One of the most extensive studies of the tremolo technique.

One of the most popular classical guitar methods ever written. A basic and orderly presentation of the necessary information and exercises essential to beginning guitar instruction. A Federation Festivals 2020-2024 selection.

World-class classical guitarist and well-respected educator Scott Tennant presents the most comprehensive technique handbook available for classical guitarists. This complete edition combines all three volumes of Scott's best-selling Pumping Nylon series. In addition to technical information not available elsewhere, it includes classic etudes by Carcassi, Giuliani, Sor, and Tarrega; musical examples by Bach, Turina, and Rodrigo; and original compositions by Andrew York and Brian Head. Learn easy to advanced repertoire pieces that are selected and designed to work with the various techniques addressed, including arpeggios, tremolo, scale velocity, and more. The included DVD features Scott Tennant, and the MP3 CD features the playing of Scott Tennant and Adam del Monte. --

Not a "method" in the traditional sense, this book explains what happens in the finest classical guitar playing and what in turn the student can do to mold his or her playing to that ideal.

Explains how to select a guitar, understand chords and melodies, how to read notes, explore different musical styles, and details how guitar music is written.

Scott Tennant, world-class classical guitarist and well-respected guitar eduactor, has brought together the most comprehensive technique handbook for the classical guitarist. It is presented here in both standard music notation and TAB. In addition to technical information not available elsewhere, he has compiled selections from Giuliani's 120 Right-Hand Studies; musical examples by Bach, Turina, Rodrigo and others; Tarrega arpeggio studies; and original compositions by Andrew York and Brian Head. Essential information and a great sense of humor are effectively combined in this best-selling book.

Audible Geographies in Latin America examines the audibility of place as a racialized phenomenon. It argues that place is not just a geographical or political notion, but also a sensorial one, shaped by the specific profile of the senses engaged through different media. Through a series of cases, the book examines racialized listening criteria and practices in the formation of ideas about place at exemplary moments between the 1890s and the 1960s. Through a discussion of Louis Moreau Gottschalk’s last concerts in Rio de Janeiro, and a contemporary sound installation involving telegraphs by Otávio Schipper and Sérgio Krakowski, Chapter 1 proposes a link between a sensorial economy and a political economy for which the racialized and commodified body serves as an essential feature of its operation. Chapter 2 analyzes resonance as a racialized concept through an examination of phonograph demonstrations in Rio de Janeiro and research on dancing manias and hypnosis in Salvador da Bahia in the 1890s. Chapter 3 studies voice and speech as racialized movements, informed by criminology and the proscriptive norms defining “white” Spanish in Cuba. Chapter 4 unpacks conflicting listening criteria for an optics of blackness in “national” sounds, developed according to a gendered set of premises that moved freely between diaspora and empire, national territory and the fraught politics of recorded versus performed music in the early 1930s. Chapter 5, in the context of Cuban Revolutionary cinema of the 1960s, explores the different facets of noise—both as a racialized and socially relevant sense of sound and as a feature and consequence of different reproduction and transmission technologies. Overall, the book argues that these and related instances reveal how sound and listening have played more prominent roles than previously acknowledged in place-making in the specific multi-ethnic, colonial contexts characterized by diasporic populations in Latin America and the Caribbean.