CHITARRA LAMPO

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WHAT'S NEW

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5302 BEST OF ROCK KEYBOARD. SIGNATURE LICKS. LOWRY CD

Euro 21,00

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BEST OF ROCK KEYBOARD. SIGNATURE LICKS. Lowry. CD

A Step-by-Step Breakdown of Famous Rock Keyboard Styles and Techniques
Series: Signature Licks Keyboard
Medium: Softcover with CD
Author: Todd Lowry

Explore the classic riffs and solos of rock's greatest keyboardists with this informative book/CD pack. Includes detailed instruction, transcriptions, and a CD with demos. 12 songs are analyzed: Bloody Well Right (Supertramp) - Cold as Ice (Foreigner) - Don't Do Me Like That (Tom Petty & The Heartbreakers) - Don't Let the Sun Go Down on Me (Elton John) - I'd Do Anything for Love (Meat Loaf) - Killer Queen (Queen) - Lady Madonna (The Beatles) - Light My Fire (The Doors) - Piano Man (Billy Joel) - Point of No Return (Kansas) - Separate Ways (Journey) - Werewolves of London (Warren Zevon).

Bloody Well Right
Cold As Ice
Don't Do Me Like That
Don't Let The Sun Go Down On Me
I'd Do Anything For Love (But I Won't Do That)
Killer Queen
Lady Madonna
Light My Fire
Piano Man
Point Of Know Return
Separate Ways (Worlds Apart)
Werewolves Of London

64 pages

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5357 BEBOP JAZZ PIANO. J. Valerio. CD

Euro 18,50

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BEBOP JAZZ PIANO. J. Valerio. CD

Hal Leonard Keyboard Style Series
Series: keyboard instruction
Medium: Softcover with CD
Author: John Valerio

In this book in the Hal Leonard Keyboard Style Series, author John Valerio provides essential, detailed information for bebop and jazz pianists on the following topics: chords and voicings, harmony and chord progressions, scales and tonality, common melodic figures and patterns, comping, characteristic tunes, the styles of Bud Powell and Thelonious Monk, and much more. The accompanying CD features many of the examples in the book performed either solo or with a full band. Also included are combo performances of five of the tunes featured at the end of the book. 48 pages.

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5369 SMOOTH JAZZ PIANO. CD

Euro 18,99

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SMOOTH JAZZ PIANO. CD

Keyboard Style Series
Series: keyboard instruction
Medium: Softcover with CD
Author: Mark Harrison
Artist: Various

This comprehensive book and CD package will teach you the basic skills you need to play smooth jazz piano. From comping to soloing, you'll learn the theory, the tools, and the tricks used by the pros. The accompanying CD features many of the examples in the book performed either solo or with a full band. Specifically, you'll learn: scales and chords, harmony and voicings, progressions and comping, rhythmic concepts, melodies and soloing, characteristic stylings, the history of jazz, and more. THE HAL LEONARD KEYBOARD STYLE SERIES provides focused lessons that contain valuable how-to insight, essential playing tips, and beneficial information for all players. Comprehensive treatment is given to each subject, complete with a companion CD. 80 pages

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5210 VIVALDI, CLASSICAL GUITAR MUSIC OF. TABLATURE

Euro 12,00

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VIVALDI, CLASSICAL GUITAR MUSIC OF. TABLATURE

CONCERT MASTERWORKS

Classical Guitar Music of Vivaldi
Series: Creative Concepts Publishing
Publisher: Creative Concepts TAB
Artist: Antonio Vivaldi
Arranger: Joseph Harris

Features 31 pieces by Antonio Vivaldi arranged for solo guitar with tablature. Includes historical notes, performance suggestions, explanation of ornaments, and more.

Inventory #HL 00315187
ISBN: 9781569221945
UPC: 073999158755
Publisher Code: 074090
Width: 9.0"
Length: 12.0"
80 pages

About Classical Guitar Music Of Vivaldi - Guitar Solo
By Antonio Vivaldi (1678-1741), arranged by Joseph Harris. Guitar tablature songbook for guitar. 80 pages.
With standard guitar notation, guitar tablature, introductory text and instructional text. Baroque. 9x12 inches.

Features 31 pieces by Antonio Vivaldi arranged for solo guitar with tablature. Includes historical notes, performance suggestions, explanation of ornaments, and more.

