SKU: MB.31103M
ISBN 9781513468792. 8.75x11.75 inches.
Adam Granger self-published the first edition of Grangerâ??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book.
This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles.
There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book.
In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read.
The tunes in Grangerâ??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes.
The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other.
Also included in Grangerâ??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection.
Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.
SKU: MB.30091
ISBN 9781513466378. 8.75 x 11.75 inches.
Appalachian fiddle music, based on the musical traditions of the people who settled in the mountainous regions of the southeastern United States, is widely-known and played throughout North America and parts of Europe because of its complex rhythms, its catchy melodies, and its often-ancient-sounding stylistic qualities. The authors explore the lives and music of 43 of the classic Appalachian fiddlers who were active during the first half of the 20th century. Some of them were recorded commercially in the 1920s, such as Gid Tanner, Fiddlin? John Carson, and Charlie Bowman. Some were recorded by folklorists from the Library of Congress, such as William Stepp, Emmett Lundy, and Marion Reece. Others were recorded informally by family members and visitors, such as John Salyer, Emma Lee Dickerson, and Manco Sneed. All of them played throughout most of their lives and influenced the growth and stylistic elements of fiddle music in their regions. Each fiddler has been given a chapter with a biography, several tune transcriptions, and tune histories. To show the richness of the music, the authors make a special effort to show the musical elements in detail, but also acknowledge that nothing can take the place of listening. Many of the classic recordings used in this book can be found on the web, allowing you to hear and read the music together.
SKU: M7.GRG-106102100
ISBN 9783872523532. German.
Über 50 Rock- & Popsongs fu?r Akustikgitarre - vom kultigen Klassiker bis zum aktuellen Hit Das breite Spektrum des Repertoires vom 3-Akkorde-Stu?ck bis zum anspruchsvollen Chord-Melody-Arrangement ist Motivation fu?r den Anfänger und stellt dem Fortgeschrittenen Songmaterial zur Verfu?gung, mit dem er sich stilistisch und spieltechnisch weiterentwickeln kann. Viele Fotos und Informationen zu den Bands, Teilweise mit Noten & Texten, teilweise nur mit Chord Charts.
SKU: HL.49044308
ISBN 9783795708627. German.
Mikrotonalitat ist eines der faszinierendsten Themen der Musik des 20. und 21. Jahrhunderts. Sie greift ins Innerste der Musik ein, indem sie das zwolftonig temperierte Tonsystem der 'klassischen' Tradition nicht nur erweitert, sondern radikal herausfordert und mogliche Alternativen bietet. Der Band versammelt Beitrage des Internationalen Kongresses Mikrotonalitat - Praxis und Utopie 2011 in Stuttgart. Im Dialog von Musikern, Komponisten, Theoretikern und Wissenschaftlern werden Kern- und Extrempunkte einer Tradition von Mikrotonalitat herausgearbeitet. Dabei zeigen sich 'alte' und 'neue' Musik, zeitgenossische Komposition und historische Auffuhrungspraxis, zuweilen auch aussereuropaische Perspektiven in erstaunlicher Weise vermittelt.
SKU: MB.WBM58M
ISBN 9781736363058. 8.75x11.75 inches.
A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.
SKU: HL.49023853
ISBN 9783795756796. German.
This is a recorder method with style. Recorder playing made easy. The recorder tutor 'Play the recorder with us' provides children with up-to -date songs that can be learned through playing, including varying levels of difficulty. Individual note values and key signatures are introduced with modern melodies. Many of the pieces are also provided with chord symbols and fingering charts for guitar accompaniment. This makes them eminently suitable for small ensembles. This selection of easy to play well-known songs has proved itself 100,000 times over. The collection of songs contains more than 80 of the finest folksongs, children's songs, traditional songs and pop songs with words for singing and chords for guitar accompaniment.
SKU: BT.MUSAM996996
ISBN 9781849380140. English.
The Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.Now these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!Over 180 great songs! Perfect for all players and singers!The bonus CD contains backing tracks to 16 of the songs in the book.
SKU: YM.GTP01100303
ISBN 9784636102109. 8.5 x 12 inches.
Well-known Japanese songs are arranged in easy Jazz. Even if you are not good at improvisation, you can enjoy improvisation-like arrangements along with the score. Enjoy the fusion of Japanese melodies and Jazz!
SKU: HL.44002594
UPC: 073999330663. English-German-French-Dutch.
