21 Songs in 6 Days: Learn Ukulele the Easy Way by
Discover the Fast and Easy Way for Beginners to Learn to Play 21 Ukulele Songs in 6 Days Want to play the ukulele today? ...Even if you've never touched an instrument or failed to learn with other lessons, books or videos? Don't fret! Because "21 Songs in 6 Days" is arguably the simplest way for beginners to quickly learn, play and master 21 songs on the ukulele. Here's why... You get much more than a book of songs. Your learn HOW to play them with complete instruction in the book and with free online videos included with your purchase. No matter what you're learning style, you get to read, listen and watch for the fastest, easiest learning experience possible. It's hard to mess this up because you learn the easiest songs first, starting with songs that only require one chord. You'll feel your confidence growing and your skills developing in minutes. You'll learn directly from a Grammy award nominated music teacher and a former Harvard master class piano teacher... the same duo who developed and authored the classroom-proven, "21 Songs in 6 Days" ukulele teaching curriculum currently used in schools across the county. (See more about the authors below.) All 21 songs include: strum patterns, chord diagrams, sheet music and lyrics. So whether you read music or not, or if you have difficulty with chords, you can still easily learn all the songs (even sing along) with or without the FREE bonus online video instruction. The authors make learning fun. And they've pulled out all the stops so you can blast right through the frustrating learning curve and start playing the ukulele with minimum effort and in minimum time. You undoubtedly know many of the songs in this book, which makes learning them even easier. You'll quickly acquire the foundation you need to springboard to your favorite genres of music. (Click the book cover to see the full song list inside.) Just follow the detailed lessons, tips and secrets - in the book, online or both - and in less than a week, you'll sound like you've been playing for months. Be prepared to be called a liar when you tell people you just started playing days ago. Because the instruction is so thorough, it quickly embeds the skills into your brain and muscle memory. In no time, you'll find yourself deep into a new pleasurable hobby. You'll be ready to entertain family and friends, add musical spice to your get-togethers, and play with other musicians. Don't suffer through methods that are more difficult than necessary. No need to pay for expensive private lessons. Make it easy on yourself... grab your copy of the Amazon best seller "21 Songs in 6 Days" today. RAVE REVIEWS FROM AUTHORS AND CUSTOMERS "(This book) does a thorough job of breaking down how someone goes about learning the basics of the ukulele. Fun cover too!" -Jim Beloff, author of many ukulele books, including "The Daily Ukulele" "I enjoy the lessons. The book and online videos are great for a novice." -Greg M. "I've only been trying to playing ukulele for about a month, can play most instruments by ear, mouth organ violin and piano but only the melodies, hopeless with chords and found the guitar most difficult with chords due to short fat digits. Bought a beginners book on the uke but found that hard to follow and most of the people on Youtube talk too much and too fast and don't talk you through the procedures. You on the other hand are easy to follow and with your lessons you can actually hear the chords sounding the same as the songs. Thank you very much and glad that you are ready to help us learners." -Mick C.
Banjo Roots and Branches by
The story of the banjo's journey from Africa to the western hemisphere blends music, history, and a union of cultures. In Banjo Roots and Branches, Robert B. Winans presents cutting-edge scholarship that covers the instrument's West African origins and its adaptations and circulation in the Caribbean and United States. The contributors provide detailed ethnographic and technical research on gourd lutes and ekonting in Africa and the banza in Haiti while also investigating tuning practices and regional playing styles. Other essays place the instrument within the context of slavery, tell the stories of black banjoists, and shed light on the banjo's introduction into the African- and Anglo-American folk milieus. Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados. Contributors: Greg C. Adams, Nick Bamber, Jim Dalton, George R. Gibson, Chuck Levy, Shlomo Pestcoe, Pete Ross, Tony Thomas, Saskia Willaert, and Robert B. Winans.
Building New Banjos for an Old-Time World by
Banjo music possesses a unique power to evoke a bucolic, simpler past. The artisans who build banjos for old-time music stand at an unusual crossroads "asked to meet the modern musician's needs while retaining the nostalgic qualities so fundamental to the banjo's sound and mystique. Richard Jones-Bamman ventures into workshops and old-time music communities to explore how banjo builders practice their art. His interviews and long-time personal immersion in the musical culture shed light on long-overlooked aspects of banjo making. What is the banjo builder's role in the creation of a specific musical community? What techniques go into the styles of instruments they create? Jones-Bamman explores these questions and many others while sharing the ways an inescapable sense of the past undergirds the performance and enjoyment of old-time music. Along the way he reveals how antimodernism remains integral to the music's appeal and its making.
That Half-Barbaric Twang : the banjo in American popular culture by 
The ukulele : a history by
Since its introduction to Hawai'i in 1879, the 'ukulele has been many things: a symbol of an island paradise; a tool of political protest; an instrument central to a rich musical culture; a musical joke; a highly sought-after collectible; a cheap airport souvenir; a lucrative industry; and the product of a remarkable synthesis of western and Pacific cultures. The 'Ukulele: A History explores all of these facets, placing the instrument for the first time in a broad historical, cultural, and musical context. Drawing on a wealth of previously untapped sources, Jim Tranquada and John King tell the surprising story of how an obscure four-string folk guitar from Portugal became the national instrument of Hawai'i, of its subsequent rise and fall from international cultural phenomenon to "the Dangerfield of instruments," and of the resurgence in popularity (and respect) it is currently enjoying among musicians from Thailand to Finland. The book shows how the technologies of successive generations (recorded music, radio, television, the Internet) have played critical roles in popularizing the 'ukulele. Famous composers and entertainers (Queen Liliuokalani, Irving Berlin, Arthur Godfrey, Paul McCartney, SpongeBob SquarePants) and writers (Rudyard Kipling, Jack London, P. G. Wodehouse, Agatha Christie) wind their way through its history--as well as a host of outstanding Hawaiian musicians (Ernest Kaai, George Kia Nahaolelua, Samuel K. Kamakaia, Henry A. Peelua Bishaw). In telling the story of the 'ukulele, Tranquada and King also present a sweeping history of modern Hawaiian music that spans more than two centuries, beginning with the introduction of western melody and harmony by missionaries to the Hawaiian music renaissance of the 1970s and 1980s.
Guitar music
Solo guitar
M125 - M127
Transcriptions
M128 - M129
Guitar and piano
M276 - M277
Guitar duets
M292 - M293
Guitar and orchestra (full scores and piano reductions)
M1037.4 .G8
Guitar and String orchestra
M1137.4 .G8
Bibliography/Repertoire lists
ML128 .G8
History/construction of the guitar
ML1015 .G9
Techniques: studies and methods
MT580 - MT588
Floorplan: Stauffer 2nd floor
Items are arranged according to the LIBRARY OF CONGRESS CLASSIFICATION scheme: Class M for Music and Books on music.
Generally, items are shelved alphabetically in author order within each subject class number. Class M (MUSIC) consists of 3 main sections:
The Lute in Britain : a history of the instrument and its music by
The lute was one of the most important instruments in use in Europe from late medieval times up to the eighteenth century, as a solo instrument, in combination with other instruments, or with the voice. Despite its acknowledged importance this study is the first ever comprehensive work on theinstrument and its music, apart from performance studies or bibliographical and reference publications.While Spring focuses on the lute in Britain, he also includes two chapters devoted to continental developments: one on the transition from medieval to renaissance, the other on renaissance to baroque, and the lute in Britain is never treated in isolation. Six chapters cover all aspects of thelute's history and its music in England from 1285 to well into the eighteenth century, whilst other chapters cover the instruments early history, the lute in concert, lute song accompaniment, the thearbo, and the lute in Scotland. Writing for the music student, the serious listener, the player,maker, and lute enthusiast, Spring makes available for the first time, over 40 years of musical scholarship previously the preserve of academic journals.
Performance on Lute, Guitar, and Vihuela : historical practice and modern interpretation by
This is the first book-length study in any language dedicated specifically to lute, guitar, and vihuela performance. Written by specialists of this music, it is intended for players, teachers, and scholars who are interested both in the history of performance, and in the specific interpretation of lute, guitar and vihuela music from the end of the fifteenth century to approximately 1850. It brings to light various new ideas about performance and technique for a wide range of instruments, including the fifteenth-, sixteenth- and seventeenth-century Italian lute, archlute, theorbo, French Baroque lute, vihuela, and Baroque and classical guitar, as well as for lute-accompanied English and Italian song. The articles in this book decode the unwritten traditions of these instruments, and examine various performance issues, taking a fresh, innovative look at traditional problems.
