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PINK FLOYD Authentic Play-along BASS LIBRO 2CD BASI TABLATURE Wish You Were Here-Time-

PINK FLOYD, Authentic Playalong: Pink Floyd. BASS, 2CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA BASSO CON CD DI BASI E TABLATURE. 

This book and CD set presents a selection of songs by the original stadium innovators, all transcribed in accurate Bass Guitar Tab and complete with a set of authentic backing tracks.

Get your hands around those stunning and unique Roger Waters bass lines - by playing along with the enclosed CDs you'll feel just like a member of the band yourself! Includes Time, Money, and Wish You Were Here.

Another Brick In The Wall (Part 2)
Comfortably Numb
Have A Cigar
Money
See Emily Play
The Fletcher Memorial Home
Time
Wish You Were Here
Young Lust

Prezzo: €29,95
€29,95

CLASSICS FOR ELECTRIC GUITAR John Kiefer LIBRO CD TABLATURE-GIUSEPPE VERDI-DEBUSSY-BACH

CLASSICS FOR ELECTRIC GUITAR, John Kiefer. CD TABLATURE

LIBRO DI MUSICA CON CD, SPARTITI PER CHITARRA. PENTAGRAMMA E TABLATURE. 

Collezione delle trascrizioni "classiche" per la chitarra eletrica moderna. La selezione include alcune Fantasie per flauto di Telemann, C.P.E. Bach's Solfegietto, Saint Saens' Danse Macabre, Debussy's Syrinx e altri. Le tecniche chitarristiche comprendono alternate e hybrid picking, string skipping e sweep picking. Contiene CD con tracce bonus di altri proggetti del autore con Mel Bay.

A collection of "classical" transcriptions for modern electric guitar; selections include several of Telemann's flute Fantasias, C.P.E. Bach's Solfegietto, Saint Saens' Danse Macabre, Debussy's Syrinx and more. Guitar techniques involved include alternate and hybrid picking, string skipping and sweep picking in a time-tested context. Includes companion CD of the selections in a variety of settings. CD also features bonus tracks from the author's other Mel Bay projects.

Product Number: 98672BCD
Formato: Libro/CD

Contenuto:

Saltarello I -- Anonymous
Saltarello II -- Anonymous
Fantasia 1: Vivace -- G.P. Telemann
Fantasia XI: Allegro -- G.P. Telemann
Fantasia VIII: Largo -- G.P. Telemann
Fantasia VIII: Spirituoso -- G.P. Telemann
Fantasia X: A Tempo Giusto -- G.P. Telemann
Fantasia VI: Dolce -- G.P. Telemann
Trio from Suite in A Minor -- G.P. Telemann
Solfeggietto -- C.P.E. Bach
Danse Macabre -- Camielle Saint-Saens
Requiem Dies irae (opening) -- Guiseppe Verdi
Syrinx -- Claude Debussy

Prezzo: €23,99
€23,99

CREED GREATEST HITS GUITAR TABLATURE CHITARRA LIBRO SPARTITI Authentic TAB BOOK

CREED, GREATEST HITS. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA METAL.

SPARTITI PER VOCE E CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Popular rock band Creed's greatest hits are now available to guitarists everywhere! Play along to some of the hottest songs from Creed's three albums including the Grammy Award-winning single "With Arms Wide Open" and other No. 1 hits such as "What's This Life For," "Higher," "My Sacrifice," and more! All songs include complete guitar TAB transcription.

Titles: Torn * My Own Prison * What's This Life For * One * Are You Ready * Higher * With Arms Wide Open * What If * One Last Breath * Don't Stop Dancing * Bullets * My Sacrifice * Weathered.

 

Creed: Greatest Hits
Creed
Item: 00-30593
UPC: 038081333267
ISBN 10: 0739054066
ISBN 13: 9780739054062
Category: Guitar Personality
Format: Book
Instrument: Guitar
Version: Authentic Guitar TAB
Creed: Greatest Hits features transcriptions of some of the band's hottest songs, in both guitar TAB and standard musical notation.

Titles: Torn * My Own Prison * What's This Life For * One * Are You Ready * Higher * With Arms Wide Open * What If * One Last Breath * Don't Stop Dancing * Bullets * My Sacrifice * Weathered.
TITLE COMPOSER


Are You Ready? Mark Tremonti (composer); Scott Stapp (composer)
Bullets Mark Tremonti (composer); Scott Stapp (composer)
Don't Stop Dancing Mark Tremonti (composer); Scott Stapp (composer)
Higher Mark Tremonti (composer); Scott Stapp (composer)
My Own Prison Mark Tremonti (composer); Scott Stapp (composer)
My Sacrifice Mark Tremonti (composer); Scott Stapp (composer)
One Mark Tremonti (composer); Scott Stapp (composer)
One Last Breath Mark Tremonti (composer); Scott Stapp (composer)
Torn Mark Tremonti (composer); Scott Stapp (composer)
Weathered Mark Tremonti (composer); Scott Stapp (composer)
What If Mark Tremonti (composer); Scott Stapp (composer)
What's This Life For Mark Tremonti (composer); Scott Stapp (composer)
With Arms Wide Open 

Prezzo: €29,99
€29,99

SANTANA CLASSIC 1969-1990 Authentic Guitar TABLATURE Song Of The Wind-Samba Pa Ti-Europa-SPARTITI

SANTANA, CLASSIC 1969-1990. 34 titles. SHEET MUSIC BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA ROCK,
SPARTITI PER CHITARRA E VOCE.
ACCORDI, PENTAGRAMMA E TABLATURE. 