This book contains a diverse selection of 16 well-known melodies. The CD contains a complete version of each tune together with the play-along accompaniment. For concert performances a book of piano accompaniments is also available. Dit boek biedt een afwisselende, interessante mix van zestien bekende melodieen. Op de meespeel-cd staat van elk stuk zowel een complete versie als een begeleidingsversie. De pianobegeleiding is ook als aparte uitgave verkrijgbaar. Eine abwechslungsreiche, interessante Mischung aus sechzehn weltbekannten Melodien. Auf der CD ist sowohl jedes Stuck komplett mit verschiedenen Instrumenten eingespielt als auch nur die Begleitung zum Mitspielen. Die Klavierbegleitung ist auch separat als Notenausgabe erhaltlich. World Famous Melodies contient seize melodies celebres, extraites du repertoire de la musique classique legere et de la musique traditionnelle. Sur le CD inclus, vous trouverez les accompagnements de piano ainsi qu'une version de demonstration de chaque piece. La version papier des accompagnements de piano est vendue separement. World Famous Melodies contiene sedici melodie celebri, estratte dal repertorio della musica classica leggera e della musica tradizionale. Il CD incluso propone la registrazione dell'accompagnamento al pianoforte come anche una versione dimostrativa di ogni brano. Per gli strumentisti desiderosi di eseguire i brani con un pianista invece che con l'accompagnamento musicale su CD, un libro con l'accompagnamento al pianoforte e disponibile separatamente.
SKU: YM.GTP01100465
ISBN 9784636103168. 8.5 x 12 inches.
15 arrangements of best traditional Japanese songs for piano solo. The series does not limit itself to the scale or key of the original pieces; it is arranged withthe concept of sounding gorgeous and beautiful, appealing to the listeners, and keepingthe fingeringeasier to play for performers. The arrangement focuses on arpeggios toenjoy the rich sound of the piano. Perfect for public performances as well! If you have awish like Let's play the songsthat everyone knows in a cool and stylish way!, this is it!
SKU: BT.BOE8013
ISBN 9783954562848. German.
Nach dem großen Erfolg der Serie piano gefällt mir! präsentiert Hans-Günter Heumann unter dem Motto Die leichte Art Klavier zu spielen“, den Nachfolger zur gleichnamigen Serie mit neuem Outfit. Das große Anliegen des Autors ist es, mit einfachen, aber dennoch gut klingenden Arrangements, die Spielstücke sehr leicht zugänglich zu machen. Der 1. Spielband von piano gefällt mir! light enthält 20 Chart- und Film-Hits und bietet ein unkompliziertes Spielvergnügen für Anfänger*innen und Wiedereinsteiger* innen. Die Titelliste umfasst eine große Auswahl an populären Charthits, wie Wellerman, My Head & My Heart (Ava Max), Good 4 U (Olivia Rodrigo), Girls Like Us (Zoe Wees), The Winner Takes It All (ABBA). Dazu kommen bekannte Filmmusiken, u.a. Raiders March aus Indiana Jones“ sowie Theme from Jurassic Park aus Jurassic Park“. Alle Songs sind pädagogisch aufbereitet und mit Tempoangaben, Fingersätzen, Akkordsymbolen und dem Text versehen.
SKU: BT.DHP-1115037-140
9x12 inches. English-German-French-Dutch.