For many years remembered only for his contribution of hundreds of violin concertos, Antonio Vivaldi is regarded today as a key musical figure of the Italian Baroque. Although his most visible and enduring influence was indeed in the development of the solo concerto, Vivaldi was also admired in his day as a composer of excellent chamber music, a stunning violinist and a popular composer of Italian opera. This composer of "The Four Seasons" was a bold and impetuous individual who managed to focus his musical impulses in a unique voice that was consistent yet expressive. Vivaldi was born in Venice in 1678 and trained for the priesthood, but ended up practicing this vocation for only a brief time. Vivaldi served for nearly forty years (from 1703 until just before his death in 1741) as musical director of the Conservatorio dell'Ospedale della Pieta, one of four girls' orphanages in Venice. The Ospedale provided outstanding musical instruction and under Vivaldi's direction created quite a musical sensation. Vivaldi's tasks at the Ospedale included teaching private lessons, composing music for both concerts and church services, repairing musical instruments and commissioning works from other composers for concerts at the Ospedale. Vivaldi was extremely prolific, composing over 50 operas, 90 sonatas and 450 concertos. Despite the apparent ease with which he could produce a composition (he once boasted he could compose a piece faster than it could be copied), Vivaldi is criticized sometimes for being too predictable. The twentieth century Italian composer Luigi Dallapiccola once asserted that Vivaldi did not compose 450 separate concertos, but wrote the same concerto 450 times. Whereas during the Baroque many musicians believed that the particular intent of a composition (church, chamber or theatre) should dictate its musical language, Vivaldi's style varied little between genres and even between mediums. His vocal music and instrumental music share similar musical characteristics, as do his sacred and secular works. Furthermore, Vivaldi's compositional style remained remarkably consistent throughout his career and evolved very little. The only major variances one finds are in surface details, such as melodic contour, which tended to reflect public tastes. However, it is a tribute to Vivaldi's skill as a composer that within such a limited musical vocabulary he exhibited a virtually inexhaustible variety of invention.

Sonatas for Violin, Op. 2
The 12 Sonatas for Violin, Op. 2 were Vivaldi's first solo sonatas. The Sonatas were published in Italy in 1709 and dedicated to Frederick IV of Denmark on the occasion of his visit to Venice. For the Sonatas, Vivaldi drew upon models of Arcangelo Corelli, a conservative Italian composer whose works are tidily constructed, yet highly expressive. Vivaldi's Sonatas are a composite of church and chamber styles, demonstrating his tendency to blur boundaries between genres. In the Sonatas, dance movements intermingle with abstract movements (those with only tempo designations). Baroque dances of the Italian variety differ considerably from their French or German equivalents. The slight differences in the names of dances (for example, compare the Italian giga to the French gigue) do not signify nationality only, but salient musical traits. Whereas the French gigue is a lively, bouncy dance in an imitative texture, the Italian giga has a more restrained sense of pulse, a less rhythmically active bass line and little or no imitation between voices. The Italian gavotta lacks the characteristic two upbeats and musette-like middle section of the French gavotte. The Italian corrente is faster and more "running" in character than the French courante. Also, the French courante may emphasize dotted rhythms and an alternation between duple and triple meter, while the corrente is more rhythmically consistent and metrically stable.

Sonata No.3
In the Adagio (found on page 7), the bass line should be played with a warm tone, especially in areas where it is exposed (as in the opening and in measure 9). To achieve a warm tone on the guitar, play with the right hand close to the fretboard and strike the string with the side of the thumb, using as much flesh as possible. The Giga (found on page 8) should be played dynamically strong throughout and in a lightning fast tempo.

Sonata No.6
The Preludio (found on page 12) should sound very elegant and graceful. Exaggerate the dotted rhythms by playing the long notes longer and the short notes shorter. The Giga (found on page 16) should be played in a moderately fast tempo. Count two beats per measure, not four, to give the piece a stronger and more stable sense of forward motion

Sonata No.7
The tempo of the Corrente (found on page 19) should be very fast. However, in areas where the bass line becomes more active (especially in mm. 17-21), make sure that neither voice breaks down.

Sonata No.9
The Preludio (found on page 23) is an energetic and dramatic piece. The movement contains elements of a "learned" style, which show off a composer's contrapuntal skills. Be sure to emphasize the points of imitation (as in the first few measures).

Sonata No. 11
The abundance of syncopated rhythms presents an interesting technical problem for the solo performer in the Gavotta (found on page 28). In order toconvey the meter clearly, keep the tempo steady and count two beats per measure. Hold on to notes with the left hand for as long as possible before fingering new notes.

