MIKE STERN

MIKE STERN JAZZ NOTES TABLATURE DVD METODO CHITARRA SPARTITI

MIKE STERN, JAZZ NOTES. SHEET MUSIC BOOKLET WITH GUITAR TABLATURE. DVD

VIDEO METODO DI MUSICA JAZZ / ROCK / FUSION. 

LIBRO DI SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

DVD

Series: DVD

Publisher: Guitar Webinars

Format: DVD - TAB

Artist: Mike Stern

Jazz Notes is your opportunity to take a lesson from a true jazz master. Mike discusses his background, the learning process, the importance of chord tones and embellishments, tension tones and lots of melodic ideas for major, minor and dominant chords. Additional solos include dozens of lines for the II-V-I progression plus 13 choruses of a jazz-blues jam. All is transcribed in music and tablature in the PDF included on the disc. 1 hr., 7 min.

Run Time: 1:07:00

Prezzo: €34,99
€34,99

STERN MIKE Guitar Styles & Techniques of a Jazz-Fusion Signature Licks CD TABLATURE SPARTITI

Mike Stern, A Step-By-Step Breakdown of the Guitar Styles & Techniques of a Jazz-Fusion Pioneer. SHEET MUSIC BOOK WITH CD.

LIBRO METODO DI MUSICA FUSION CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Serie: Signature Licks Guitar

Formato: Softcover with CD - TAB
Autore: Joe Charupakorn
Artista: Mike Stern

Scopri la magia di un asso di chitarra Mike Stern con l'edizione speciale di Assoli d'Autore che includono le interviste e le lezioni con Stern, informazini esclusive sull'attrezzatura, l'analisi approfondita di 14 titoli e in più un CD audio con tutti  gli esempi musicali del libro. Le canzoni sono: After You • Jigsaw • Like Someone in Love • One Liners • Play •Sunnyside • Swunk • There Is No Greater Love • Tipatina's • Wing and a Prayer • e altre.

Larghezza: 9.0"
Lunghezza: 12.0"
128 pagine

 

After Blood, Sweat & Tears, Stern returned to Boston and played with saxophonist

Jerry Bergonzi (who he met through his teacher, the late Charlie Banacos). He also took

over Bill Frisell's spot in trumpeter Tiger Okoshi's Tiger's Baku, a band that Frisell helped

put together. In 1979, Stern landed his next big gig, with drummer Billy Cobham. During

a gig with Cobham at the now-defunct Bottom Line in New York City, Miles Davis (at the

suggestion of saxophonist Bill Evans) came to check out Stern. He liked what he heard

and Stern got the ultra high-profile gig for Davis's 1981 comeback tour. It was a major

milestone in Stern's career, and one that catapulted him into jazz stardom.

Stern played on three Miles Davis albums: The Man With the Horn, which featured a

burning solo on the first cut "Fat Time" (named in Stern's honor for both his great timefeel

and his at-the-time, corpulent physique); We Want Miles, a great live album; and Star

People, which also featured guitarist John Scofield, who was recruited as a second guitarist

because of Stern's then drug and alcohol problem. Having gradually become unreliable,

Davis ultimately let Stern go, to sober up.

During this time, Stern reconnected with Jaco Pastorius, playing in his Word of Mouth

band. They also played together nonstop when Stern lived above 55 Grand Street, a New

York City jazz club they played at since its inception (not to be confused with the 55 Bar

on Christopher Street, where Stern currently plays twice a week when he's in town). Jaco

wound up crashing at Stern's pad and the two were inseparable, playing at all hours of

the day and blowing lines over changes. Alas, they were also doing "white lines" to the

point of losing control. Stern checked into rehab, and in 1985, the cleaned-up guitarist

rejoined the Miles Davis band. Pastorius, however, never cleaned up. The drugs and alcohol

had severely impacted his mental state and behavior for the worse, and in 1987, during

an altercation with a bouncer outside a nightclub in Florida, he was tragically beaten

to death.

Since his tenure with Miles Davis, Stern has gone on to perform and record with

Michael Brecker, the Brecker Brothers, Bob Berg (with whom he co-led the Mike Stern/

Bob Berg band), Jaco Pastorius's Word of Mouth band, Steps Ahead, David Sanborn, Joe

Henderson, George Coleman, Ron Carter, Jim Hall, and Pat Martino, among others.

Stern has also recorded numerous solo albums-the first being Neesh, in 1983, which

was recorded for Trio (a Japanese label), right after Stern first left Miles Davis's band. It

was recently re-released, but only in Japan (on Absord Music Japan). In 1986, Stern

signed a deal with Atlantic Records and recorded Upside Downside. This marked the

beginning of a 15-year association with Atlantic Records that spawned ten albums and

three Grammy nominations. In 2004, with the demise of the jazz department at Atlantic

Records, Stern recorded his first album for ESC Records, These Times (now available on

BHM Records). In 2006 Stern moved to Heads Up International Records for his release

Who Let the Cats Out?, which garnered Stern a fourth Grammy nomination. A live DVD,

Live-New Morning The Paris Concert was also released in 2006, by independent

German label, lnakustik. This DVD featured Richard Bona, Dennis Chambers, and Bob

Franceschini. In 2009, a sequel to Live-New Morning The Paris Concert was released

and features Tom Kennedy, Dave Weckl, and Bob Franceschini. Big Neighborhood,

Stern's most explosive guitar album to date, was also released in 2009 and featured virtuoso

guitarists Steve Vai and Eric Johnson, among others. Stern's earlier Atlantic recordings,

with the exception of Play and Voices (which are still available through Warner

Music), are now distributed by Wounded Bird Records, a CD-only re-issue label.

Despite Stern's enormous status as a world-renowned jazz-fusion guitar virtuoso, his

prodigious technical abilities (which he seamlessly combines with a heartfelt lyricism),

and his impressive history onstage with countless jazz legends, Stern is a humble and

grounded musician whose sole mission is to constantly grow as a player. "The more I

know, the less I know" is one of Stern's favorite quotes, and it is indicative of his approach

to music, as a neverending quest.

For this Signature Licks edition we have enlisted Mike Stern as a consultant. He offers

not only unique analytical and historical insight for each selection but also a special private

lesson, to help you understand the theory behind his burnin' lines. And indirectly,

large portions of the information in this book have been gathered over the years, during

my studies with Stem and om itnessing countless live shows.

 

ONE ON ONE WITH MIKE STERN

What was the first jazz solo that had an impact on you?

Well that's a hard question because my mom used to playa lot of jazz records so I always

heard jazz around the house. I started playing when I was 12, but I was 17 when I started

getting more into jazz. I guess it was something off a Miles Davis record. One of the

first records I used to scope was Herbie Hancock's Maiden Voyage. That was one of the

first albums that I checked out and tried to play along with. At the time, I was listening to

more blues, rock, and Motown, and playing along by ear.

When you played along with Maiden Voyage, were you soloing over it or were you

trying to play the actual parts?

I was doing a little bit of both-the actual parts and the solos.

Do you remember the first solo you transcribed?

Yeah, it was a Joe Pass solo. I picked a blues because it's an easy form and Joe's solo

had a lot of inside bebop. It was a medium swing, not a real fast tempo.

Did he playa lot of sixteenth notes in the solo?

He was playing a lot of eighth notes, just a lot of really cool bebop lines. Joe was a very

clear, inside player in a lot of ways. He didn't go outside the key too much, and it was very

clear what he did when he did go out, the way he outlined it. He was amazing like that.

There was a lot of bebop vocabulary; he used to play with Oscar Peterson. It took me

about three weeks to transcribe the solo. I had to slow the record player down, which

almost ruined the record. Finally I taped it and finished the rest. Later on I showed it to

some people and they said most of it was wrong [laughs]. But doing it myself was amazingly

helpful.

After you learned the solo did you take licks from it and use them in your own playing?