Satoshi Yagisawa is well known for his dramatic symphonic band compositions. Even though he has written relatively few marches, they are also very popular: March Willing and Able is based on a chorale while March Bou Shu is based on a Japanese folk song. The Memory of Our Native Place is a rather unusual piece for Yagisawa, as it actually closely resembles a traditional march. The piece opens with a lively fanfare and is contrasted by the following theme. The trio features a chorale-like melody.Satoshi Yagisawa is vooral bekend van zijn dramatische orkestwerken. Marsen schreef hij nog maar weinig. Die paar die hij schreef, zijn inmiddels allemaal wel erg geliefd en populair; March Willing and Able is gebaseerd op koraalmuziek en in March Bou Shu is een Japanse volksmelodie verwerkt. Deze nieuwe mars, The Memory of Our Native Place, begint met een stralende fanfare. Daarna klinkt een innig thema. In het triodeel komt een koraalachtige melodie naar voren. Kortom: hieraan houdt uw publiek zeker een mooie herinnering!Satoshi Yagisawa ist bekannt für seine dramatischen Blasorchesterwerke - Märsche hat er bisher nur sehr wenige, dafür aber sehr beliebte geschrieben. Zwei davon sind March Willing and Able und March Bou Shu - der eine auf choraler Musik, der andere auf einem japanischen Volkslied basierend. The Memory of Our Native Place beginnt mit einer strahlenden Fanfare, bevor ein inniges Thema erklingt. Im Trio tritt eine choralartige Melodie hervor.The Memory of our Native Place n’est pas une marche conventionnelle, mais contient néanmoins quelques éléments standard. Elle s’ouvre avec une fanfare brillante, suivie par un thème pétillant de fraîcheur marqué par une joyeuse alternance de réponses entre bois, cuivres et cuivres graves. La mélodie chantante du trio mène fi nale haut en couleurs faisant de The Memory of our Native Place une incontournable marche de concert. Satoshi Yagisawa ha composto oltre cento brani per fi ati, ma solamente quattro marce, tra le quali ricordiamo le acclamate March Willing and Able e March Bou Shu, la prima basata su musica corale, la seconda su una canzone folk giapponese. Con The Memory of our Native Place, Yagisawa si allontana dal suo stile poco convenzionale, componendo una marcia che si avvicina agli schemi standard. L’inizio vede protagonista una fanfara brillante, seguita da un tema più intimo. Il trio espone una melodia simile a un corale.
SKU: BT.DHP-1115037-010
SKU: HL.44012861
The Ukrainian Bell Carol is part of a large choral work entitled Shchedryk by the Ukrainian composer Mykola Dmytrovich Leontovych (1877-1921). The tune is an adaptation of an old 'shchedrivka', a song traditionally sung on Ukrainian New Year's Eve (January 13th) which hopes for good fortune in the year to come. The tune has since been the inspiration for at least four different Christmas carols, of which Carol of the Bells is the most famous. Philip Sparke has sourced the original Ukrainian melody to create this stirring arrangement.
The Ukrainian Bell Carol is part of a large choral work entitled Shchedryk by the Ukrainian composer Mykola Dmytrovich Leontovych (1877-1921).
The tune is an adaptation of an old 'shchedrivka', a song traditionally sung on Ukrainian New Year's Eve (January 13th) which hopes for good fortune in the year to come. The tune has since been the inspiration for at least four different Christmas carols, of which Carol of the Bells is the most famous. Philip Sparke has sourced the original Ukrainian melody to create this stirring arrangement.
SKU: BT.AMP-481-010
English-German-French-Dutch.
Guardians of the Waves was commissioned by the Japan Coast Guard Band to celebrate their 30th anniversary in 2018. They gave the premiere as part of a 30th anniversary concert on November 8th that year. Set in traditionalmarch form, Guardians of the Waves opens with a short introduction, which leads to the main theme, played initially by the brass and then repeated with a florid woodwind descant. The theme is extended and morphs into asecond theme, first played tutti and then quietly repeated by bassoon, tenor sax and euphonium. This leads to a conventional ‘bass strain’, played twice with varying accompaniments. A quieter trio section follows, delicatelyscored and featuring the tenor instruments of the band. Taken up by the full band, this leads back to a recall of the introduction and a return to the main two themes, which lead to a triumphal close.Guardians of the Waves werd geschreven in opdracht van de Japan Coast Guard Band ter gelegenheid van het dertigjarig bestaan van dit orkest, in 2018. De première vond plaats tijdens het jubileumconcert op 8 november van datjaar. Het werk, dat is gecomponeerd in een traditionele marsvorm, begint met een korte introductie die het hoofdthema inleidt, dat aanvankelijk wordt gespeeld door het koper en dan wordt herhaald met