SKU: MB.99126M
ISBN 9781513465791. 8.75x11.75 inches.
Provides the intermediate clawhammer 5-string banjo player with a fresh repertoire of 21 traditional and 5 original tunes as played by the author with the Boiled Buzzards Old Time String Band. The book briefly addresses clawhammer basics with a few pages of exercises and scales before presenting the tunes. The banjo tunings in this book are: double C tuning gCGCD , modified double C tuning eCGCD , G tuning GDGBD , A tuning aEAC#E , D tuning aDADE , and Double-D tuning drop 5th f#DADE . Written in banjo tablature only with suggested backup chords. Voted one of the top 10 clawhammer banjo players by Banjo Newsletter readers, Levenson advises the reader that the tablature in this book is to be used only as a guide and to play the tune as you hear it, not slavishly as written. This approach allows the reader to play within his/her style and level of ability. Includes access to online audio.
SKU: CL.034-0315-01
SKU: UT.CH-122
ISBN 9790215318410. 9 x 12 inches.
'Per Piero' and 'Per Maurizio' are among the most recent pieces written for solo guitar by Gilberto Cappelli.The first piece, written in 2006, represents a surprise present for my fiftieth birthday: it was written after a request of a pupil of mine, Alessandra Lucchi, who performed it as a premiere during my birthday party.The second piece (2009) expresses the composer’s participation for the pain caused by the sudden death of Maurizio Biasini, scientist and guitarist who completed his musical studies at Cesena Conservatory where Gilberto Cappelli was in the Board of Examiners. The piece was premiered at a concert in memory of Maurizio held in the Bonci Theatre in Cesena.The use of a particular tremolo effect is a typical characteristic of all the guitar works of this composer; a tremolo which is very different from the traditional one. The performer is asked to produce – as much as possible – a long and continuous sound, as if it were a voice or the long sound of string or wind instruments. The tremolo will have to be very dense and homogeneous. In the case of a tremolo on two or three strings it is necessary to start playing two or three sounds simultaneously only once and then continuing alternating them – but always tending to achieve a homogeneity of sound. (Piero Bonaguri).