A little bit, and some of the phrasing, too. It's like when you read a book or short storyyou

don't memorize every word; you just take certain things away from it and then enough

of the remaining information goes unconsciously into your brain, or in the case of music,

into your ear. Over time, if you take from enough different solos from different people, you

don't sound like just one guy.

For a long time now, I've been more into copping piano and saxophone solos. But

when I was first transcribing, it was guitar because it was my own instrument-and that

was hard enough. But like I said, transcribing lines for myself was really helpful; I got a lot

more out of it that way than from reading it from a book.

Were you writing out the solos?

Yeah, I wrote them down. Then I'd read through it, not so much to cop licks but more like

reading a magazine or a short book, where you might remember a couple of phrases and

quote from it-you don't memorize every word. Some people go too far and memorize the

whole solo, but the idea is to learn how to phrase unconsciously and then twist it around

your own way, as a kind of springboard for your own ideas. That way you get a vocabulary

in a certain style; for instance, if you want to work on your bebop vocabulary, you do

a lot of bebop players. I did a bunch of guitar players at first-Joe Pass, Jim Hall, Wes

Montgomery, George Benson-and then I got into horn players.

INTRODUCTION
DISCOGRAPHY
THE RECORDING
ABOUT THE AUTHOR
MIKE STERN'S GEAR
ONE ON ONE WITH MIKE STERN
BOP 'N ROLL: A LESSONS WITH MIKE STERN

After You - Mike Stern - 1986
Jigsaw - Mike Stern - 1989
Like Someone In Love - Words: Johnny Burke, Music: Jimmy Van Heusen - 1944
Odds Or Evens - Mike Stern - 1991
One Liners - Mike Stern - 1997
Play - Mike Stern - 1999
Showbiz - Mike Stern - 1996
Sunnyside - Mike Stern - 1996
Swunk - Mike Stern - 1994
That's What You Think - Mike Stern - 1997
There Is No Greater Love - Words: Marty Symes, Music: Isham Jones - 1936
Tipatina's - Mike Stern - 1999
Upside Downside - Mike Stern - 1986
Wing And A Prayer - Mike Stern - 1996

Prezzo: €29,99
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STERN MIKE THE BEST OF Guitar Recorded Version TABLATURE LIBRO SPARTITI CHITARRA ACCORDI

STERN MIKE, THE BEST OF. 184 Pagine. GUITAR TABLATURE

LIBRO DI MUSICA JAZZ.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Guitar Recorded Version TAB
Artist: Mike Stern

17 guitar transcriptions with tab from this jazz guitarist who got his start playing with Miles Davis in the '80s. Includes: Chromozone - Little Shoes - Mood Swings - Nardis - Sunnyside - There Is No Greater Love - Wing and a Prayer - and more. 184 pages

Chromozone
Jigsaw
Like Someone In Love
Little Shoes
Mood Swings
Nardis
Odds Or Evens
Play
Sunnyside
Swunk
That's What You Think
There Is No Greater Love
Time In Place
Tipatina's
Upside Downside
What I Meant To Say
Wing And A Prayer

Prezzo: €26,99
€26,99

STERN MIKE, GUITAR INSTRUCTIONAL. TABLATURE DVD

STERN MIKE, GUITAR INSTRUCTIONAL. Featuring LIVE PERFORMANCES at the 55 Bar on New York City. TAB. DVD

Practice routine, picking harmonics.
Running time: 1hr. 6 min.

Grammy-nominated jazz guitarist Mike Stern has been in the public eye (and ears) since he was a member of the Miles Davis Band in the early '80s. His prolific performances and recordings have earned him recognition as one of the best and most popular contemporary guitarists today. This, his first instructional DVD, includes four live performances by Mike and his band at the 55 Bar in New York City, the historical club in which Mike has played for over 15 years, accompanied by many great musicians, including Jaco Pastorius. Additionally, in an exclusive interview with New York-based jazz guitarist Satoshi Inoue, Stern offers his own analysis and explanation of each tune. The songs a blues, a standard, a ballad, and a funk tune were carefully selected by Mike himself in order to demonstrate every aspect of his guitar performance and techniques. He also gives insight into his background, influences and practice routines, and provides a thorough review of his gear configurations. Everything you need to know about this versatile guitar master! Includes lesson sheets. 1 hour, 6 minutes. Song: I Love You.

Prezzo: €33,00
€33,00

STERN MIKE ORIGINAL SCORES LIBRO TABLATURE MARK EGAN CHITARRA BASSO BATTERIA AFTER YOU

STERN MIKE, ORIGINAL SCORES. SHEET MUSIC BOOK WITH BASS & GUITAR TABLATURE . 

LIBRO DI MUSICA FUSION ,

PARTITURA DI OGNI STRUMENTO CON TABLATURE. 

SPARTITI PER CHITARRA, BASSO, BATTERIA, CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

CHITARRA E BASSO CON TABLATURE . 

 

- After you (con Mark Egan al basso) -another way around -chromazone -jigsaw -loose ends -mood swings (con Jaco) -time in place -upside downside (con Mark Egan al basso).

 

Transcriptions de Mike Stern;

Dennis Chambers;

Peter Erskine;

Steve Jordan;

Dave Weckl;

Jaco Pastorius;

Mark Egan and Jeff Andrews 

 

Per chitarra Tablature, basso Tablature, batteria. 131 Pagine. SCORE TABLATURE

DRUMS TRANSCRIBED BY : PATRICK BUCHMANN . 

BASS TRANSCRIBED BY : 

GUITAR TRANSCRIBED BY : 

Prezzo: €99,99
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STERN MIKE ULTIMATE PLAY-ALONG FOR GUITAR BOOK & 2 CD TABLATURE CHITARRA SPARTITI METODO

STERN MIKE, ULTIMATE PLAY-ALONG FOR GUITAR. Basi complete. 2 CD. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA FUSION CON 2 CD. 

CD CON BASI JAM TRAX PER CHITARRA. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Ultimate Play-Along for Guitar
By Mike Stern with Askold Buk
SERIES: Ultimate Play-Along Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs

Ultimate Play-Along for Guitar has been developed so that the beginner to intermediate level guitarist can practice in different styles along with all-star musicians including Mike Stern on guitar, John Patitucci on bass and Dave Weckl on drums. This book and CDs package contains two CDs: the first disc contains seven complete rhythm tracks with the guitar melodies and solos, and the second CD contains the rhythm tracks minus the guitar. The book features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as tear-out "roadmap" charts for each tune.

One of the most important considerations to take into account when playing a tune is how to interpret a written melody line. You want to get your "voice" on the tracks, but at the same time, you have to be true to the composer's intent. Here's how I try to approach this. There are times when I get asked to play on a session where the rhythm tracks (bass, drums and piano) are already recorded. My job would then be to overdub the melody. I try to prepare for this beforehand by getting the music ahead of time. Then, I generally learn the notes as written and try to get as comfortable as possible playing them (figuring out positions, etc.). Once I'm more comfortable with the melody, I try to take a few liberties with it. I might find a few spots were I can put in a personal stamp, be it playing a fill or two, bending a few notes or adding some vibrato. This adds a bit of my personality to the tune and, hopefully, makes it come more alive. If you have the chance, it's good to check with the composer ahead of time to make sure that your interpretation goes along with his original intent. This was the case in recording the songs on this project. Before I laid down my parts, I talked with Dave and John (the composers) and made sure that they liked the direction I was going to take. My approach to this tune was to play the melody so it would breathe and sing a little bit. I tried to play the melody pretty much as written, but in my own way, I wanted to lay back, make some of the notes a little longer and add a few embellishments. For example, in the very beginning of this tune (bars 4-7), I threw in a couple of fills that weren't originally written (refer to FIGURE 1- the actual chart given to me for the session). That's because I felt that the tune needed something extra in this space. Using embellishments such as slurs, vibrato and bends brings the individual's personality into interpreting a melody. You're still responsible to play what's written - you don't necessarily change the pitches - but at the same time, you don't want your performance to be stiff. So, in some cases, you could take more liberties. Obviously, the idea is to make these choices on an intuitive, instinctive level - so that it just feels good. Be careful, because you can overthink things. You don't want to get so selfconscious that you'll play like a robot. Let's look at some examples of the stylistic interpretations that I made in the music. As you can see, I didn't adhere strictly to the note values written in the original chart. For example, though the E in bar 14 in the original chart ends at the second beat, I chose to extend the value for the duration of the measure (see measure 12 in the transcription) - it just sounded better to me! I also chose to slide into the B in bar 14, though no slide was notated in the original chart. There's also a long slide at the end of bar 22. Rather than making the A a 16th-note, I slid it down the neck for a more dramatic effect. You can also see that even though no vibrato is indicated in the original chart, I freely use it whenever I think the tune calls for it. A note about rhythm playing: you've got to be careful that your rhythm part works with whatever the soloist is playing, yet doesn't clash with the other rhythm instruments. Otherwise, leave it out. Over the keyboard solo, I just played a single-note "scratch" part throughout, consisting of a D at the 7th position. D was a common tone for all the chords. A common tone is one that fits harmonically through all the changes. Upon analysis, you can see that D is the 9th of C, the flatted 7th of E and the 5th of G. On a session, you also have to be prepared for any unexpected changes in the chart. For example, though an Emll chord was originally written in bar 71, the keyboard player played an E7#9 instead. When I heard that E7#9 chord on the track, I thought it was a strong substitution, so I played it as well. When overdubbing, you should always listen for musical surprises and react to them accordingly.