Sonatas for One or Two Violins, Ope 5
The Six Sonatas, Op. 5 were first published in 1716. By this time, Vivaldi had chosen a new publisher, Etienne Roger in Amsterdam. There were at least two significant reasons for the switch: superior printing methods and an increased demand for the music of Vivaldi and other Italians in northern Europe. The Sonatas, Op. 5 were actually engraved and published at Roger's own expense. Such a practice was quite rare in Vivaldi's time and testifies to his immense popularity.

Sonata No. 13
The Sarabanda (found on page 30) lacks the lasciviously strong accent on the second beat characteristic of the Spanish sarabande. Keep the tempo slow, the meter even and play with as much vibrato as possible. Sonata No. 14

For the Gavotta (found on page 32), the left-hand slurs (as in mm. 7-9 and 39-41) may require some extra attention during practice. Isolate each slur and treat it as a trilling exercise. Devote a few minutes each day to these passages until they sound crisp and clear.

Sonata No. 16
In the Preludio (found on page 35), exaggerate the dotted rhythms and apply vibrato liberally. Because of the slow tempo, it will be necessary to think ahead and be aware of the melody's direction and shape. At some point, you may want to do a simple phrase analysis of the Preludio. Break the piece into small phrases, study how they relate to one another and then group them into longer phrases. The longer the phrases you envision, the better the sense of forward motion you will convey.

Sonata No. 18
The Air-Minuet (found on page 38) demonstrates an ambiguity in Vivaldi's choice of titles for movements. The designation "Air" suggests the vocal-like quality of the melody. The piece is also an instrumental dance movement, containing the clear four-bar phrasing and clear cadences typical of a minuet. Overall, the piece should sound stately, yet singing.

II cimento dell'armonia e dell'inventione, Op. 8
The Concertos, Op. 8 were first published in 1725 and dedicated to the Bohemian Count Wenzeslaus von Morzin. The first four concertos are collectively known as "The Four Seasons." A significant feature in each of these concertos is the inclusion of an explanatory sonnet, each line of poetry corresponding to a particular passage in the music.

Il cimento dell'armonia e dell'invenzione, Op. 8
Pubblicati per la prima volta nel 1725, i primi 4 concerti sono conosciuti come "Le quattro stagioni".

TABLE OF CONTENTS:
Historical Notes & Performance Suggestions
Explanation of Ornaments
Adagio Sonata for Violin, Op. 2, No.3
Giga from Sonata for Violin, Ope 2, No. 3
Preludio from Sonata for Violin, Ope 2, No. 6
Giga from Sonata for Violin, Ope 2, No. 6
Corrente from Sonata for Violin, Ope 2, No. 7
Largo from Concerto for Flute, Op. 10, NO.3 (''il Gardellino") ,
Preludio from Sonata for Violin, Op. 2, No. 9 ,
Gavotta from Sonata for Violin, Ope 2, No. 11
Sarabanda from Sonata for Violin, Ope 5, No. 13
Gavotta from Sonata for Violin, Ope 5, No. 14 .
Preludio from Sonata for Violin, Ope 5, No. 16 .
Air-Menuet from Sonata for Two Violins, Op. 5, No. 18 .
Allegro non molto From the Four Seasons, Op. 8, NO.2 (Summer) .
Largo From The Four Seasons, Op. 8, NO.4 (Winter) .
Affettuoso From Sonata for Flute, RV 48 .
Allegro assai From Sonata for Flute, RV 48 .
Allegro Sonata for Flute, RV48 .
Preludio from Sonata for Flute, RV 49 .
Sarabanda from Sonata for Flute, RV 49 .
Siciliana from Sonata for Flute, RV 49 .
Preludio from Sonata for Recorder, RV 52 .
Allemanda from Sonata for Recorder, RV 52 .
Aria di Giga from Sonata for Recorder, RV 52 .
Largo from Concerto for Lute and Two Violins, RV93 .
Largo from Concerto for Flute and Oboe, RV95 ("La Pastorella") .
Andante from Concerto for Flute, RV429 .
Grave from Concerto for Violin and Organ, RV541 .
Allegro alla Francese Violin and Oboe, RV 543
Largo from Concerto for Oboe and Violin, RV 548 .
Largo from Concerto for Flute, Op. 10, No.4 .
Largo from Sonata for Musette, Vielle, Flute, Oboe or Violin, Op. 13, No.6
Catalog #07- 4090
ISBN# 1-56922-194-4
CREATIVE CONCEPTS PUBLISHING CORPORATION
Creative Concepts Publishing Corp.