een weelderige discant in hethout. Het thema wordt voortgezet en gaat over in een tweede thema, eerst tutti gespeeld en rustig herhaald door fagot, tenorsax en eufonium. Dit thema voert ons mee naar een conventionele baslijn, die twee keer wordt gespeeld metvariërende begeleiding. Daarna volgt een kalmer triogedeelte, dat delicaat is getoonzet en waarin de tenorinstrumenten van het orkest ruimschoots aan bod komen. Het wordt dan overgenomen door het complete orkest en brengt onsterug naar de inleiding en de twee hoofdthema’s, uitmondend in een triomfantelijk slot.Guardians of the Waves wurde von der Japan Coast Guard Band anlässlich ihres 30-jährigen Bestehens im Jahr 2018 in Auftrag gegeben. Die Uraufführung fand am 8. November 2018 im Rahmen eines Jubiläumskonzertes statt.Guardians of the Waves wurde als traditioneller Marsch komponiert und beginnt mit einer kurzen Einleitung, die zum Hauptthema führt. Dieses wird zunächst von den Blechbläsern gespielt und dann von den Oberstimmen in denHolzbläsern mit Verzierungen wiederholt. Das Thema wird erweitert und geht in ein zweites Thema über, das zunächst vom Tutti gespielt und dann von Fagott, Tenorsaxophon und Euphonium leise wiederholt wird. Anschließend erklingteine traditionelle Melodie in den Bassinstrumenten, die mit unterschiedlicher Begleitung zweimal gespielt wird. Es folgt ein ruhigeres Trio, das zart besetzt ist und die Tenorinstrumente des Blasorchesters hervorhebt. Dies wirdschließlich vom gesamten Blasorchester aufgegriffen und führt zu einer Wiederholung der Einleitung und einer Rückkehr zu den beiden Hauptthemen, die in einen triumphalen Schluss überleiten.Guardians of the Waves est une commande de l’Harmonie de la Gendarmerie maritime du Japon pour marquer son 30e anniversaire, en 2018. L’orchestre a créé l’œuvre dans le cadre d’un concert d’anniversaire le 8 novembre decette même année. Écrite en forme de marche traditionnelle, Guardians of the Waves s’ouvre avec une courte introduction qui mène au thème principal, interprété d’abord par les cuivres puis repris avec un déchant fleuri parles bois. Le thème est prolongé et se morphe en un second thème, d’abord en tutti, puis répété doucement par les bassons, saxophones ténor et euphoniums. Ce passage mène une mélodie conventionnelle dans les graves, jouée deuxfois avec divers accompagnements. Vient ensuite un trio plus calme, orchestré avec délicatesse et mettant en avant les instruments ténor. Repris par l’orchestre entier, ce passage est suivi d’un rappel de l’introduction avant unretour aux deux thèmes principaux, qui mènent une conclusion triomphale.
SKU: BT.AMP-481-140
SKU: HL.49006584
ISBN 9790001071338.
Eine ganze Gemeinde die Geburt Christi feiern zu lassen und dabei die unterschiedlichen Fahigkeiten musikalischer und gestalterischer Art von Kindern, Jugendlichen und Erwachsenen zusammenzufassen und zur Geltung zu bringen, wurde dieses Stuck geschrieben und in den Jahren von 1946 bis 1954 jeweils am Heiligen Abend in der Kirche zu Ottowind bei Coburg aufgefuhrt. Die von Kindern getragene Spielhandlung, die eigentlich nur darin besteht, ein lebendes Krippenspiel aufzubauen, greift die Tradition der Christgeburtsspiele auf; die Besucher werden einbezogen durch den gemeinsamen Gesang von Weihnachtschoralen; die liturgische Bindung ist durch Schriftlesungen und Vertonungen von Bibeltexten gewahrt. [] Die vorliegende Ausgabe ist zugleich auch als ein weihnachtliches Sing- und Spielbuch gedacht, das im hauslichen Kreise ebenso wie in Schule oder Verein gute Dienste leisten wird.' (Franz Mockl) Fur Kinder ab 6 Jahren geeignet; der gemischte Chor und die Solo-Partien konnen mit Jugendlichen besetzt werden.
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: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: HL.49033370
ISBN 9783795750862. 9.0x12.0x0.311 inches. German - English. Wolff Letsch.
Finding songs for the diatonic Richter harmonica (blues harp) is not easy. Many songs can only be played in the upper octave; otherwise advanced techniques like bending have to be applied.Perry Letsch has looked through hundreds of German songs and examined them for their suitability. The results are songs suitable both for the beginner and the advanced player. Some songs have been provided with their own solos. Apart from popular folk songs the edition includes standards such as Abilene, Blue Bossa or Dona, Dona.Play-along CD with all titles included.
SKU: MB.30926
ISBN 9781513465890. 8.75 x 11.75 inches.
Lively Ukulele Tunes is a collection of 38 lively, up-tempo tunes arranged for ukulele solo. The collection includes fiddle tunes, reels, hornpipes, jigs, sea chanteys, bluegrass, old-time melodies and some original compositions?an ideal collection for adding to repertoire, improving picking technique or just having fun playing the uke. Backup chords and tablature are included.