 

All I Ever Wanted -Aqua Marine -Bella -Black Magic Woman/Gypsy Queen -Blues For Salvador -Brightest Star -Chill Out (Things Gonna Change) -Europa (Earth's Cry Heaven's Smile) -Every Now And Then -Everybody's Everything -Evil Ways -Flame Sky -Hannibal -The Healer -I Love You Much Too Much -I'll Be Waiting -In A Silent Way -Love Is You -Move On -Mudbone -Naima -Open Invitation -Oye Como Va -The River -Samba Pa Ti -Se Eni A Fe L'amo-Kere Kere -Somewhere In Heaven -Song Of The Wind -Soul Sacrifice -Sweet Black Cherry Pie -This Is This -Toussaint L'Overture -Waves Within -Wings of Grace.TABLATURE


CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Volume 1 of this collector's edition set covers 34 classic songs from Carlos Santana's early years (the '60s through the '80s), all faithfully transcribed in note-for-note guitar TAB.

Titles: All I Ever Wanted * Aqua Marine * Bella * Black Magic Woman * Blues for Salvador * Brightest Star * Europa (Earth's Cry Heaven's Smile) * Every Now and Then * Everybody's Everything * Evil Ways * Flame Sky * Gypsy Queen * Hannibal * The Healer * I Love You Much Too Much * I'll Be Waiting * In a Silent Way * Love Is You * Move On * Mudbone * Naima * Open Invitation * Oye Como Va * The River * Samba Pa Ti * Se Eni a fe L'Amo-Kere Kere * Song of the Wind * Soul Sacrifice * Sweet Black Cherry Pie * This Is This * Toussaint L'Overture * Waves Within.

 

THEORY INTO PRACTICE

FEELINGS

Finivo sempre ad essere incompreso dai musicisti e specialmente i chitarristi quando dicevo che i musicisti di strada riescono ad emozionare di più che i musicisti da studio. Louis Armstrong era un musicista di strada. Non sapeva leggere la musica... come non lo sapeva Wes Montgomery. Non sto dicendo che l'ignoranza è la beatitudine. Miles Davis, Wayne Shorter, loro sapevano leggere la musica e sapevano sentirla. Penso che il criterio più importante della musica è che tu devi  imparare a suonare a "toccare l'accordo ombelicale" universale dell' ascoltatore. In questa ottica non importa come viene chiamata la tua musica: mariachi, rock, psichedelico o jazz, o in qualche altro modo. Non sono un'autorità per questo. Lo sono solo per quello che sento. Nella canzone "Goodness and Mercy", per esempio, ho iniziato a piangere mentre la suonavo. Per qualche motivo quando sono uscito davanti al publico, poi mi sono ritirato fuori dai monitors e quando ho suonato la prima nota, improvvisamente, sono stato sommerso dalle emozioni. Bene quando ti viene da ridere e da piangere contemporaneamente - Mi piace questa emozione. Questo fa' parte della musica.

 

FEELINGS

I get into a lot of trouble with musicians, especially guitar players, when I say that street musicians penetrate deeper than the studio-session musicians in feeling. Louis Armstrong was a street musician, He couldn't read music; neither could Wes Montgomery. I'm not saying that ignorance is bliss. Miles Davis, Wayne Shorter, they have everything: they can read and they can feel. But I think that the most important criteria in music is that you have to learn how to strike the universal umbilical chord of the listener. And that way they won't care what to call your music: psychedelic mariachi rock or blues or jazz: or anything. I'm not an authority on any of those things. I'm only an authority on what I feel. In "Goodness and Mercy," for example, I was crying when I played that song. For some reason, I went out in front of the PA; I walked out, away from the monitors, and when I hit the note, all of a sudden I started feeling that overspill of emotion. It's okay when you want to laugh and cry at the same time-I love that emotion. That's what music is about.

 

SOUND

Immaginiamo che tu sei un fotografo e vuoi fare la foto dello stagno. Quando tu fa la fotografia ci sono i riflessi del cielo e delle nuvole e poi i petali dei fiori che galleggiano sulla superfice. E dopo, vedi se guardi più nel profondo vedi un grande pesce, e tutto fino al fondo. Un bravo fotografo deve essere capace di catturare tutti e 4 i livelli. Imparare a suonare la chitarra ascoltando T-Bone e Wes Montgomery, e altri come loro, io ho percepito tutti e 4 i livelli in musica.   Oggi non li ricevo dalla maggioranza dei chitarristi, mi arriva soltanto il suono generico del pedale Bob Bradshaw, e la percezione rimane in superfice. Niente cielo, nessun pesce. Quando suoni con questi pedali suoni come chiunque altro e va via la tua personalità. Per me la personalità e individualità e unicità è il più grande dono che Dio ti ha dato. Questo ti fa riconoscere Yngwie Malmsteen o Buddy Guy da 2 note. Così evito di usare pedali che fanno diventare il mio suono come quello di chiunque altro. Io non uso batterie nella mia chitarra, e non uso transistors per  gli amplificatori. Uso valvole. Per me le valvole sono ancora vive. I transistor soffocati. Questo non è il mio suono, non  fatemi suonare così.

 

SOUND

Let's say you're a photographer, and you want to take a picture of a pond. When you take the picture, there's a reflection in the pond of the sky and the clouds. And then, you see flower petals floating on top, and if you look deep down, you see a big fish, and then you see all the way to the bottom. A good photographer should be able to capture all four levels. The way I learned guitar, through T-Bone and Wes Montgomery and people like that, I get all four in the sound. Today I don't get it from a lot of guitar players I only get the generic Bob Bradshaw pedal sound, where you only get the surface. You don't get the sky, and you don't get the bottom, and you don't get the fish. When you play through those pedals, you immediately sound like somebody else, and there goes your personality. To me, personality and individuality and uniqueness is the greatest thing that God gave to you; this is how you can tell Yngwie Malmsteen from Buddy Guy in two notes. So I avoid using pedals that make me sound like somebody else. I don't use batteries in my guitar, and I don't use transistors for amplifiers. I use tubes. To me, tubes are still flesh. Transistors are like saranwrap sound. That's not my sound, so don't make me sound like that.

 

TONE

Mi rivolgo ai cantanati più che ai chitarristi. Dal momento che sò del tono di testa, tono nasale, tono di gola, tono del petto, tono del diaframma. Questo è quello che devono conoscere della mia musica gl'ingenieri del suono. Allora io dico "apri la porta dello studio". Non appena si apre la porta, il suono esce come un prisma di vetro che si mette contro il sole e si vede tutto l'arcobaleno dietro. Io non voglio solo il giallo e l'arancio, voglio l'arcobaleno intero. Questo è il mio tono. Mi domando ora, se io sono l'ospite della registrazione di qualcun altro o è la mia registrazione.  Chiedo agli ingenieri di alzarsi dalle sedie e di lavorare insieme. Ho chiesto a loro di mettere 2 o 3 microfoni in diversi posti, uno sull'altoparlante diffusore, uno nella stanza e uno dietro, in modo da ottenere il modo complete. Faccio 4-7 note, sulla settima nota saltare fuori dagli altoparlanti. Quando io colpisco la sustain nota è l'equivalente del grappolo d'uva. Quando io spremo il grappolo d'uva, e io schizza e ti bagna, questo è quello che voglio. Non voglio un grappolo che lo schiacci e non esce niente. Io voglio riuscire a bagnarti con la mia emozione. E l'unico modo per ottenerlo è che l'ingeniere si emozioni con me. Per fare questo devi fare del tuo meglio. Non è una cosa facile, non è come andare a una festa. A volte è necessario mangiare gli avanzi di ieri. E' come fare delle immersioni con la stessa quantità d'aria, alcune volte trovi le perle, altre volte no. 

 

TONE
I relate to singers more than I do guitar players. Since I'm aware of singers' head tones, nasal tones, throat tones, chest tones and diaphragm tones, this is what I want the engineer to be aware of in my music. Engineers get really insecure. So I say, "Open the studio door." As soon as they open the door, the sound comes out like a prism of glass that you put up against the sun and you see all the rainbow behind. I don't just want the yellows and the oranges; I want the whole rainbow. That's what my tone is about. I demand it now, whether I'm a guest artist on somebody else's record or it's my record. I demand that the engineer get off his seat and go in and work with me. I ask them to put two or three microphones in different places; one on the speaker, one in the room, and one in the back, so you get the whole picture. I do four to seven notes; on the seventh note, I want it to jump out of the speakers. When I hit the sustain note-it's equivalent to a grape. When I squeeze that grape, and it squirts and it gets you wet, that's what I want. I don't want the grape that you squeeze and nothing comes out. I want to be able to get you wet with my emotion, and the only way to do it is to create a thing with the engineer that gets him wet. All you can do is do your best. Not every time you're going to have a feast. Sometimes you have to eat yesterday's leftovers. It's like you go diving, and you use the same amount of air to go down, aod sometimes you catch the pearls and sometimes you don't.

 

PRATICA

Io mi esercito con le scale, e senza le scale
Io suono una nota con il vibrato che suona come qualcuno che si lamenta. A volte quando una persona si lamenta è come un suono universale. Non c'è bisogno di conoscere il giapponese ma dal modo che John Lee Hooker suona tu capisci esattamente cosa sta dicendo. Così mi alleno nel non esprimere le note: do re mi  fa sol la si do. Mi mi alleno a esprime le emozioni umane. Forse penso a Aretha, io penso a Dionne Warwick, e a certe frasi che loro cantano. Così mi esercito l'ultima nota (canta modulazione), quella è la nota che pratico. Dimentico le altre note e ottengo la battuta finale, arrivo alla battuta finale, quindi se si sta suonando Blues o qualsiasi altra cosa sta suonando "Che nota, uomo !". Mi esercito dalle 22 alle 2 del mattino, perchè la mia famiglia si addormenta alle 22. Proseguo a suonare con rhythm machine che mi da un poco di spinta, e poi spengo guardo video di Hendrix o Wes Montgomery, e qualcun altro, poi suono e basta, ed è un poco come cambiare pelle. Nonostante ami molto Wes o T-Bone, Buddy Guy, suono per sbarazzarmi di tuute quelle persone che amo. Registro tutto, lascio girare il nastro, e il mattino dopo ascolto quello che ho registrato, ascolterò solamente, perchè quello é totalmente inconscio. Non sò se quello che ascolto l'ho suonato io.  E mi dico "ho suonato questo stanotte ? e' buono questo, ci sono 4 battune che sono buone. E gli do un voto da 1 a 10. C'è una canzone lì. Poi inizio a lavorarci sopra, e poi tutto d'un tratto trovo qualcosa che quando la gente lo ascolterà dirà "questo è Carlos". Filmo in video-tape le mie performance. Nei concerti quando suoni una nota, e senti quelle grida penetranti come nei vecchi dischi di James Brown, dove tu sai di dare a quella donna di più del suo amante, psichiatra, o rabbino, può fare per lei

(amore, amico, religione. Spesso le isteriche calmano uno poco la loro nevrosi nella prima e nella terza)

 

PRACTICE

I practice scales, and I practice nonscales which get inside the note. I play one note that when you vibrate it, it sounds like somebody holding you and moaning. Sometimes, when a person moans, it's like a universal sound. You don't have to hear lyrics in Japanese or Italian or English or anything; by the way John Lee Hooker moans, you know exactly what he's saying. So I practice not to articulate notes, do-re-mi-fa-sol-Ia-ti do: I practice to articulate human emotions. Maybe I think of Aretha; I think of Dionne Warwick, and certain phrases that they sing. So I practice the last note (sings modulation) - that's the note that I practice. I forget the other notes, and I get to the punchline, if you will, how I deliver the punchline, so, whether you're playing blues or whatever you're playing, they go, "Man, that note!" I practice from 10 o'clock to 2 o'clock in the morning, most of the time, 'cause my family falls asleep by 10. I go through a process of playing with a rhythm machine to give me that momentum, then I turn it off or I'll watch Jimi Hendrix or Wes Montgomery or somebody on video, and after a while I turn everything off and I just play, and it's kind of like a snake shedding its skin. As much as I love Wes or T-Bone or Buddy Guy, I play to get rid of all those people that I love. I tape everything. I just leave it running, and I'll play both sides of the cassette the next morning. I won't play anything; I'll just listen to what I did the night before, because it's totally unconscious. I don't even know that I played it. And I go, "Damn, I played this last night? Ooh, right here, these four bars right here," and I mark it, from 0 to 10. "There's a song right there." Then I start working on it, and then all of a sudden I've found out that thing where I know if people hear, they're gonna say, "That's Carlos." I also tape my performances-and videotape. I listen to the ones that, from one to ten, I got 15. I know which concert spilled over, where you hit a note and you hear those piercing screams that sound like those old James Brown records, where you know you got to that woman beyond what her lover, or the psychiatrist, or the rabbi can do for her. '

 

INSTRUMENT

Paul Reed Smith è ancora la casa. Fondamentalmente suonare le prime tre chitarre che ho comprato da lui nel '79. Le vecchie suonano divinamente, e rimangono in accordate. Hanno ancora quel tono di T-Bone, Wes Montgomery, quel tono di Jimi. Non suono le cose nuove. Uso un vecchio ampli Boogie. La cosa principale è, che entrambi si sono impegnati a dire: 'Noi amiamo la tua onestà, e ti ringraziamo per aver utilizzato la nostra roba'. Paul ha fatto un impegno che egli farà una chitarra ne nel modo in cui lo ha fatto in origine, così, quando io suonerò la chitarra, con o senza amplificatore, il sustain, quando suoni un'accordo, o una nota, con l'amplificatore, avrai una durata molto lunga dellaq notaNon ho bisogno di una certa chitarra o un preciso amplificatore per ottenere il mio tonoAnche con una Stratocaster, o con un Fender o un Pignose, posso raggiungere il mio tono. E' nella sensibilità delle tue dita, e il bagaglio di tutto ciò che si prende dalla vitae si esprime attraverso questo pezzo di legno e le corde, e questa scatola con le manopole. Naturalmente, certe cose rendono più facile tutto, ma a questo puntopenso che anche se prendo una chitarra classica, o una chitarra acustica hollowbody, la gente può dire: "Questo è ancora Carlos."

 

INSTRUMENT

Paul Reed Smith is still the home. I basically play the first three guitars that I bought from him in '79. The old ones sound like they've got the Father, the Son, and the Holy Ghost tone, and they stay in tune. They've still got that T-Bone tone, that Wes Montgomery tone, that Jimi tone. I don't play nothing new. I use old Boogie amps. The main thing is, they both made a commitment to say, 'We love your honesty, and we thank you for using our stuff.' Paul made a commitment that he's gonna make a guitar to go back the way he did it originally, so when I strike the guitar, amplifier or no amplifier, it sustains; when you hit the chord, or the note, beyond the amplifier, you're already sustaining. I don't need a guitar or a certain amplifier to get my tone. Even with a Stratocaster, or with a Fender, or a Pignose, I can get to my tone. It's in the feeling of your fingers, and the content of everything that you take from life, that you express through this piece of wood and the strings, and this box with knobs in it. Of course, certain things make it easier, but at this point, I think that even if I grab an acoustic nylon guitar, or an acoustic hollowbody guitar, people can say, "That's still Carlos."

DIRECTION

Quando ascolto a John McLaughlin o Pat Metheny o Mike Stern, sento come loro espongono così bene, non vorrei suonare  così, a meno che io potessi fare qualcosa che quei ragazzi non hanno fatto. Ho appena ricevuto un video di John Coltrane suonando "Love Supreme", mi ha proprio devastato. Il mio cervello è come un'ameba, come un bambino che sta imparando a scarabocchiare e lui è Leonardo da Vinci, o Michelangelo che dipinge il soffitto della Cappella Sistina. La cosa che vorrei per me, e sarebbe ancora più impegnativa, è quello di andare a scuola e imparare l'armonia, come Miles e Wayne, perché quello è il loro forte, quello che fanno è incredibile. Come Stravinsky, sentono armonicamente. Ti spaventano a morte con il loro contenuto armonico. Suonano una nota, ma gli mettono tutti quegli accordi attorno, e la gente dice: "Buon Dio, come fanno a farlo?" Io Non sento così, mi piacerebbe poter sentire di più, ogni tanto vorrei andare a scuola, come Tony Williams ha fatto, e imparare che, perché questo è affascinante per me. 

 

DIRECTION

When I listen to John McLaughlin or Pat Metheny or Mike Stern, I feel like they cover it so well, I wouldn't play like that, unless I could do something that those guys haven't done. I just got a video of John Coltrane playing "A Love Supreme"-it just devastates me. My brain is like an amoeba, like a kid who's learning how to doodle and he's Leonardo da Vinci, or Michelangelo painting the ceiling. To me, the thing that would be even more challenging is to go to school and learn harmonics, like Miles and Wayne, because that's their forte; what they do is incredible. Like Stravinsky, they hear harmonically. They'll scare you to death with their harmonic content. They play one note, but they put all those chords around it, and people say, "Good God, how do they do that?" I don't hear that; I wish I could hear that more, so I want to go to school sometime, like Tony Williams did, and learn that, because that's fascinating to me.

 

Tony Williams is Born in Chicago and growing up in Boston, Williams began studies with drummer Alan Dawson at an early age and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's "Second Great Quintet." Williams was a vital element of the group, called by Davis in his autobiography "the center that the group's sound revolved around". His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures).

 

TITLE COMPOSER

1981 - All I Ever Wanted - Carlos Santana; Chris Solberg; Alex Ligertwood  - dall'album Marathon

1979 - Aqua Marine - Carlos Santana; Alan Pasqua - dall'album Marathon

1981 - Bella - Carlos Santana; Chester Thompson; Sterling Crew  - dall'album Blues for Salvador

1968 - Black Magic Woman - Peter Green  - dall'album Abraxas

 1987 - Blues for Salvador - Carlos Santana; Chester Thompson  - dall'album Blues for Salvador

1981 - Brightest Star - Carlos Santana; Alex Ligertwood - dall'album Zebop!

1976 - Europa (Earth's Cry Heaven's Smile) - Carlos Santana; Tom Coster - dall'album Amigos

1995 - Every Now and Then - Vernon Reid - dall'album Dance of the Rainbow Serpent

1971 - Everybody's Everything - Carlos Santana ; Milton L. Brown; Tyrone Moss - dall'album Santana III

1967 - Evil Ways - Clarence "Sonny" Henry - dall'album Santana

1973 - Flame Sky - John McLaughlin; Carlos Santana; Doug Rauch - dall'album Welcome

1966 - Gypsy Queen - Gabor Szabo - dall'album Abraxas

1987 - Hannibal - Carlos Santana; Alex Ligertwood ; Alan Pasqua; Raul Rekow - dall'album Zebop!

1940 - I Love You Much Too Much - parole Don Raye; musica Alex Olshanetsky; Chaim Towber - dall'album Zebop!

1977 - I'll Be Waiting - Carlos Santana - dall'album Moonflower

1969 - In a Silent Way - Josef Zawinul -  dall'album Dance of the Rainbow Serpent

1987 - Love Is You - Carlos Santana ; Chester Thompson - dall'album Freedom

Move On - Carlos Santana; Chris Rhyne - dall'album Inner Secrets

1983 - Mudbone - Carlos Santana -dall'album Havana Moon

1973 - Naima - Jone Coltrane; Dennis Lambert; Greg Walke; David Margen; David Potter - dall'album Love Devotion Surrender

1978 - Open Invitation - Carlos Santana; Greg Walker; David Margen; Dennis Lambert; Brian Potter  - dall'album Inner Secrets

1963 - Oye Como Va - Tito Puente - dall'album Abraxas

1970 - Samba Pa Ti - Carlos Santana - dall'album Abraxas

1996 - Se Eni A Fe L'amo-Kere Kere - Babatunde Olatunji  - dall'album Dance of the Rainbow Serpent

1972 - Song of the Wind - Carlos Santana; Gregg Rolie; Neal Schon - all'album Caravanserai

1970 - Soul Sacrifice - Carlos Santana; Gregg Rolie; Marcus Malone; David Brown - all'album Santana

1995 - Sweet Black Cherry Pie-  Carlos Santana; Chester Thompson; Alex Ligertwood - all'album Dance of the Rainbow Serpent

1989 - The Healer - Carlos Santana; John Lee Hooker; Chester Thompson; Roy Rogers - all'album Dance of the Rainbow Serpent

1976 - The River - Carlos Santana; Leon Patillo - all'album Festival

1986 - This Is This - Josef Zawinul - all'album Dance of the Rainbow Serpent

1971 - Toussaint l'Overture - Gregg Rolie; Michael Shrieve; Michael Carabello - all'album Santana III

1972 - Waves Within - Gregg Rolie; Doug Rauch - all'album Caravanaserai 

Prezzo: €199,99
€199,99

BURRELL KENNY BEST OF GUITAR TABLATURE LIBRO ALL NIGHT LONG-All Of You-Body Soul-Broadway Cheetah

BURRELL KENNY, BEST OF. TABLATURE

LIBRO DI MUSICA JAZZ,

SPARTITI PER CHITARRA .

ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: Guitar Recorded Version Softcover - TAB
Artist: Kenny Burrell

14 favorites from this legendary jazz bop guitarist. Includes:

All Night Long
All Of You
Body And Soul
Broadway
Cheetah
Everyday I Have The Blues
Freight Trane
Mood Indigo
Now See How You Are
Phinupi
Satin Doll
Tenderly
A Weaver Of Dreams

96 pages

Prezzo: €25,99
€25,99

PINK FLOYD THE DARK SIDE OF THE MOON Guitar Play-Along 16 DVD TABLATURE CHITARRA BASI VIDEO

PINK FLOYD, THE DARK SIDE OF THE MOON, Guitar Play-Along 16. JAM TRACK DVD. 

VIDEO DVD METODO DI MUSICA ROCK.

PER CHITARRA CON TABLATURE.

BASI PLAY ALONG PER CHITARRA 

TABLATURE 


Series: Guitar Play-Along DVD
Publisher: Hal Leonard Medium: DVD
Artist: Pink Floyd

The Guitar Play-Along DVD series lets you hear and see how to play songs like never before. Just watch, listen and learn! Each song starts with a lesson from a professional guitar teacher. Then, the teacher performs the complete song along with professionally recorded backing tracks. You can choose to turn the guitar off if you want to play along, or leave the guitar in the mix to hear how it should sound. You can also choose from three viewing options. Each DVD includes great songs that all guitarists will want to know!

includes:

Any Colour You Like
Brain Damage
Breathe
Eclipse
Money
Time
Us And Them

Prezzo: €24,99
€24,99

PINK FLOYD-THE DARK SIDE OF THE MOON-Guitar Play-Along Volume 68 CD TABLATURE-Breathe-Eclipse-Money

PINK FLOYD, THE DARK SIDE OF THE MOON, Guitar Play-Along Volume 68. Any Colour You Like -Brain Damage -Breathe -Eclipse -Money -Time -Us and Them. BOOK WITH CD & GUITAR TABLATURE 

LIBRO DI MUSICA ROCK, CON CD.

CD DI BASI PER VOCE E, VOCE E CHITARRA.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

 

Pink Floyd - Dark Side of the Moon
Guitar Play-Along Volume 68
Series: Guitar Play-Along
Format: Softcover with CD - TAB
Artist: Pink Floyd

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch!

Songs: Any Colour You Like - Brain Damage - Breathe - Eclipse - Money - Time - Us and Them.

Inventory #HL 00699809
ISBN: 9781423414100
UPC: 884088089450
Width: 9.0"
Length: 12.0"
56 pages

 

Songs:

- Any Colour You Like  - MUSIC: NICHOLAS MASON, DAVID GILMOUR, RICK WRIGHT - 1973 

- Brain Damage - WORDS & MUSIC: ROGER WATERS - 1973

- Breathe - WORDS: ROGER WATERS - MUSIC: ROGER WATERS, DAVID GILMOUR, RICK WRIGHT - 1973

- Eclipse - WORDS & MUSIC: ROGER WATERS - 1973 

- Money  - WORDS & MUSIC: ROGER WATERS - 1973

- Time - WORDS & MUSIC: ROGER WATERS, NICHOLAS MASON, DAVID GILMOUR, RICK WRIGHT - 1973

- Us and Them - WORDS: ROGER WATERS - MUSIC: ROGER WATERS, RICK WRIGHT - 1973

56 pages

Prezzo: €24,99
€24,99

PINK FLOYD DARK SIDE OF THE MOON LEARN SONGS FROM Step-by-Step Guitar Styles Techniques DVD

PINK FLOYD, THE DARK SIDE OF THE MOON, LEARN THE SONGS FROM, A Step-by-Step Breakdown of Pink Floyd's Guitar Styles and Techniques. DVD

DVD DI LEZIONE PER CHITARRA

Series: DVD
Publisher: Cherry Lane Music
Medium: DVD
Author: Nate LaPointe
Artist: Pink Floyd

A must-have DVD for every Floyd fan, this DVD examines the licks from eight songs on their classic CD. Each guitar part is played up to speed, then broken down note by note. Analyzes: Any Colour You Like - Brain Damage - Breathe - Eclipse - The Great Gig in the Sky - Money - Time - Us and Them.

Any Colour You Like
Brain Damage
Breathe
Eclipse
The Great Gig In The Sky
Money
Time
Us And Them

Prezzo: €32,99
€32,99

MAYER JOHN HEAVIER THINGS Play It Like It Is guitar TABLATURE Clarity-Daughters-Home Life-New Deep-

MAYER JOHN, HEAVIER THINGS. GUITAR TABLATURE

TRANSCRIPTIONS SUPERVISED BY JOHN MAYER.

