ALFRED PUBLISHING

CHITARRA ACUSTICA BLUES LIVELLO BASE LIBRO CD TABLATURE Lezioni tecniche chitarra

Chitarra Acustica Blues 

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

Il Metodo completo per la chitarra acustica blues. - Livello Base. Autore Lou M. CD TABLATURE

 

IL METODO PER CHITARRA ACUSTICA BLUES DEL ''NATIONAL GUITAR WORKSHOP''

Un libro didattico completo destinato al chitarrista blues interessato ad un serio studio dello strumento, da una delle più importanti scuole americane di musica contemporanea.
Incluso un CD audio contenente esempi e basi per suonare.

COMPRENDE:
- Numerosi esempi pronti da suonare, notati in partitura e intavolatura.
- Diagrammi degli accordi di facile lettura
- Lezioni sulle tecniche della chitarra Blues
- Spiegazioni di facile comprensione della teoria musicale

IL METODO COMPLETO PER LA CHITARRA ACUSTICA BLUES
LIVELLO BASE, LOU

Perfetto per i chitarristi acustici Blues alle
prime armi, e per chi vuole ampliare le proprie
conoscenze. Lou Manzi, autore del libro di
grande successo ''Beginning Fingerstyle guitar','
ha realizzato un metodo didattico curato
minuziosamente, destinato specificamente ai
chitarristi acustici. Questo libro rende facile
e piacevole lo studio delle fondamenta della
chitarra blues. Comprende sezioni dedicate alla
teoria musicale, agli accordi, alle tecniche della
mano sinistra, ai patten di chitarra ritmica, e
lezioni sull'improvvisazione nel blues. Studenti,
Insegnanti e autodidatti ameranno allo stesso
modo questo metodo accurato e di semplice utilizzo.
 

Traduzione italiana - Un nuovo libro della già nota collana National Guitar Workshop. Perfetto per i chitarristi acustici blues alle prime armi, e per chi vuole ampliare le proprie conoscenze. Un metodo didattico curato minuziosamente, che rende facile e piacevole lo studio delle fondamenta della chitarra blues. Comprende sezioni dedicate alla teoria musicale, agli accordi (con diagrammi di facile lettura), alle tecniche della mano sinistra, ai pattern di chitarra ritmica, e lezioni sull'improvvisazione nel blues. Studenti, insegnanti e autodidatti ameranno allo stesso modo questo metodo accurato e di semplice utilizzo.

 

INFORMAZIONI SU QUESTO LIBRO

Hai fatto una grande scelta nel decidere di imparare a suonare il blues - e quale strumento 
migliore per cimentarsi con esso della chitarra acustica, che è stata l’amata e fedele compagna dei 
musicisti blues sin dagli albori di questo stile musicale? Se sei un principiante assoluto, troverai i 
primi passi che ti proporrà questo libro semplici e divertenti. Si offre molto anche al musicista 
con più esperienza. In ogni caso, stai sicuro che troverai nel blues uno stile ricco e appagante.
Con un po’ di esercizio, ti riuscirà facile padroneggiare la maggior parte degli esempi musicali 
proposti in questo libro. La musica sul CD probabilmente ti suonerà familiare; molti grandi 
artisti blues impiegano le tecniche illustrate nel libro. Poniti l’obiettivo di imparare tutta la musica 
proposta in ciascun capitolo, e sarai sulla buona strada per diventare un vero chitarrista blues.
Non è necessario che tu affronti questo libro seguendo strettamente l’ordine delle pagine. 
Potresti trovare più divertente saltare qua e là. Esegui dapprima gli esempi più semplici e, non 
appena ti senti più sicuro, inizia a lavorare su materiale di maggior difficoltà. Un’altra opzione 
è quella di ascoltare il CD e di dedicarti innanzitutto agli esempi o alle canzoni che preferisci. 
Assicurati, in ogni caso, di studiare la teoria musicale proposta; ti renderà un musicista migliore.
Il blues ha influenzato profondamente rock, jazz, country, R&B e sostanzialmente ogni altro 
genere di musica moderna. Come musicista blues, avrai confidenza con molti elementi che è 
possibile rinvenire in questi altri stili, e disporrai quindi di un’ottima base di partenza per studiare 
qualsiasi genere di musica moderna.
Il blues è come un pozzo. Puoi prendere un po’ di acqua dalla superficie ed ottenere una 
bevanda rinfrescante. Ciò potrebbe essere paragonato a una persona che fa i primi passi musicali, 
imparando alcune canzoni. Ma il pozzo è profondo, e c’è ottima acqua a tutti i livelli, sino al 
fondo. Puoi suonare il blues per anni e continuare a imparare e ad abbeverarti a questo pozzo. 
La tua padronanza del materiale proposto in questo libro è solamente il primo sorso. Divertiti!
Questo libro contiene un CD. Utilizzarlo ti aiuterà a rendere lo studio più piacevole 
e le informazioni più ricche di significato. Ascoltare il CD ti permetterà di interpretare correttamente i ritmi e il feel di ciascun esempio. Il simbolo a sinistra appare in 
prossimità di ciascuna canzone o esempio la cui esecuzione è contenuta nel CD. Il 
numero dell’esempio è indicato sopra il simbolo. Il numero della traccia sotto ad ogni 
simbolo corrisponde direttamente alla canzone o esempio che desideri ascoltare. La 
prima traccia ti aiuterà ad accordare lo strumento