The Way of the Pipa : structure and imagery in Chinese lute music by
"Over the centuries a repertoire of solo pipa pieces has developed and this study focuses on those found in the Hua collection, which encompasses the pieces in the repertoire of the Hua family, and was printed, using the wooden block technique, in 1819. Among the works are many ancient melodies which were handed down through oral tradition. Myers discusses the history and development of the musical aesthetics, and the relationship between imagery in the titles and corresponding melodic devices. He relates these recurring themes to elements in East Asian culture and philosophy. Included are transcriptions of pipa music into Western music notation. It is a welcome addition to the library of anyone interested in Chinese music and culture"--Elaine Bradtke, Come-All-Ye
Acoustic guitars : the illustrated encyclopedia by
This treasure trove of instrument information features unique pictures for every guitar aficionado or music fan. The comprehensive and informative text is in a clear A-Z format organized by brand name, and written by the world's leading authorities.
The Birth of Loud : Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock 'n' roll by
A riveting saga in the history of rock 'n' roll: the decades-long rivalry between the two men who innovated the electric guitar's amplified sound--Leo Fender and Les Paul--and their intense competition to convince rock stars like the Beatles, Jimi Hendrix, and Eric Clapton to play the instruments they built. In the years after World War II, music was evolving from big-band jazz into the primordial elements of rock 'n' roll--and these louder styles demanded revolutionary instruments. When Leo Fender's tiny firm marketed the first solid-body electric guitar, the Esquire, musicians immediately saw its appeal. Not to be out-maneuvered, Gibson, the largest guitar manufacturer, raced to build a competitive product. The company designed an "axe" that would make Fender's Esquire look cheap and convinced Les Paul--whose endorsement Leo Fender had sought--to put his name on it. Thus was born the guitar world's most heated rivalry: Gibson versus Fender, Les versus Leo. While Fender was a quiet, half-blind, self-taught radio repairman from rural Orange County, Paul was a brilliant but egomaniacal pop star and guitarist who spent years toying with new musical technologies. Their contest turned into an arms race as the most inventive musicians of the 1950s and 1960s--including bluesman Muddy Waters, rocker Buddy Holly, the Beatles, Bob Dylan, and Eric Clapton--adopted one maker's guitar or another. By the time Jimi Hendrix played "The Star-Spangled Banner" at Woodstock in 1969 on his Fender Stratocaster, it was clear that electric instruments--Fender or Gibson--had launched music into a radical new age, empowering artists with a vibrancy and volume never before attainable.
The Cambridge Companion to the Guitar by
From the first mention in courtly poetry of the thirteenth century to enormous global popularity in the twentieth, the guitar and its development comprises multiple histories, each characterised 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 thirteen 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 differences between guitar traditions, and all styles, from baroque, classical, country, blues, and rock to flamenco, African, Celtic, and instrument making will share the same platform. As musical training is increasingly broadened this comprehensive book will become an indispensable resource.
The Classical Guitar by
Now in paperback, this is the first work to tell the complete story of the classical guitar and its repertoire, players, and makers -- from its 19th-century European roots to modern international interpretations. An unparalleled resource for the player, collector, and music fan, the book features profiles of legendary artists Andres Segovia, Julian Bream, and John Williams, plus a full discography.
Contemporary Guitar by
The Contemporary Guitar traces the extraordinary rise of the instrument in concert music over the past century. Though recognized worldwide as a popular music icon, the all-to-recent time when the guitar was looked down upon as a second-class citizen in the world of serious music is finally past, and it can now be found in the scores of the most important composers. The guitar s rightful place in chamber music, orchestral music, or as a solo instrument is now without question, whether in the classic acoustic form or the more recent electric version. While the guitar has stood in the vanguard of musical experimentation, its many new techniques and notations remain a mystery for many composers and players. In The Contemporary Guitar, musician and scholar, John Schneider explains each class of technique and illustrates them with examples. Moreover, because the guitar is easily refretted, it has also become a leading instrument in the exploration of the relatively new musical language of microtonality. In this revised and enlarged edition from the original work of three decades ago, Schneider adds a broad-ranging, entirely new chapter on the instruments, notation and repertoire with insights into the interpretation of historical works through the application of accurate contemporary tunings and temperaments. The guitar s unique timbre its tone color is one of the most versatile among modern instruments, both acoustic and electric. Most players who intuitively explore the subtleties of tone color will find outlined in The Contemporary Guitar the specific principles of physics that determine these subtleties which, once mastered, permit guitarists to control more completely the expressive palette of their instrument. Designated the Rational Method of Tone Production by its author, Schneider defines in great detail the timbral characteristics of acoustic and electric instruments from theoretical, physical, and musical viewpoints. Players in search of new repertoire will find an historical survey of the literature, an exhaustive list of new music, and a multitude of techniques for bringing such music to life. The Contemporary Guitar provides audio examples online for those seeking to discover new sounds and includes the notation to perform them."
