No band would be complete without a bass element giving depth and unity. "How to Play Bass Guitar" contains everything the new or intermediate bass player needs to perfect their playing of this vital instrument. Highly practical, the book leads you from the basics of how to hold, fret, pluck and play scales through to playing chord-framing patterns and muted percussive rhythms - understanding how the bass underpins the harmonies of a band. The clear text is accompanied by illustrative photos and diagrams, and the guide is complemented by a chord finder, scales and modes finder, a glossary and further reading.

First published in 1999, this biography from David Tunley draws on newly researched documentary evidence to chart Campoli's early success and his later struggle for recognition as a serious artist. Campoli's early success and his later struggle for recognition as a serious artist. Campoli's career emerges as one particularly shaped and directed by the great economic and social forces of the first half of the century, and the story here is as much that of his times, as of his life. Described by Szigeti as 'one of the last great individualists among violinists', Alfredo Campoli was a household name in the field of British light music prior to the Second World War. Having made his debut at the Wigmore Hall in 1923 Campoli toured with Melba and Butt, then turned to light music during the Depression. He became one of Decca's early recording artists and broadcast frequently for the BBC with his light music ensembles and pursued a long, successful career as a distinguished international performer.

Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists' 'separate but unequal' status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867-1920), Australian-born Alma Moodie (1898-1943), and the British Marie Hall (1884-1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.

After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II. O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications. The book will appeal to professional and amateur viola da gamba players as well as to scholars of eighteenth-century German music.

Since the publication of Solomon Volkov's disputed memoirs of Dmitri Shostakovich, the composer and his music has been subject to heated debate concerning how the musical meaning of his works can be understood in relationship to the composer's life within the Soviet State. While much ink has been spilled, very little work has attempted to define how Shostakovich's music has remained so arresting not only to those within the Soviet culture, but also to Western audiences - even though such audiences are often largely ignorant of the compositional context or even the biography of the composer. This book offers a useful corrective: setting aside biographically grounded and traditional analytical modes of explication, Reichardt uncovers and explores the musical ambiguities of four of the composer's middle string quartets, especially those ambiguities located in moments of rupture within the musical structure. The music is constantly collapsing, reversing, inverting and denying its own structural imperatives. Reichardt argues that such confrontation of the musical language with itself, though perhaps interpretable as Shostakovich's own unique version of double-speak, also poignantly articulates the fractured state of a more general form of modern subjectivity. Reichardt employs the framework of Lacanian psychoanalysis to offer a cogent explanation of this connection between disruptive musical process and modern subjectivity. The ruptures of Shostakovich's music become symptoms of the pathologies at the core of modern subjectivity. These symptoms, in turn, relate to the Lacanian concept of the real, which is the empty kernel around which the modern subject constructs reality. This framework proves invaluable in developing a powerful, original hermeneutic understanding of the music. Read through the lens of the real, the riddles written into the quartets reveal the arbitrary and contingent state of the musical subject's constructed reality, reflecting pathologies ende

Born in 1885 in Porto, Portugal, to a middle-class musical family, Guilhermina Suggia began playing cello at the age of five. A child prodigy, she was already a seasoned performer when she won a scholarship to study with Julius Klengel in Leipzig at the age of sixteen. Suggia lived in Paris with fellow cellist Pablo Casals for several years before World War I, in a professional and personal partnership that was as stormy as it was unconventional. When they separated Suggia moved to London, where she built a spectacularly successful solo career. Suggia's virtuosity and musicianship, along with the magnificent style and stage presence famously captured in Augustus John's portrait, made her one of the most sought-after concert artists of her day. In 1927 she married Dr Jose Casimiro Carteado Mena and settled down to a comfortable life divided between Portugal and England. Throughout the 1930s, Suggia remained one of the most respected musicians in Europe. She partnered on stage with many famous instrumentalists and conductors and completed numerous BBC broadcasts. The war years kept her at home in Portugal, where she focused on teaching, but she returned to England directly after the war and resumed performing. When Suggia died in 1950, her will provided for the establishment of several scholarship funds for young cellists, including England's prestigious Suggia Gift. Mercier's study of Suggia's letters and other writings reveal an intelligent, warm and generous character; an artist who was enormously dedicated, knowledgeable and self-disciplined. Suggia was one of the first women to make a career of playing the cello at a time when prejudice against women playing this traditionally 'masculine' instrument was still strong. A role model for many other musicians, she was herself a fearless pioneer.

