Three Dimensions for Solo Guitar

Classic guitarist Andrew York of the renowned Los Angeles Guitar Quartet displays his extra- ordinary compositional skills in these three reflective solo guitar pieces entitled Wish; Into Dark; and Higher Ground. Written instandard notation only.

Mel Bay presents the much-anticipated second book in the highly acclaimed series that showcases personal insights into the life andMel Bay presents the much-anticipated second book in the highly acclaimed series that showcases personal insights into the life and music of Mr. Guitar. Chet Atkins was a man of many layers: producer, record executive, friend and one of the greatest all-round guitarist in music history. This book is dedicated to the musicians and songwriters that meant so much to him. Interviews include: Dolly Parton, Steve Wariner, John D. Loudermilk, Mark Knopfler, Paul Yandell, Jerry Byrd, Janis Ian, Boots Randolph, Wayne Carson and many more of Chet's closest friends. As in Volume 1, Chet Atkins in Three Dimensions, Volume 2 provides definitive transcriptions (many for the first time) of 26 of Chet's greatest solos and duets. Rare photographs, loving tributes and great music are the heart of this wonderful volume, a must for all fans of the guitar.Gallopin' on the Guitar - Liza - Muskrat Ramble - Frankie and Johnny - Mister Sandman - Smile - Sweet Georgia Brown - The Early Dawn - The Entertainer - Stump Water - Dark Eyes - Winter Walkin' - Embraceable You - the tour de force piece- Jerry Reed's - Lightning Rod (a work recorded by Jerry Reed and produced by Chet Atkins) - ...and more music of Mr. Guitar. Chet Atkins was a man of many layers: producer, record executive, friend and one of the greatest all-round guitarist in music history. This book is dedicated to the musicians and songwriters that meant so much to him. Interviews include: Dolly Parton, Steve Wariner, John D. Loudermilk, Mark Knopfler, Paul Yandell, Jerry Byrd, Janis Ian, Boots Randolph, Wayne Carson and many more of Chet's closest friends. As in Volume 1, Chet Atkins in Three Dimensions, Volume 2 provides definitive transcriptions (many for the first time) of 26 of Chet's greatest solos and duets such as - Gallopin' on the Guitar - Liza - Muskrat Ramble - Frankie and Johnny - Mister Sandman - Smile - Sweet Georgia Brown - The Early Dawn - The Entertainer - Stump Water - Dark Eyes - Winter Walkin' - Embraceable You - the tour de force piece- Jerry Reed's - Lightning Rod - (a work recorded by Jerry Reed and produced by Chet Atkins) and many other great pieces . Rare photographs, loving tributes and great music are the heart of this wonderful volume, a must for all fans of the guitar.

Mel Bay presents the much-anticipated second book in the highly acclaimed series that showcases personal insights into the life and music of ?Mr. Guitar.? Chet Atkins was a man of many layers: producer record executive friendand one of the greatest all-round guitarist in music history. This book is dedicated to the musicians and songwriters that meant so much to him. Interviews include: Dolly Parton Steve Wariner John D. Loudermilk Mark Knopfler Paul Yandell Jerry Byrd Janis Ian Boots Randolph Wayne Carson and many more of Chet?s closest friends. As in Volume 1 Chet Atkins in Three Dimensions Volume 2 provides definitive transcriptions (many for the first time) of26 of Chet?s greatest solos and duets such as ?Gallopin? on the Guitar ? ?Liza ? ?Muskrat Ramble ? ?Frankie and Johnny ? ?Mister Sandman ? ?Smile ? ?Sweet Georgia Brown ? ?The Early Dawn ? ?The Entertainer ? ?Stump Water ? ?DarkEyes ? ?Winter Walkin? ? ?Embraceable You ? the tour de force piece- Jerry Reed?s ?Lightning Rod? (a work recorded by Jerry Reed and produced by Chet Atkins) and many other great pieces . Rare photographs loving tributes andgreat music are the heart of this wonderful volume-a must for all fans of the guitar.

Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject