Plucked instruments Books

Book SynopsisOver 30 of the greatest jazz songs ever, specially arranged for ukulele. Includes full lyrics, strumming patterns and ukulele chord diagrams.Trade ReviewI just want to say how much I have enjoyed your arrangements in The Ukulele Jazz Playlist (Purple Book) that I bought in France last year. The songs are great, the chords are great and the arrangements are excellent. The best uke book I've seen. Please do another! Dan T-J Table of ContentsAin't Misbehavin (Fats Waller); Autumn Leaves (Nat King Cole); Bewitched (Ella Fitzgerald); Come Away With Me (Norah Jones); Cry Me A River (Julie London); Embraceable You (Dinah Washington); Fascinating Rhythm (Jamie Cullum); A Foggy Day (Michael Bublé); Hit The Road Jack (Ray Charles); Is You Is, Or Is You Ain't My Baby (Louis Jordan); It Had To Be You (Frank Sinatra); Let There Be Love (Nat King Cole); Let's Call The Whole Thing Off (Ella Fitzgerald & Louis Armstrong); Let's Face The Music And Dance (Diana Krall); The Look Of Love (Hal David and Burt Bacharach); Lullaby Of Birdland (Sarah Vaughan); Mad About The Boy (Dinah Washington); Moondance (Van Morrison); My Baby Just Cares For Me (Nina Simone); My Funny Valentine (Chet Baker); Someone To Watch Over Me (Ella Fitzgerald); Stormy Weather (Lena Horne); Straighten Up And Fly Right (Nat King Cole); Summertime (Billie Holiday); They Can't Take That Away From Me (Bing Crosby & Peggy Lee); Too Darn Hot (Mel Torme); The Way You Look Tonight (Fred Astaire); What A Difference A Day Made (Dinah Washington); What A Wonderful World (Louis Armstrong); When You're Smiling (Louis Armstrong); Yeh Yeh (Georgie Fame & The Blue Flames)

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Book SynopsisThe saz or bağlama, a generic name for long-necked lutes in Turkey, plays an important role in the Turkish musical culture. It forms the core of all folk musical ensembles and orchestras and is a popular instrument in the arabesque, entertainment, and pop music. It is the instrument par excellence in Turkish music education and in the religious rituals of the levi and Bektaşi. The saz or bağlama can also be heard as a solo instrument on international concert stages. Acknowledging the instrument’s unique place in Turkey, The Turkish Long-Necked Lute Saz or Bağlama, an updated and revised edition of the Dutch book Turkse Langhalsluit of bağlama, mainly focusses on its cultural and historical background while briefly discussing various saz or bağlama types and their construction, tuning, and playing techniques.Table of ContentsPreface and Acknowledgements ; General Introduction ; Chapter-1 Historical Background ; Tanbûr, Saz, Bağlama ; Early and Late Antiquity ; The Spike Lute ; The Necked Lute ; The Sâsânian Tunbûr ; The Umayyad and Abbâsid Tanbûrs ; The Rum-Seljuks ; The Anatolian Long-Necked Lutes ; The Ottoman Empire ; Court and City ; The Saz in the Work of European Artists and Travellers ; The Saz in Anatolian Folk Music ; The Saz in the şık, Alevî, and Bektaşî Tradition ; The Diffusion of the Saz ; The Republic of Turkey ; The Saz and the Establishment of a National Musical Culture ; The Development of the Contemporary Bağlama ; Towards a New Generation of Bağlamas ; Trends in Bağlama Performance ; Migration and the Bağlama in Western Europe ; The Bağlama in the 21st Century ; Chapter-2 Variation versus Standardization ; The Bağlama Family ; The Cura ; The Bağlama ; The Tambura ; The Divan Sazı ; The Meydan Sazı ; Variation versus Standardization ; Chapter-3 Construction ; The Choice of Wood ; The Drying of Wood ; Construction Process ; Bowl ; Soundboard ; Frets, Bridge, and Strings ; Ornamentation ; Chapter-4 Tuning ; String Tuning ; Fret Tuning ; Countryside ; City ; Chapter-5 Playing Technique ; Playing Position ; Finger Positions ; Plectrum Techniques ; Finger Techniques ; Execution Melody ; Horizontal Techniques ; Vertical Techniques ; Glossary of Musical Instruments and Terms ; Discography ; Bibliography ; Illustration Credits ; A Note on Turkish ; Index

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Book SynopsisThe Ottoman Tanbûr provides a detailed study of the history of this long-necked lute-like instrument, its role in Ottoman music, construction and playing technique. Tanbûrs are played in the art, Sûfî, and folk musical traditions along the Silk Road and beyond. In Turkey, the name tanbûr is mainly used as a name for the long-necked tanbûr of Ottoman art music, the Ottoman tanbûr. The origin and early development of the Ottoman tanbûr is, notwithstanding its importance, still not fully understood due to the absence or scarcity of literary and iconographical sources, while well-preserved Ottoman tanbûrs are rare or non-existent. The book explores the political and cultural-historical conditions that contributed to the development of a distinct Ottoman Art music (Osmanlı san’at mûsîkîsi) in the seventeenth and eighteenth centuries and the central place given to the tanbûr. Thereafter, Ottoman art music and the Ottoman tanbûr suffered from official neglect until the end of the Ottoman Empire in 1918 and even rejection after the establishment of the Republic of Turkey in 1923. This situation changed after the foundation of the first Turkish music conservatory in 1975 at the Istanbul Teknik Üniversitesi (ITÜ). The revival of Ottoman art music since the 1990s resulted in a rehabilitation of Ottoman art music and of the Ottoman tanbûr whose days had seemed to be numbered.Table of ContentsList of Figures ; Preface and Acknowledgements ; General Introduction ; Chapter 1: The Turko-Persian Culture and Heritage ; Introduction ; The Rûm-Seljuq Turko-Persian Culture in Anatolia ; The Tîmûrid Turko-Persian Art Music ; The Safavids and Tîmûrid Turko-Persian Art Music ; The Ottomans and Tîmûrid and Safavid Turko-Persian Art Music ; The Decline of Ottoman Turko-Persian Art Music ; Chapter 2: The Rise of Ottoman Art Music and Ottoman Tanbûr ; Introduction ; The Origin of the Ottoman Tanbûr ; The Ottoman Tanbûr in the 18th Century ; Chapter 3: Negligence, Rejection, and Revival of Ottoman Art Music ; Introduction ; The Ottoman Tanbûr in the 19th and Early 20th Century ; Ottoman Art Music and Ottoman Tanbûr and The Republic of Turkey ; Chapter 4: Construction ; Introduction ; The Anatomy of the Ottoman Tanbûr ; The Choice of Wood ; The Drying of Wood ; Construction Process ; The Bowl, Neck, and Soundboard ; Bridge, Nut, and Tailpiece ; Frets, Strings, and Tuning ; Ornamentation ; Chapter 5: Playing Technique ; Introduction ; Playing Position ; Left Hand Finger Technique ; Right Hand Plectrum Technique ; Execution Melody ; Appendix 1: Ottoman Tanbûr - Charles Fonton ; Appendix 2: Ottoman Tanbûr - Guillaume-André Villoteau ; Appendix 3: Ottoman Tanbûr - Raûf Yektâ ; Discography ; Bibliography ; Glossary ; Illustration Credits ; Index

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