LIBRO DI MUSICA ROCK,

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Transcribed by Jeff Jacobson under the Supervision by John Mayer 

John Mayer - Heavier Things
Series: Play It Like It Is TAB
Publisher: Cherry Lane Music
Artist: John Mayer
Inventory #HL 02500705
ISBN: 9781575607337
UPC: 073999975963
Width: 9.0"
Length: 12.0"
88 pages

Note-for-note tab transcriptions of the hit -Bigger Than My Body and 9 others from the sophomore release by singer/songwriter John Mayer: Clarity - Come Back to Bed - Daughters - Home Life - New Deep - Only Heart - Something's Missing - Split Screen Sadness - Wheel. Includes a fact-filled intro and a cool -emoticon guide to the songs.

Bigger Than My Body
Clarity
Come Back To Bed
Daughters
Home Life
New Deep
nly Heart
Something's Missing
Split Screen Sadness
Wheel

88 pages


JOHN MAYER GETS INTO SOME HEAVIER THINGS

When John Mayer emerged from the
Underground in 2001 with his debut album,
Room for Squares, he was a little-known 22-
Year-old with an acoustic guitar and
bundless energy. His ascent was rapid,
powered by nonstop touring and intensive
word of mouth, which reached critical mass
just as radio and the video channels were
discovering the young artist, Two years later,
Room for Squares was triple-platinum (the
album remained in the Top 100 after more
than 80 consecutive weeks on the Billboard
TOP 200 chart), spawning three hit singles,
one of which, "Your Body Is a Wonderland,"
earned him a Grammy in 2003 for Best Pop
Vocal Performance.
Mayer's much-anticipated Aware/Columbia
follow-up album, which bears the intriguing
title Heavier Things, demonstrates how far this
single-minded artist has come at this still-early
stage of his career.

''In some ways," Mayer says, "the stakes get
higher when you make a second major-label
record and everyone's looking. And in some
ways absolutely nothing is different, because
your voice still sounds the same, and your
hands still feel the same on the guitar, You just
write your songs, You're just a guy with a
guitar putting in a Thai food order at 9 p.m."

The 25-year-old Mayer possesses a
remarkable c1ear-headedness-fittingly, the
new album opens with a song titled
"Clarity"-and the rarefied level of
consciousness that distinguishes this artist's
songs has as much to do with their impact
as his gift for melody, elevated musicianship,
or disarming personality. All of these
elements, by the way, are present in spades
on Heavier Things.
The album was produced and mixed by Jack
Joseph Puig, whose credits include Sheryl
Crow, No Doubt, the Black Crowes, Hole,
and smart-pop progenitors Jellyfish,
"Jack understood what I wanted to do next,"
Mayer says of his decision to work with Puig.
"We had met by way of friendship, not
connections. I don't like pulling connections
in; I'd much rather make friends. He
understands the romance of making
records. Jack and I pushed each other to the
limits of our knowledge, and that's why the
record is as fresh as it is, There are raw
decisions made outside of the comfort zone
of past achievement."
Heavier Things was tracked in New York,
Mayer's present home, and completed at
Puig's longtime L.A. headquarters, Ocean
Way, In addition to the lead single, the
propulsive, hook-packed rocker "Bigger Than
My Body," the album contains several songs
Mayer performed live on his 2003 summer
tour of amphitheaters and arenas-songs
that became immediate crowd favorites.
These include the poignant "Daughters," the

smoldering, blues-based "Come Back to
Bed," the evocative "Wheel." and
"Something's Missing," which climaxes with a
timely and ingenious things-to-do-today
inventory.
Mayer's longtime bass player, David
LaBruyere, appears on all tracks apart from
the virtually solo acoustic "Daughters," while
keyboardist Jamie Muhoberac plays on
eight. Guest musicians include legendary
jazz trumpeter Roy Hargrove, drummers Matt
Chamberlain, Steve Jordan, and ?uestlove
from the Roots, percussionist Lenny Castro,
and horn player Jerry Hay. Also present are
guitarist Michael Chaves and drummer J,J.
Johnson from Mayer's touring band.

"I came off the road after two years of
straight touring and knew exactly what kind
of record I wanted to make-it wasn't an
accident," Mayer says of the process that led
to the creation of Heavier Things. "I wanted
to write songs this time that always felt good
under my hands, no matter what. The only
real criterion for the record was, 'Is it fun to
play? Is it physically fun to feel the vibration
of the strings or the feel of my throat when
I'm singing it?' If an idea didn't meet that
criterion, it got dumped.
"This record isas different from the last one as
I am from the last time I made a record," he
adds. "What that amount is, I don't know,
and I'm really interested to find out"

Song List:

Bigger Than My Body - Words and Music: JOHN MAYER - 2003
Clarity - Words and Music: JOHN MAYER - 2003
Come Back To Bed - Words and Music: JOHN MAYER - 2003
Daughters - Words and Music: JOHN MAYER - 2003
Home Life – Words: JOHN MAYER - Music: JOHN MAYER, DAVID LaBREYURE - 2003
New Deep - Words and Music: JOHN MAYER - 2003
Only Heart - Words and Music: JOHN MAYER - 2003
Something's Missing - Words and Music: JOHN MAYER - 2003
Split Screen Sadness - Words and Music: JOHN MAYER - 2003
Wheel - Words and Music: JOHN MAYER - 2003

Prezzo: €29,99
€29,99

MAYER JOHN, CONTINUUM Play It Like It Is guitar TABLATURE Gravity-Waiting on the World to Change-Bold as Love

MAYER JOHN, CONTINUUM. TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOHN MAYER IN PERSON.

