin and Banjo are mixed seamlessly with the history of the diverse American music that grew and prospered with these instruments from country to blues from jazz to rock. The bulk of the instruments illustrated were part of the celebrated collection of Scott Chinery photographed before Chinery's untimely death and the subsequent break-up of his unique collection. The book presents every important episode in the story of the American luthier's art and is an unparalleled resource for every musician collector and music fan.
SKU: HL.333271
ISBN 9781458405760. UPC: 884088578350. 10.75x11.0x1.067 inches. Edited by Robert Shaw & Peter Szego.
Inventing the American Guitar is the first book to describe the early history of American guitar design in detail. It tells the story of how a European instrument was transformed into one with all of the design and construction features that define the iconic American flat-top guitar. This transformation happened within a mere 20 years, a remarkably brief period. The person who dominates this history is C. F. Martin Sr., America's first major guitar maker and the founder of the Martin Guitar Company, which continues to produce outstanding flat-top guitars today. After emigrating from his native Saxony to New York in 1833, Martin quickly established a guitar making business, producing instruments modeled after those of his mentor, Johann Stauffer of Vienna. By the time he moved his family and business to rural Pennsylvania in 1839, Martin had absorbed and integrated the influence of Spanish guitars he had seen and heard in New York. In Pennsylvania, he evolved further, inventing a uniquely American guitar that was fully developed before the outbreak of the Civil War. Inventing the American Guitar traces Martin's evolution as a craftsman and entrepreneur and explores the influences and experiments that led to his creation of the American guitar that is recognized and played around the world today. To learn more about the history of the Martin guitar, click here to view the video and article from BBC, How Martin Guitars Became an 'American Stratavarius'.
SKU: HL.120772
ISBN 9781480350519. UPC: 884088917463. 9.0x12.0x0.687 inches.
55 song highlights from the history of ASCAP, celebrating their representation of some of the best songwriters of all time. Songs include: Ah! Sweet Mystery of Life * Ain't No Mountain High Enough * As Time Goes By * At Last * Before He Cheats * Bleeding Love * Blue Skies * Defying Gravity * Gonna Make You Sweat (Everybody Dance Now) * I Will Survive * Just the Way You Are * Livin' on a Prayer * Moon River * My Funny Valentine * Over the Rainbow * Raindrops Keep Fallin' on My Head * Single Ladies (Put a Ring on It) * Someone to Watch over Me * Tenderly * The Way We Were * We've Only Just Begun * You Are the Sunshine of My Life * and more. Includes an introduction by ASCAP, a foreword by Paul Williams, song notes by decade, plus photos!
SKU: HL.103138
ISBN 9781476817477. UPC: 884088690595. 12.0x9.0x1.1 inches. Tom Wheeler Foreword by James Burton.
Welcome to The Fender Archives - part history, part archive, part scrapbook, and part treasure chest. You are invited along on a research expedition, a sort of archeological dig through several sites: file folders in Fender's offices; the family archives of Don Randall; author/curator Richard Smith's collections; the photo galleries of John Peden and Fretted Americana; jammed metal cabinets in a sweltering warehouse near the Corona factory; and the home of the late Bob Perine in Cardiff-by-the-Sea, just blocks from the beach where he and Ned Jacoby took now-iconic photos of high school kids, surfboards, palm trees, and chrome-clad rocket-ship guitars in Shoreline Gold and Daphne Blue and Candy Apple Red. The Fender Archives looks at the company from the inside. Handwritten letters, production totals, personal logbooks, in-house memos, Leo Fender's drawing-board sketches, financial reports-such documents are freed here from long confinement in cardboard boxes and filing cabinets, dusted off, and promoted from background to spotlight. The Fender Archives sheds new light on the inspirations for revolutionary instruments and amplifiers, their sometimes difficult births and growing pains, the environment into which they were unleashed upon the world, and the motivations and personalities of key players.
SKU: PR.144407530
ISBN 9781491136614. UPC: 680160687992.
A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bach??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked ??white-hot,? and the music certainly is.My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the ??Preludio? movement from Bach??s E major Partita, and I decided to refer to that music in my own first movement, also titled ??Preludio.? The beginning subtly reflects Bach??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bach??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bach??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked ??White-hot.? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the ??fall-offs? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.