Fretboard harmony : common practice harmony on the guitar by 
A Guide to Playing the Baroque Guitar by
James Tyler offers a practical manual to aid guitar players and lutenists in transitioning from modern stringed instruments to the baroque guitar. He begins with the physical aspects of the instrument, addressing tuning and stringing arrangements and technique before considering the fundamentals of baroque guitar tablature. In the second part of the book Tyler provides an anthology of representative works from the repertoire. Each piece is introduced with an explanation of the idiosyncrasies of the particular manuscript or source and information regarding any performance practice issues related to the piece itself--represented in both tablature and staff notation. Tyler's thorough yet practical approach facilitates access to this complex body of work.
The Guitar and Its Music by
More than twenty years ago James Tyler wrote a modest introduction to the history, repertory, and playing techniques of the four- and five-course guitar. Entitled The Early Guitar: A History and Handbook (OUP 1980), this work proved valuable and enlightening not only to performers and scholarsof Renaissance and Baroque guitar and lute music but also to classical guitarists. This new book, written in collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its musicfrom the Renaissance to the dawn of the Classical era.Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of theperiod. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers andscholars alike.Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history--notably c.1759-c.1800--which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central tomusic-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-stringinstrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.
Guitar Makers by
It whispers, it sings, it rocks, and it howls. It expresses the voice of the folk--the open road, freedom, protest and rebellion, youth and love. It is the acoustic guitar. And over the last five decades it has become a quintessential American icon. Because this musical instrument is significant to so many--in ways that are emotional, cultural, and economic--guitar making has experienced a renaissance in North America, both as a popular hobby and, for some, a way of life. In Guitar Makers, Kathryn Marie Dudley introduces us to builders of artisanal guitars, their place in the art world, and the specialized knowledge they've developed. Drawing on in-depth interviews with members of the lutherie community, she finds that guitar making is a social movement with political implications. Guitars are not simply made--they are born. Artisans listen to their wood, respond to its liveliness, and strive to endow each instrument with an unforgettable tone. Although professional luthiers work within a market society, Dudley observes that their overriding sentiment is passion and love of the craft. Guitar makers are not aiming for quick turnover or the low-cost reproduction of commodities but the creation of singular instruments with unique qualities, and face-to-face transactions between makers, buyers, and dealers are commonplace. In an era when technological change has pushed skilled artisanship to the margins of the global economy, and in the midst of a capitalist system that places a premium on ever faster and more efficient modes of commerce, Dudley shows us how artisanal guitar makers have carved out a unique world that operates on alternative, more humane, and ecologically sustainable terms.
John Williams and the Culture of Classical Guitar by
This book assesses the influence and reception of many different forms of guitar playing upon the classical guitar and more specifically through the prism of John Williams. Beginning with an examination of Andrés Segovia and his influence upon Williams' life's work, a further three incisive chapters cover key areas such as performance, perception, education and construction, considering social and cultural contexts of the guitar over the past century. A final chapter on new directions in classical guitar examines the change in reception of the instrument from the mid-1970s to the present day, and Williams' impact upon what might be termed 'standard classical guitar repertoire'. With in-depth discussion of the cultural and perceptual impact of Williams' more daring crossover projects and numerous musical examples, this is an informative reference for all classical guitar practitioners, as well as scholars and researchers of guitar studies, reception studies, cultural musicology and performance studies. An online lecture by the author and a transcript of the author's interview with John Williams are also available as e-resources. olars and researchers of guitar studies, reception studies, cultural musicology and performance studies. An online lecture by the author and a transcript of the author's interview with John Williams are also available as e-resources.
Play It Loud : an epic history of the style, sound, and revolution of the electric guitar by
The electric guitar has long been an international symbol of freedom, beauty, and rebellion. In Play It Loud, veteran music writers Brad Tolinski and Alan di Perna give us the story of this American icon. It's a story of inventors and mythologizers, of scam artists and prodigies as varied and original as the instruments they spawned. The electric guitar looms large over the twentieth century: as an essential element in advancing racial equality in the entertainment industry, as a mirror to the rise of the teenager as a social force, as a linchpin of the punk rock ethos. And today it has come full circle, with contemporary titans such as Jack White and Annie Clark (known as St. Vincent) bringing back some of the instrument's earliest sounds. Featuring personal interviews with Les Paul, Keith Richards, Eddie Van Halen, and dozens more players and creators, Play It Loud shows how a group of innovators and misfits transformed an idea into a revolution.