 

Continuum 

Music by John Mayer

Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - 
Guitar TAB
Artist: John Mayer

Mayer was recently lauded by Rolling Stone for his massive guitar talent. This folio features notes & tab for all 12 songs from his third CD, including the hits “Gravity” and “Waiting on the World to Change,” plus his cover of Hendrix's “Bold as Love.” Also includes an intro on the making of the album.

Grammy Winner! Best Pop Vocal Album

Inventory #HL 02500986
ISBN: 9781575609447
UPC: 884088129477
Width: 9.0"
Length: 12.0"
100 pages

Belief
Bold As Love
Dreaming With A Broken Heart
Gravity
The Heart Of Life
I Don't Trust Myself (With Loving You)
I'm Gonna Find Another You
In Repair
Slow Dancing In A Burning Room
Stop This Train
Vultures
Waiting On The World To Change

 


... musician, and get to a point somewhere between
the Trio record and Room for Squares-and
that's a really good place to be."
While the Trio tour showcased Mayer's blazing
fretwork, he says he learned lessons from those
shows about restraint. "When I made my first
record, there was no trust in space because it was
all me; everything was just on those six strings," he
says. "With Steve and Pino it was all about space,
using a whole different palette. When your tone is
good on the guitar, you need, like, four notes. The
more concise and right you have it, the less you
need around it." One listen to such spare, carefully
crafted songs as "Slow Dancing in a Burning
Room" or "I Don't Trust Myself (With Loving You)"
instantly reveals this new approach.
Mayer points to one song in particular as
the turning point for Continuum. "I wrote 'Gravity'
last summer, and it changed everything," he
says. "You talk less when you trust that people
understand you. 'Gravity' had to be sparse. And
when I listened to it for the first time, holding
back, it was a whole new game. That might be
the most important song I ever wrote."
Armed with this outlook, Mayer knew
Continuum would tackle larger ideas than
those that defined his previous albums. "A big
challenge was writing about big themes," he
says. "I'm not a better writer in terms of sitting
down in front of a pad, but I'm better in terms
of receiving inspiration and converting it into
something 'real' quicker. I'm better equipped to
deal with those moments."
The hard-hitting "Belief" tackles an
infinitely complex subject. Over a slinky,
hypnotic guitar groove, he sings, "We're never
gonna win the world, we're never gonna stop
the warlWe're never gonna beat this if belief is
what we're fighting for," questioning the power
and the limitations of faith and convictions.
"It's an intellectuallandmine-how do you
write a song about what people believe without
impugning their belie s?" he asks. I wanted
to get right next to people's beliefs and look at
them without threatening them. It's tricky. You
only get x number of syllables and you have to
write something you can defend."
With "Waiting on the World to Change,"
Mayer shot for something even more ambitious something
like an attempt to explain his
generation's attitudes about politics. "It's
meant to shed a little light on inactivity and
inaction," he says, "because I don't believe that
inaction is a lack of interest. I think inaction is
preservation-nobody wants to get involved in a
debate in which the rules and facts will change
so that they'll lose. So we end up with this other
option, which is, I guess we'll just have to wait
for things to get better.
Continuum also includes the first cover
Mayer has put on an album, his version of "Bold
As Love" by the incomparable Jimi Hendrix. "To
me, it's the quintessential Jimi Hendrix song,"
says Mayer. "The sensitivity, the imagery, the
power. I also think the third record is the time
when you challenge everybody. It's your throwdown.
Ilike inviting the challenge of, Should
this guy even touch Hendrix's music? To which I
answer, Well, everybody should. Why not?"
Ultimately, Continuum represents maturity,
both musically and thematically, for John
Mayer-a concept that he wasn't comfortable
with until now. "A lot of these songs are about
coming to terms with getting older," he says.
"My generation was never told we were going to
get older. We thought we were going to hear our
names on Romper Room for the rest of our lives.
For a long time, I was really upset about getting
older, worried that things were just going to level
out. But then I realized that everyone around me
was getting older at the same time. We're all
fighting it together, and we're always going to
be those kids, the first really emotionally aware
generation. When I realized that, I could relax
about it a little bit. And I thought that maybe I
can be the guy to sing about it.

Continuum
Series: Play It Like It Is TABLATURE Guitar
Song List:

Belief - Words and Music: John Mayer - 2006
Bold As Love - Words and Music: Jimi Hendrix - 1968
Dreaming With A Broken Heart - Words and Music: John Mayer - 2006
Gravity - Words and Music: John Mayer - 2005
The Heart Of Life - Words and Music: John Mayer - 2006
I Don't Trust Myself (With Loving You) - Words and Music: John Mayer - 2006
I'm Gonna Find Another You - Words and Music: John Mayer - 2006
In Repair - Words and Music: John Mayer, Charlie Hunter - 2006
Slow Dancing In A Burning Room - Words and Music: John Mayer - 2006
Stop This Train - Words and Music: John Mayer, Pino Palladino - 2006
Vultures - Words and Music: John Mayer, Pino Palladino, Steven Jordan - 2006
Waiting On The World To Change - Words and Music: John Mayer - 2006

Prezzo: €28,99
€28,99
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