William Bay: Fun With The String Bass: Double Bass: Instrumental Album

I have always loved the book of Psalms. The range of human emotions conveyed in that book is so real. Joy, sorrow, fear, hope, worry, confidence, anxiety, assurance and much more spring out of those wonderful verses. Yet underneath all of that is a bedrock faith that the cries of exhilaration and anguish will be heard and answered. In this collection I selected 13 verses from Psalms. On each I set a melodic line to the verse and then composed 9 variations on that line. Many of the arrangements were written and recorded on a 7 string guitar; however, every piece may be played quite successfully on a 6 string guitar. Where a low A or B appears in the notation, I have written a substitute note in the tablature which will work on a 6 string guitar. These solos may be played in concert, recital or in worship celebrations. I hope you enjoy them as they are very meaningful to me. Includes access to online audio.

The solos in this collection present a myriad of moods on the guitar. They were written to be very expressive contemplative pieces which could be performed in a variety of secular and sacred settings. Most of them are fromthree solo collections previously released entitled 'Guitar Meditations' (MB22029) 'Guitar Airs and Ballads' (MB22039) and 'Timeless Solos for Guitar' (MB22041). Some of the pieces were scored for 7-string guitar; however theycan also be performed on 6-string guitar?indicated are the alternate 6-string pedal tones in the tablature part. Many of the solos use a 'cross-picking' technique alternating higher position closed strings and open strings resulting in a ?harp-like? effect. The included tablature parts allow for a clear presentation of this effect and clarify where on the fingerboard these passages should be played. A number of the pieces are in Dropped D tuning highlighting the rich resonance that tuning gives the instrument. All of these solos may be performed by the classical or fingerstyle guitarist or as originally performed with a pick. Explore the diverse moods presented in thiscollection and make full use of the many avenues of expression offered in these pieces! A companion dual CD is available with all 25 solos included.

The solos in this collection present a myriad of moods on the guitar. They were written to be very expressive contemplative pieces which could be performed in a variety of secular and sacred settings. Most of them are fromthree solo collections previously released entitled 'Guitar Meditations' (MB22029) 'Guitar Airs and Ballads' (MB22039) and 'Timeless Solos for Guitar' (MB22041). Some of the pieces were scored for 7-string guitar; however theycan also be performed on 6-string guitar?indicated are the alternate 6-string pedal tones in the tablature part. Many of the solos use a 'cross-picking' technique alternating higher position closed strings and open strings resulting in a ?harp-like? effect. The included tablature parts allow for a clear presentation of this effect and clarify where on the fingerboard these passages should be played. A number of the pieces are in Dropped D tuning highlighting the rich resonance that tuning gives the instrument. All of these solos may be performed by the classical or fingerstyle guitarist or as originally performed with a pick. Explore the diverse moods presented in thiscollection and make full use of the many avenues of expression offered in these pieces! A companion dual CD is available with all 25 solos included.

This approach really works. It holds my student's interest. These are typical comments on the effectiveness of William Bay's Guitar Class Method. As no other instrument lends itself to so many moods and styles of music (blues folk rock country classical flamenco jazz etc.) playing the guitar as a popular mode of expression and the instrument itself have become an integral part of American life. The Guitar Class Method was written with the hopeit would expand the range of people of all ages who would be exposed to the guitar through a meaningful authoritative method that is easy to follow. Volume 1 of this method for individual or group study offers an overview ofthe various styles of guitars and playing techniques with advice on purchasing and caring for the instrument selecting guitar strings and playing positions. Includes special sections devoted specifically to chord strumming blues structure and style fingerstyle technique note reading and music theory. The individual sections can be used simultaneously in any order to take the class in any direction it wants. Written in standard notation andtablature with chords presented in both diagram and photo format. Lyrics are included for many songs and a few melodies are presented as duet arrangements.

Par BAY WILLIAM. Un texte pédagogique idéal pour tout banjoist vouloir accompagner chanter. Chaque chanson contient un modèle de strum différents. / Niveau : Débutant / Folk - Methods / Méthode / Banjo à 5 Cordes et Plectre

Timeless Solos is a play on words. The solos in this volume contain no time signatures or bar lines. I did this because I wanted the solos to be very expressive in interpretation yet 'free-form' in structure. The companionrecording presents my interpretation of these works. You may interpret them differently and that is fine! All solos are in notation and tablature. When writing these solos I first envisioned the form as an extended 'cadenza'.However from my earlier trumpet playing days I recalled that especially in the 19th century a cadenza was a momentary break in a solo which gave the performer a chance to dazzle the audience with his or her virtuosity. Thesesolos are not about that. Rather they are a vehicle to give the guitarist an opportunity to move the listener with the performer's expressive ability. I also thought of these solos in the form of a 'chant'. However most chantsare monophonic in form and these solos in various parts present a fairly lush harmonic structure. While the solos were written for a 7 string guitar they may be played successfully on a 6 string guitar. Alternate notes for thosefound on the 7th string are shown in the tablature part. Also the solo Peace is written in Dropped D tuning and makes little use of the 7th string pedal tones. The solos are contemplative in nature and provide ample opportunityfor individual expression and interpretation. I hope you enjoy playing and performing these works.

Achieving Guitar Artistry - Concert Solos is a collection of 56 solos reflecting a wide array of colors textures and moods. These were originally written for plectrum or flatpick guitar but may be played bythe classical or fingerstyle guitarist. The solos range in difficulty from intermediate to advanced and will work wonderfully in recital or concert settings. Many of the solos encourage creativity with tone expression andphrasing. Others are up-tempo and utilize Latin jazz bluegrass and Celtic rhythms. An ample amount of fingering and string markings are presented on each solo. This is the third book in the Mel Bay 'Achieving GuitarArtistry' series. It follows 'Linear Guitar Etudes' and 'Triads'. The goal of this series is to present material able to develop the serious guitar student into a very accomplished player.

A collection of 47 big-note easy level-one solos on folk favorites designed to build technique range and endurance while maintaining student interest. Fun to play and serves ideally as a supplement to any method. All of thesolos in this text may be played together in ensemble with the 'Fun with Violin ' Fun with Cello ' and 'Fun with String Bass' books.