(Book). Explores all manufacturers and de-mystifys the inner workings of tube amps. All new material from the amp guru Gerald Weber. Tons of empirical data that de-mystify the inner workings of tube amps to help you get the most from your amps You will learn how tube amps work, electronic concepts, how different types of tubes work, the anatomy of a gain stage, how to resurrect a dormant tube amp, how to do a cap job correctly, modifications to preserve your amp, how to voice an amp and tune the reverb, how to build an amp, recover a cabinet, re-grill a baffleboard, how to buy a vintage amp; and common wiring mistakes and idiosyncrasies found in vintage amps. And you get a couple of hundred pages of Questions and Answers sectioned off into Fender, Gibson, Marshall, Danelectro/Silvertone, Vox, Other American, Other British and Miscellaneous Topics. You will learn the six dreaded tone killers and how to avoid them, the top ten amp-tone tips, and how to fine-tune your entire amp setup. In short, you will have the knowledge needed to squeeze your amp's performance from lame to insane.

The two volumes of Trott's widely used etudes are combined into one convenient, affordable volume.

(Bass Method). The critically acclaimed Hal Leonard Electric Bass Method Second Edition in a handy composite edition Contains 3 books and 3 CDs for Levels 1, 2 and 3.

Jazz Guitar Styles is an instruction book designed for the guitarist who already knows the fundamentals but wishes to explore the "classic" style of swing-era guitar. It offers a clear, concise introduction to the basics of jazz guitar, built on the student's basic knowledge of forming chords and basic picking patterns. Jazz Guitar Styles opens this world to any guitarist who has a basic knowledge of guitar technique and willingness to learn.

Acoustic Blues Guitar Styles is an introduction to fingerstyle acoustic blues guitar, the style made popular by Robert Johnson, Bill Broonzy, and Mance Lipscomb. Following the success of the popular Acoustic Guitar Styles, Larry Sandberg's Acoustic Blues Guitar Styles is an instructional book geared towards the intermediate guitar player, not only to teach fingerstyle blues technique, but also to approach the music creatively and with feeling and rhythm. Part One teaches you the preliminaries, such as reading a chord chart and working out a 12-bar blues in different keys. Part Two teaches you touch, timing, and basic fingerpicking technique. Part Three teaches you how to play stylistically, with lessons on how to incorporate bends, vibrato, alternating bassnotes, and rhythmic variations into your playing. All musical exercises are presented in both standard notation and tablature, and are supported by audio tracks. Customers purchasing the eBook version of this title will be able to download the supporting audio tracks. Instructions on downloading the files can be found on the contents page.

Each of us carries a song inside us, the song that makes us human. ZEN GUITAR provides the key to unlocking this song - a series of life lessons presented through the metaphor of music. Philip Sudo offers his own experiences with music to enable us to rediscover the harmony in each of our lives and open ourselves to Zen awareness uniquely suited to the Western Mind. Through fifty-eight lessons that provide focus and a guide, the reader is led through to Zen awareness. This harmony is further illuminated through quotes from sources ranging from Eric Clapton and Jimi Hendrix to Miles Davis. From those who have never strummed a guitar to the more experienced, ZEN GUITAR shows how the path of music offers fulfillment in all aspects of life - a winning idea and an instant classic.

This new edition contains all the scales and arpeggios required for ABRSM's Grade 3 Violin exam. Includes all Grade 3 scales and arpeggios for the revised syllabus from 2012, with bowing patterns and suggested fingering, along with a helpful introduction including advice on preparing for the exam.

(Yorktown). Designed for use as a method book, this volume allows the teacher to vary the approach according to the needs of the student. The book can also be used as a source of carefully graded pieces, for use with any first-year method.

This new edition contains all the scales and arpeggios required for ABRSM's Grade 5 Violin exam. Includes all Grade 5 scales and arpeggios for the revised syllabus from 2012, with bowing patterns and suggested fingering, along with a helpful introduction including advice on preparing for the exam.

The Hal Leonard Classical Guitar Method is designed for anyone just learning to play classical guitar. This comprehensive and easy-to-use beginner's guide by renowned classical guitarist and teacher Paul Henry uses the music of the master composers to teach you the basics of the classical style and technique. The accompanying CD features all the pieces in the book for demonstration and play along. Includes pieces by Beethoven, Bach, Mozart, Schumann, Giuliani, Carcassi, Bathioli, Aguado, Tarrega, Purcell, and more. Includes all the basics plus info on PIMA technique, two- and three-part music, time signatures, key signatures, articulation, free stroke, rest stroke, composers, and much more. Does NOT include tablature.

(Book). PRS guitars today appeal to a growing number of musicians, from Carlos Santana to Al Di Meola, from Zach Myers to Mark Tremonti. This book examines every part of PRS history, with an in-depth story, beautiful photographs, and detailed collector's info. Paul Reed Smith set up his first PRS factory in 1985 in Maryland and has devised guitars from the regular Custom and McCarty models, through the outrageously decorated Dragon specials and the controversial Singlecut, and on to recent achievements such as the Mira, Dave Grissom DGT, JA-15, and the S2 models. Dozens of guitars are pictured inside along with players, ads, catalogs, and rare memorabilia. A detailed reference section helps musicians and collectors identify and date PRS instruments, making this revised and updated edition of The PRS Electric Guitar Book a must for all guitar fans.

