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Author: Collin Bay Publisher: Mel Bay Publications ISBN: 1619114046 Category : Music Languages : en Pages : 13
Book Description
Glossary of Guitar Terms is an informative addition to any musician's library. Included are a rundown of the parts of the instrument, a variety of helpfuldiagrams, and some of the most important terms and concepts for guitarists to befamiliar with. Glossary of Guitar Terms is an excellent reference tool for players of all levels
Author: Collin Bay Publisher: Mel Bay Publications ISBN: 1619114046 Category : Music Languages : en Pages : 13
Book Description
Glossary of Guitar Terms is an informative addition to any musician's library. Included are a rundown of the parts of the instrument, a variety of helpfuldiagrams, and some of the most important terms and concepts for guitarists to befamiliar with. Glossary of Guitar Terms is an excellent reference tool for players of all levels
Author: R. M. Mottola Publisher: Robert M Mottola ISBN: 9781734125603 Category : Stringed instruments Languages : en Pages : 0
Book Description
"Provides conventional spelling and short descriptions of the most common terms used in modern lutherie [that is, the construction and repair of stringed musical instruments] as well as historical and foreign language terminology that a modern luthier may come across."--Page 4 of cover
Author: Victor Coelho Publisher: Cambridge University Press ISBN: 9780521000406 Category : Music Languages : en Pages : 284
Book Description
From its origins in the culture of late medieval Europe to enormous global popularity in the twentieth, the guitar and its development comprise multiple histories, each characterized by distinct styles, playing techniques, repertories, and socio-cultural roles. These histories simultaneously span popular and classical styles, contemporary and historical practices, written and unwritten traditions, and Western and non-Western cultures. This is the first book to encompass the breadth and depth of guitar performance, featuring twelve essays covering different traditions, styles, and instruments, written by some of the most influential players, teachers, and guitar historians in the world. The coverage of the book allows the player to understand both the analogies and the differences between guitar traditions; all styles--from baroque, classical, country, blues, and rock to flamenco, African, and Celtic--will share the same platform, along with instrument making. As musical training is increasingly broadened this comprehensive book will become an indispensable resource.
Author: Sharon Isbin Publisher: Hal Leonard Corporation ISBN: 9781890490089 Category : Music Languages : en Pages : 102
Book Description
In this update of the Acoustic Guitar Answer Book, Sharon Isbin, the classical guitar virtuoso who heads the Juilliard School Guitar Department, answers 50 essential questions about performing, practicing, and choosing and caring for your guitar. The questions were asked by Acoustic Guitar magazine readers and answered by Isbin in four years of Master Class columns in the magazine. This book collects all this vital information together in an easy reference format - an absolute must for every classical guitar player. Includes new appendices of resources for classical guitarists and students. 88 pages, 9 inch. x 12 inch.
Author: Miles Okazaki Publisher: Mel Bay Publications ISBN: 1619114860 Category : Music Languages : en Pages : 173
Book Description
This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.
Author: Collin Bay
Author: Collin Bay
Author: 
Author: R. M. Mottola
Author: Victor Coelho
Author: Orby Shipley
Author: Henry Percy Smith
Author: Sharon Isbin
Author: Miles Okazaki
Author: David Eric Berg
Author: John Stainer