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5267 CASTELNUOVO-TEDESCO, GUITAR CONCERTO N.1 IN D MAJOR, OP.99. 2 CD

Euro 37,00

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CASTELNUOVO-TEDESCO, GUITAR CONCERTO N.1 IN D MAJOR, OP.99. 2CD

Performed by Christian Reichert, guitar
Accompaniment : Plovdiv Philharmonic Orchestra
Conductor : Nayden Todorov

This sumptuous guitar concerto, written by the great Castelnuovo-Tedesco on the eve of World War II, quickly became a modern classic, almost approaching the popularity of Rodrigo's 'Concierto de Aranjuez.' Its appreciation has grown with the ensuing years and it is now considered a 20th-century classic. Don't miss this lyrical masterpiece! This deluxe 2CD set includes a slow-tempo practice version to help you get up to speed with the concerto.

Includes an authoritative, newly engraved solo part printed on high-quality ivory paper; a digital stereo compact disc featuring a complete performance of the concerto with orchestra and soloist, and a second performance minus you, the soloist; and a second compact disc containing a full-speed version of the complete version as well as a special -20% slow-tempo version of the accompaniment for practice purposes. The concerto is voluminously indexed for your practice and performance convenience.

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5351 BACH, INVENTIONS FOR GUITAR. WILLARD. 2CD TABLATURE

Euro 21,00

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BACH, INVENTIONS FOR GUITAR. Willard. Per duo. 2CD TABLATURE

This collection contains fifteen of Bach's 2-part inventions. These fifteen inventions have been transcribed and arranged for the classical guitar duet by Jerry Willard, and are presented in notation and Tab. The title is accompanied by two CDs, the first of which features demonstration recordings of all inventions. The second CD offers single guitar recordings with which you may play along by means of solo rehearsal.

Johann Sebastian Bach (1685-1750) penned his inventions as a formal method of study, originally for his eldest son Wilhelm Friedemann, and subsequently, refined the collection for his young pupils. These musical gems are the finest examples of music ever written for the sole purpose of instruction, and also serve as preparation for his larger works.

This folio contains all 15 Two Part Inventions arranged for guitar duet by Jerry Willard. Each invention is presented in standard notation and tablature with suggested fingerings and ornamentation. In addition, the accompanying CDs provide the opportunity to study each invention, as well as each part, separately or together. Disc 1 presents each invention played by both guitars while Disc 2 demonstrates each part individually. Disc 2 additionally provides a count-in click giving the student the opportunity to perform the invention with the CD or simply to follow along and study each part individually.

The Editors

Bach Inventions for Guitar Duet is a collection of short pieces penned by Johann
Sebastian Bach for his young pupils. These musical gems are the finest examples of
music ever written for the sole purpose of instruction, and also serve as preparation
for his larger works.
This folio contains all fifteen Two-Part Inventions arranged for guitar duet. It is
believed that Bach's intention was to bring them together as a single work along with
his three-part pieces known as the Sinfonias, confirmed by the way that they are presented
in a manuscript penned in his own hand in 1723.These inventions demonstrate
contrapuntal technique and explore musical expressions while developing motifs in a
logical fashion.
Bach uses the term invention as a play on words. In today's musical parlance, invention
pertains directly to this body of work; however, Bach uses it to describe an idea
that could be used as a compositional theme with the intention that this type of technical
exercise could inspire those who studied these pieces to develop a more musical
approach.
Mr. Willard has arranged these pieces for study and performance as guitar duets.
Each invention is presented in standard notation and tablature with suggested fingerings
and ornamentation. In addition, the accompanying CDs provide the opportunity
to study each invention, as well as each part, separately or together. Disc 1 presents
each invention played by both guitars while Disc 2 has each part performed individually.
Disc 2 additionally provides a count-in click giving the student the opportunity to
perform the invention with the CD or simply to follow along and study each part individually.
Please note that these pieces were performed with minimal ornamentation in order to
provide the student with an accurate representation of the themes. The choices of
embellishments are quite simply too vast to incorporate in this folio and are of a personal
preference left up to the performer.
The following description of Bach's infamous Two-Part Inventions is taken from the
autograph fair copy in the Staatsbibliothek zu Berlin:
Straightforward instruction, in which amateurs of the keyboard, and especially the eager ones, are
shown a clear way not only:
1. of learning to play cleanly in two voices, but also, after further progress,
2. of dealing correctly and satisfactorily with three obbligato parts;
at the same time not only getting good inventions, but developing the same satisfactorily, and above
all arriving at a cantabile manner in playing, all the while acquiring a strong foretaste of composition.
Provided Anno Christi 1723.
By Johann Sebastian Bach:
Capellmeister to his Serene Highness the Prince of Anhalt-Cothen.