Giovanni Battista Buonamente was among the most original and inventive Italian composers of the seventeenth century. Peter Allsop reveals his importance as part of a tradition that stands in direct antithesis to that of the Corellian sonata today regarded as the 'norm'. This development is traced in a series of likely teacher-pupil relationships from Salamone Rossi to Marco Uccellini, the most prolific Italian composers of instrumental ensemble music in the first half of the seventeenth century. The first half of the book sets out what is known of Buonamente's turbulent career as he moved from the courtly environments of the Gonzaga household and Habsburg court to several less auspicious posts at various religious institutions, ending his life as maestro di cappella at the mother house of his order, S. Francesco in Assisi. A fascinating picture emerges of the nature of musical patronage against a background of war and plague in this time of great political instability. The later chapters comprise detailed discussions, supported with over 100 music examples, of the unusually wide range of genres for which Buonamente wrote: sinfonias, free sonatas, sets of variations, canzonas, dances; and he was the first Italian to cultivate the ensemble suite to any extent. The book concludes with an examination of his influence on his probable pupil Marco Uccellini and the interest Buonamente instigated in canonic writing, which was passed via Uccellini to a succession of Modenese composers.

50 classic rock songs to accompany the world-famous justinguitar.com courses for guitar! The Justinguitar.com Rock Songbook is for all guitar players who want to progress beyond beginner level. It starts with beginner level material, before progressing to songs that will teach you how to use more complex chords (including barre chords), riffs, licks and open tunings. This book contains 50 great rock songs by artists such as AC/DC, Dire Straits, Iron Maiden, Kiss, Nirvana, Pearl Jam and ZZ Top. Take your playing forward by starting with the 15 beginner level songs, then move on to 15 intermediate songs specially chosen to develop your barre chords. After that you?ll learn a further 15 songs which introduce interesting new techniques, chords and rhythms, before finishing off with 5 classic songs written out in full TAB! Every song is accompanied by performance tips and strumming patterns, often with tablature and chord diagrams to help you through any tricky bits. Much more than just a songbook, this book contains valuable tips and tutorials that will help you with every aspect of your playing. This long-awaited volume really is the best Rock Songbook ever!

Amnon Weinstein, an Israeli master luthier (violin maker), began a project more than years ago that may be one of the most creative, effective, and magnificent approaches to education on the topic of the Holocaust. Trained by three of the most revered Cremona, Italian luthiers of the twentieth century, Weinstein's vision was to restore violins that survived the concentration camps and the ghettos, even when their owners often did not. To date, more than seventy violins have been restored to their highest playable condition. Following restoration, these hauntingly beautiful instruments have been used in performances by symphonies in Berlin, Cleveland, Istanbul, London, Quebec, Paris, San Francisco, and many other cities across the world. Purposefully, Weinstein makes certain that young musicians as well as members of some of the world's most famed orchestras perform on them to packed concert halls. In doing so, it's as if the past owners of the instruments return to fill the listener-observer's mind and body. In Violins and Hope, Daniel Levin has made the most compelling and beautiful series of photographs documenting Weinstein's collection of violins, his workshop in Tel Aviv, and his processes for restoration. This book is not a document of place, as much as it is a document of the ethereal. For what Weinstein has done with these lost violins has been to transform tragic loss into triumph in the most inciteful and powerful way imaginable. The care that Levin has taken to hone in on the idiosyncrasies of Amnon's workshop, and his uncanny ability to celebrate the beauty of light, is nothing short of remarkable. The book's foreword is written by arguably the most well-suited individual anywhere. Born in Austria, Franz Welser-Moest is one of the most acclaimed conductors of the twenty-first century. He has been Music Director of the Cleveland Orchestra since 2002, and, under his direction, The Cleveland, as it has been fondly named by The New York Times, has had twenty international tours, with shimmering reviews. All too aware of his ancestry, Welser-Moest takes on our mutual history as no one else could. And the book concludes with Levin's interview with Assi Weinstein, Amnon's wife, who talks about the Violins of Hope project and its enduring legacy.

(Book). So you want to write songs, and you want to write them on guitar. This is the book that shows you exactly how. Taking tips and tricks from classic songwriters, from Bob Dylan to the Beatles to Tori Amos, How to Write Songs on Guitar takes you through the four main elements of a song rhythm, melody, lyrics, and harmony and inspires you to combine them in exciting new ways. Now with updated songs and tips on writing trends, it's packed with wisdom and practical advice culled from over 1,500 songs, How to Write Songs on Guitar 2nd edition will soon have you producing better, more memorable songs.