The best way to practice is to have fun while you learn; and that is exactly what the ULTIMATE PLAY-ALONG series is all about. Every musician has learned by playing along with records, and now with Ultimate Play-Along you can practice with great recorded music as if you were a member of the band. That's because you get eaach track mixed without your instrument. You also get to hear the music with the featured instrument as well, for reference. 
 

ULTIMATE PLAY-ALONG has been developed so that the beginner to intermediate bassist can practice in different styles along with all-star musicians including Mike Stern on guitar and Dave Weckl on drums, John Patitucci on Bass. This book/CD package contains 2 CDs; the first disc contains the full 7 rhythm tracks with the guitar and the second CD includes the rhythm tracks minus the guitar. The seven CD tracks cover a wide range of syles including: Straight Eighths, Shuffle (Blues), Sixteenth-Note Feel, Hip-Hop (Jazz Funk), Pop Ballad, Reggae (Shuffle), and Rock. 

This book and CDs package contains two CDs: the first disc contains seven complete rhythm tracks melodies and solos, and the second CD contains the rhythm tracks minus the guitar. The book features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as tear-out 'roadmap' charts for each tune.

The book features roadmap charts for each tune, as well as a step-by-step discussion of each section. John also gives you a variety of options you can use for both groove and fill ideas. Each section concludes with a 'talk down' of the chart, similar to what you'd encounter on a session or at a rehearsal. Each chart comes perforated so it can be easily removed for use on a music stand. The play-along charts will help improve your reading, time, feel and confidence. So, put on some headphones, turn up the music and work out with the ULTIMATE PLAY-ALONG!

ULTIMATE PLAY-ALONG FOR GUITAR, Features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as "roadmap" charts for each tune. Every chart comes perforated so that it can be easily removed and placed on a music stand. In each chapter, Mike focuses on a specific musical style and explains in depth how he approaches playing in that idiom. He also offers practice tips, soloing suggestions and exercises to help you master each style. Playing along to the tracks will inprove your reading, time and feel and working on the transcriptions will certainly enable you to axpand your improvising vocabulary. So put on some headphones, crack up the music and work out with the ultimate play-along. For guitarists.

Contents: 

Introduction
guitar Notation Guide

Straight Eighths
Shuffle (Blues)
Sixteenth-Note Feel
Hip-Hop (Jazz Funk)
Pop Ballad
Reggae (Shuffle Style)
Rock
Closing Thoughts & Discography
Charts

Prezzo: €32,99
€32,99
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