Jerry Willard was born in Cleveland, Ohio and began studying the guitar with his father Jeff Willard who was a guitarist. The guitar pedagogue Sophocles Papas recognized his talent and invited Mr. Willard to study with him in Washington, D.C. Subsequently Mr. Willard studied with guitarists Richard Lurie and Alirio Diaz. Mr. Willard's performances on guitar and lute range from performances of 16th-century work from the original tabulature to his own transcriptions of music from the 18th, 19th, and 20th centuries. He has appeared in Alice Tully Hall and Carnegie Hall in New York City, and he has concertized extensively throughout Europe and The United States. Well known as an ensemble player, he has performed with the Cleveland Orchestra, The New York Opera Company, The New York Consort of Viols, and The Long Island Baroque Ensemble. He has published many transcriptions for guitar including "The Complete Lute Music of J.S. Bach" available through Music Sales Corp.

Invention 1
Invention 2
Invention 3
Invention 4
Invention 5
Invention 6
Invention 7
Invention 8
Invention 9
Invention 10
Invention 11
Invention 12
Invention 13
Invention 14
Invention 15

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5234 HILAND JOHNNY, LICKS & TRICKS VOL.1. CD

Euro 20,00

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HILAND JOHNNY, LICKS & TRICKS VOL.1. CD TAB.

Product Description:
Recorded lessons from one of America's greatest guitarists Johnny Hiland teaches essential Licks and Tricks every great Blues and Rock player should know. Lessons in standard notation and TAB with complete audio instruction.

Song Title: Composer/Source:
Bending Blues Licks Johnny Hiland
Blues Rhythm Pattern Johnny Hiland
Classic Blues Licks Johnny Hiland
Heavy Metal Style Harmonics Johnny Hiland
Pick-Hand Finger Tapping Johnny Hiland
Slide Licks in Standard Tuning Johnny Hiland
Slide/Rhythm Licks in Open G Tuning Johnny Hiland

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5235 HILAND JOHNNY, LICKS & TRICKS VOL.2. CD

Euro 20,00

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HILAND JOHNNY, LICKS & TRICKS VOL.2. CD TAB.

Product Description:
Recorded lessons from one of America's greatest guitarists Johnny Hiland teaches essential Licks and Tricks every great country player should know. Lessons in standard notation and TAB with complete audio instruction.

Song Title:
B-Bender Chord Licks
B-Bender Licks
B-Bender Licks Without Using The B-Bender
Bending Behind The Nut
The Funky Chicken Lick
The Tractor Trailer Lick
Train Whistle Lick

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5389 DUELLING BANJOS, Arthur Smith. TAB.

Euro 6,00

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DUELLING BANJOS, Based on "Feudin' Banjos", written by Arthur Smith. Film "Deliverance". TAB. for guitar and Banjo. TAB.

DUELLING BANJOS ("DELIVERANCE":FILM)
"Un tranquillo week-end di paura" Un film di John Boorman.

By Arthur Smith. Guitar/banjo single for guitar and 5-string banjo. From the motion picture "Deliverance". G Major. 11 pages. With standard notation, guitar tablature, banjo tablature, chord names and strum and pick patterns. Bluegrass.

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5395 NEW CELTIC MANDOLIN, Simon Mayor. TAB. DVD

Euro 40,00

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NEW CELTIC MANDOLIN, Simon Mayor. TAB. DVD

New Celtic Mandolin (DVD)
For those who already know their way round the mandolin and want some expert advice and new ideas to spice up their playing of Celtic music. Simon Mayor takes a fresh and detailed look at five traditional and modern Celtic tunes, introducing original ideas and techniques that will benefit all aspects of mandolin playing.

Tunes:
The Dark and Slender Boy (Irish trad) Dance of the Waterboatmen (Mayor) Athol Highlanders (Scottish trad) The Butterfly (Irish trad) Waynesboro (New England trad)

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CHITARRA LAMPO