Of Scott Joplin James Scott and Joseph Lamb-The great ragtime pieces of the early 20th century were written mostly for Piano but many translate superbly for the Guitar and David Laibman will show you how.Here's a mystery: if the great ragtime pieces of the early 20th century were not written for Guitar and if they weren't player on the Guitar at all (until some of us started doing so half a century ago) then why do they work so will on Guitar?Well thumb vs. three fingers on the right hand (we'll leave out thepinky for now) creates that subtle antagonism between steady bass and syncopated melody - the 'twinkle in the eye' of Ragtime. There is a theory that the original borrowing actually went in the other directed from three-finger Banjo to Piano. Who knows? But I'm finding that the 'educated thumb' is only one neat thing about ragtime Guitar. Classic rags are very expressive with moods and tempers hills and valley. You can capture some of this with left-hand notes (slides hammer-ons pull-offs) with right-hand brushes rolls nail strokes with clever use of open strings and natural harmonics. This works. It is it's own story - not an imitation of a Piano or of a dixieland or jazz band. It is simply - ragtime Guitar.In these lessons I have tried for the most part to meet two goals. First to create versions of some of the most beautiful classical rags that 'lay down' well on Guitar so when you play them you are working with the instrument not fighting it. I have tried to pitch and arrange the pieces so that a lot of the action is in first position rather than high up on the neck and to keep left hand gymnastics to a minimum. Second I didn't want these arrangements to sound like 'student' arrangements too elementary to be believable. It is all about striking a balance. I am generally pleased with the result and I hope

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

John Parker's evocative text invites the listener to enter into the Christmas story: finding the star listening for the angel's voice and seeking the way to Bethlehem. Larry Shackley's haunting original melody builds througheach verse. The beautiful reflective ending reprises the three questions of the text: “Do you know the way? Do you hear a voice? Do You See a Star?”

In Expanding Chordal Horizons master guitarist/instructor John Miller returns to the topic of chord theory. Building on the foundation established in his previous set Intro to Chord Theory and Chord Voicing John starts from the assumption that the student has a working familiarity with voicing 7th and 6th chords up and down the neck in a variety of shapes. From there it is a short step to hybrid 7th chords 9th and 6 9 chords 13th chords and chordal inversions all of which are dealt with in disc one of the lesson. In the course of learning how to voice these different chord types you’ll also learn their sounds and how touse them in the context of a song. Along the way John introduces a Bossa Nova picking pattern to expand your ability to provide rhythmic accompaniment.In the PDF study guide that accompanies the lesson you will be provided with templates to create your own chordal diagrams for the new voicings you have been learning and by diagramming the chords yourself you’ll engage with the material and absorb and understand it in a way that never happens when simply taking chords from a chord dictionary or finding them on the Internet. Disc two builds on the lessons taught in disc one and further solidifies your command of the material. The songs that John has chosen as teaching vehicles have been selected for their qualities as teaching pieces as well as their musical appeal.If you are interested in understanding how to get around on the guitar and voice chords up and down the neck Expanding Chordal Horizons will get you well on your way. And the understanding that you build will equip you to problem solve and create your own voicings in the future as you encounter new songs or to utilize your new knowledge in your own songs and compositions. It’s exciting to venture into these new areas!

Pop Trios for All is a versatile, educational, and fun series intended for like or mixed instruments to perform in any size group or combination of instruments. All books are in score format with each line increasing in difficulty from Grade 1 to Grade 3-4. Alternate passages and notation are included to suit instrumental ranges. With no page turns required, the songs and measures are consistent which makes finding rehearsal points quick and convenient. Perfect for concerts with family and friends, recitals, auditions, and festivals. Available for brass, woodwinds, strings, and percussion. / Saxophone Alto

Pop Trios for All is a versatile, educational, and fun series intended for like or mixed instruments to perform in any size group or combination of instruments. All books are in score format with each line increasing in difficulty from Grade 1 to Grade 3-4. Alternate passages and notation are included to suit instrumental ranges. With no page turns required, the songs and measures are consistent which makes finding rehearsal points quick and convenient. Perfect for concerts with family and friends, recitals, auditions, and festivals. - See more at: http://www.fabermusicstore.com/Pop-Trios-For-AllTen-Sax-Rev-30701.aspx#sthash.7y6g79cJ.dpuf / Saxophone Tenor

Alone In Kyoto (Lost In Translation) Bella?s Lullaby (Twilight) Chocolat - Main Titles (Chocolat) Cider House Rules - Main Titles (The Cider House Rules) Cruella De Ville (101 Dalmations) Elevator Song (X Y) Escape! (The Hours) Forrest Gump - Main Titles (Forrest Gump) Gone With The Wind (Main Title) Gran Torino (Title song) The Hanging Tree (Hunger Games: Mockingjay Part 1) Harry?s Wondrous World (Harry Potter And The Sorceror?s Stone) I Wanna Be Like You (Jungle Book) I Will Always Love You (The Bodyguard) In Noctem (Harry Potter And The Half-Blood Prince) Ladies In Lavender Main Theme Let It Go (Frozen) Love Me Like You Do (Fifty Shades Of Grey) Love Theme (Romeo

David Bromberg has toured around the world. He has performed and recorded with some of the biggest stars of the last decades. His guitar playing started with folk music and then migrated to the country blues. From here his musicalinterests traveled to city blues old-time music country music and bluegrass. He is a master of many styles and techniques.In this intimate DVD lesson David presents some of his most popular arrangements. They vary fromthe folk blues Delia to the popular gospel song Just A Closer Walk With Thee to Bob Dylan's It Takes A Lot To Laugh It Takes a Train To Cry to Jerry Jeff Walker's Mr. Bojangles (featuring David's famous guitar solo). Nine greatarrangements that will expand your repertoire as well as guitar playing skills. David teaches fingerpicking and flatpicking techniques. Vibrato single string runs cross-picking the alternating bass counterpoint lines andfinding the groove are all discussed. Each phrase is taught note by note and clearly illustrated on a split screen. A printed tab/music booklet is included as well as being on the DVD as a PDF file.

Playable on any 3 instruments or any number of instruments in ensemble-Pop Trios for All is a versatile educational and fun series intended for like or mixed instruments to perform in any size group or combination of instruments. All books are in score format with each line increasing in difficulty from Grade 1to Grade 3-4. Alternate passages and notation are included to suit instrumental ranges. With no page turns required the songs and measures are consistent which makes finding rehearsal points quick and convenient. Perfect for concerts with family andfriends recitals auditions and festivals. Available for brass woodwinds strings and percussion.Titles are: Old Time Rock and Roll * Sing Sing Sing * Hedwig´s Theme * You Raise Me Up * All I Wanna Do * The Magnificent Seven * This Is It! * Mack the Knife * Can You Read My Mind? * Crazy In Love * The Pink Panther * Star Wars Main Title *I´ll Be There For You * American Idiot * Hips Don`t Lie.

Unchanged changing or changed male singers in middle school and high school may need a little extra help in 'finding' their singing voices. Roger Emerson has developed a series of warm-ups that uses excerpts from classic rock and roll tunes that will provide the motivation and repetition they need to do just that.Each song features limited ranges and the pattern starts in a moderate range and gradually ascends into the tenor range and descends through the bass range as needed.Exercises are based on the following songs: The Addams Family Theme; Theme from 'Jaws'; Jump Jive an' Wail; Land of a Thousand Dances; Mission: Impossible Theme; Na Na HeyHey Kiss Him Goodbye; Shake Rattle and Roll; Smoke on the Water; We Will Rock You. Designed to accompany the Pop Warm-Ups & Work-Outs For Guys book (HL08749926) this CD contains recordings of each exercise complete with vocals so your guys have a model to emulate.

Unchanged changing or changed male singers in middle school and high school may need a little extra help in 'finding' their singing voices. Roger Emerson has developed a series of warm-ups that uses excerpts from classic rock and roll tunes that will provide the motivation and repetition they need to do just that. Each song features limited ranges starting moderately and gradually ascending into the tenor range and descending through the bass range as needed. The professionally-produced CD recording (available separately - HL08750118) presents each exercise with vocals so your guys have a model to emulate. Exercises are based on the followingsongs: The Addams Family Theme; Theme from ?Jaws;? Jump Jive an' Wail; Land of a Thousand Dances; Mission: Impossible Theme; Na Na Hey Hey Kiss Him Goodbye; Shake Rattle and Roll; Smoke on the Water; We Will Rock You.

Uses: Epiphany Christmas concertScripture: Matthew 1:2-18Quintessential Epiphany hymn meets all-star arranger in this carol of seeking and finding. Guided by the star the Magi seek Christ and wisemen still seek him following the light of God's word to the truth and joy of Christmas. Cinematic in its scope Sterling's stylish keyboard writing creatively supports the vocal writing and energizes this standard with a newcontemporary vernacular. Special!

Motivational Insights for Teens-Whether you've just started middle school or are at the end of your high school years figuring out who you are and how you fit in this world is not easy. After spending decades with young musicians in schools churches andcommunities John Jacobson offers unique insights into what it means to be growing up in a 'choir of citizens' who are all 'singing' a different tune. He shares some of his stories and how he took risks in order to pursue hisdreams. There are many paths to pursue in life. Which path will you choose? You are valuable. We need your song! Topics include: Who Is This Guy? It's All About Me Three Little Words Finding Your Song. Available inCD and DVD formats.

A collection of 23 Celtic songs arranged for Guitar with standard notation and Tab. Includes a comprehensive guide to Flatpicking Celtic style Guitar and also a CD of examples.For me playing the Guitar is all about finding pieces of music that you want to play over and over again. I don't know a formula for what makes up a great piece but I know it when I hear it. A good piece of music is not a page with notes hanging in a museum it is music you come back to ten years later and love it just as much as you did when you first heard it. Whether it???s a classic piece by O'Carolan or a traditional piece in the Celtic tradition that is what I believe you will find inthis book. Quite simply these are beautiful arrangements of Celtic Music that you will keep you coming back. So if you love playing the guitar and you are looking for music you will be playing for a lifetime this is the book for you.Allan Alexander