(Guitar Solo). The arrangements in this book are carefully written for intermediate-level guitarists. Each solo combines melody and harmony in one superb fingerpicking arrangement. The book includes an easy introduction to basic fingerstyle guitar; and these fantastic songs: Cant Help Falling in Love * Fly Me to the Moon * Georgia on My Mind * I Could Write a Book * I Just Called to Say I Love You * Ive Grown Accustomed to Her Face * In a Sentimental Mood * Just the Way You Are * Misty * Moon River * My Favorite Things * Unchained Melody * The Way We Were * What a Wonderful World * When I Fall in Love * Yesterday * You Are So Beautiful.
#287313 in eBooks 2017-06-01 2017-06-01File Name: B00G958X0Y
Review
1 of 1 people found the following review helpful. Compelling Case for the First FolioBy J. E. RyanIn Shakespearersquo;s Authentic Performance Texts: The Case for Staging from the First Folio; Graham Watts turns an experienced directorrsquo;s eye on Shakespeare texts; particularly the First Folio; and on Shakespeare performance. Watts is extremely knowledgeable not only about the many texts; ranging from the earliest quartos through the various folios on up to modern editions; but also about the historical context and conditions of the early printings. (One of the pleasures of reading the book is coming across interesting nuggets about; say; the printer William Jaggard continuing to proofread while sickened with syphilis.) Emphasizing that Shakespeare was an actor; Watts tests editorial changes to the First Folio by one overriding measure: Is it playable? Does it enrich rather than constrict the actorrsquo;s options? He makes a compelling case for a closer adherence to the Folio; (which was; after all; ushered into print by Shakespearersquo;s colleagues of twenty years); and demonstrates that the folio is both an aid to the actor and an amplification of interpretive possibilities.The bookrsquo;s first four revelatory chapters are devoted to a detailed examination of modern editions as they depart from the First Folio. Throughout; Watts refers to modern editors as ldquo;editors/adaptorsrdquo; because the changes they make to the folio are so extensive. In the most interesting chapter Watts demonstrates how useful the features usually smoothed out of the Folio text can be to actors and directors. Apparently unimportant details of italic type; capitalization; ldquo;mislineation;rdquo; and spelling are all shown to be valuable clues to an enriched performance.Once Watts has established the value of the folio; he turns to performance issues. After considering briefly some fundamentals of acting; Watts demonstrates by means of Iago the creation of character as a succession of roles; emphasizing the immediacy of the actorrsquo;s task; that it is ldquo;in the momentrdquo; that character is realized. He then addresses in ldquo;Ambiguityrdquo; the wide range of choices moment to moment that the folio text offers an actor; he examines in great detail an episode between Gower and Fluellen in Henry V in which each few lines of text has up to four pages of commentary. In the penultimate chapter Watts provides some exercises he uses as a director and finally caps the book with an analysis of the actorrsquo;s many choices in playing the main characters in Measure for Measure.This is emphatically a directorrsquo;s take on Shakespeare. Its aim is not a rigorous academic analysis. In fact; Watts often chides academics; saying; for example; that they use the word ldquo;problemrdquo; of Measure for Measure ldquo;because the text causes them problems when trying to locate a central lsquo;meaningrsquo;mdash;a pretty fruitless task in such a hellip;.deliberately ambiguous play.rdquo; ldquo;Faculty thinking;rdquo; as Watts calls it; takes actors out of their bodies; where they should be; and into their heads. Instead Watts wants to ldquo;free actors from the yoke of Shakespearersquo;s editors and encourage them to make their own selections based on the folio;rdquo; and he devotes most of his interest to the creation of character on stage; in each case floating speculative back stories; imagining post-play narratives and in general playing with the play; without attempting to find or fix a ldquo;central meaning.rdquo; In large and small matters; Watts chooses the option that in his estimation plays better; that allows the actor a greater range of possibilities. For example; he prefers the Foliorsquo;s ldquo;cryingrdquo; over the Quartorsquo;s ldquo;coining;rdquo;mdash;that is; counterfeiting coins stamped with the Kingrsquo;s image; which is the more usual editorial choicemdash;in the following quote of Learrsquo;s: ldquo;No; they cannot touch me for crying/coining. I am the King himself.rdquo; ldquo;rsquo;Crying;rsquo;rdquo; Watts comments; ldquo;gives the actorhellip; an action whereas lsquo;coiningrsquo; relies on the audience having an in-depth knowledge of Jacobean history.rdquo; While there may be disagreement about some of Wattsrsquo;s readings; overall he provides an exacting and revealing look at the folio and a fascinating range of acting and staging possibilities.1 of 1 people found the following review helpful. how printed Shakespeare texts have changedBy willis fireballA great survey of how printed Shakespeare texts have changed in the last 400 years; this book presents the case for using (or at least consulting) the original plays as printed in the 1623 First Folio. This is especially meant for directors and actors who need to bring the characters to life; but any reasonably hardcore Shakespeare fan will find plenty in these new pages. There have been such extensive changes to the texts through the centuries that things have inevitably been lost. Mr. Watts presents the extensive downside of this situation. From his vast experience directing Shakespeare in a variety of places; and from his familiarity with the texts of the plays (quartos and folios to modern editions); he discusses the significance of the original word choice; spelling; capitalization; punctuation; prose/poetry; meter; characters; and context. Hundreds of text examples from the entire canon (and even the non-Folio poems) demonstrate changes from the First Folio. Its a lot to digest; and of course its not the easiest language; but Mr. Watts is very readable; at times even pleasantly cheeky.Mr. Watts doesnt delve into questions of authorship of the plays or authenticity of the folio texts; he merely argues that the First Folio; prepared by the actors Heminge and Condell who acted the plays; is an invaluable resource for producing the plays as they were originally performed.1 of 1 people found the following review helpful. This book will be on the directors table for my upcoming production of Othello!By Tom RobenoltA must read for actors; directors and anyone with an interest in Shakespeare! As a professional actor/director/arts administrator I highly recommend this book to those with an interest in William Shakespeares text. I have had the privilege of working with Graham Watts as an actor on five different productions and can say that this book is just the beginning to his knowledge and passion. "Shakespeares Authentic Performance Texts: The Case For Staging From The First Folio" will be on the directors table for my upcoming production of Othello!