 

LA SETTIMA BEMOLLE
In questo contesto utilizziamo il termine “bemolle” per indicare genericamente l’abbassamento
di semitono della settima. Ad esempio, se abbassiamo di un semitono un sol #, otteniamo un sol
naturale. Sol # è il settimo grado della scala di LA maggiore, quindi sol n è considerato la b
7. Di seguito viene proposta una variazione sullo schema precedentemente visto che alterna accordi
“5” e “6”. Se utilizzi il quarto dito della tua mano sinistra per premere la corda un tasto più avanti
rispetto alla collocazione della sesta, ottieni una b 7. Si tratta di una sonorità fondamentale nel blues.
Questo shuffle è basato sulla forma di blues più comune. 

suona il suo originale e dinamico stile di chitarra acustica blues dagli anni settanta. Ha scritto quattro libri dedicati al fingerstyle, tra cui Beginning Fingerstyle Guitar (The National Guitar Workshop/Alfred #14099). Lou ha suonato molto come artista solista e come parte del duo Fletcher & Manzi, con Rob Fletcher. Il loro CD, Horsin’ Around Live, comprende pezzi originali che miscelano blues, jazz e rock.  Appare anche su Remembrance, una compilation dedicata ai veterani americani. Lou è insegnante in diverse scuole del Connecticut, e fa parte del National Guitar Workshop dal 1984. Riconosciuto come valido insegnante di chitarra acustica e di blues, ha tenuto seminari didattici in tutti gli Stati Uniti.

 

 

TAVOLA DEI CONTENUTI

INFORMAZIONI SULL’AUTORE

INFORMAZIONI SU QUESTO LIBRO

 

CAPITOLO 1 - Si parte!

Scegliere le corde.

Le corde a vuoto.

Accordatura .

Le altezze musicali e la tastiera.

La notazione musicale standard.

Leggere l’intavolatura

Leggere i diagrammi delle scale e degli accordi.

Leggere le chart degli accordi .

Postura.

Tecnica della mano destra.

Tecnica della mano sinistra .

 

CAPITOLO 2 – La progressione blues in

12 battute 19

Il blues in 12 battute più semplice.

La progressione blues in 12 battute più semplice .

La forma più semplice di blues in 12 battute, in MI

La forma blues in 12 battute piu’ comune.

La forma blues in 12 battute più comune, in LA .

La forma blues in 12 battute più comune, in MI..

La forma blues in 12 battute più comune, in RE.

La forma blues in 12 battute più comune, in SOL.

 

CAPITOLO 3 – Ritmica e Teoria Blues

Ottavi swing .

Intervalli.

 

CAPITOLO 4 – Blues shuffle 26

Accordi su due corde.

Blues shuffle in LA.

Il blues 5, 6, b

7 in LA .

Blues shuffle in MI .

 

CAPITOLO 5 – Palm muting

Shuffle in palm mute

Palm muting in LA .

 

CAPITOLO 6 – Ancora sulla scala maggiore

 

CAPITOLO 7 – Teoria degli accordi

e armature di chiave

Triadi maggiori e minori .

Triadi diminuite ed eccedenti .

Accordi di settima.

Armonia diatonica.

Armature di chiave.

 

CAPITOLO 8 – Pattern Blues

Boogie Woogie 42

Boogie-woogie in SOL.

Boogie-woogie in MI.

 

CAPITOLO 9 – Accompagnamento blues

in strumming 44

Blues in 12 battute in DO.

Blues in 12/8

Blues con due pennate per battuta in LA.

Strumming in MI .

 

CAPITOLO 10 – Solismo blues

La scala pentatonica minore .

La scala pentatonica maggiore.

La scala blues.

Fraseggio .

 

CAPITOLO 11 – Tecniche della

mano sinistra 55

Legati ascendenti.

Legati discendenti.

Bending.

Slide.

Vibrato..

Combinare le tecniche.

 

CAPITOLO 12 – Altre ritmiche blues e pattern

per la mano destra 62

Blues in SI b

Arpeggi .

Blues arpeggiato.

Lo strumming basato su note da un sedicesimo.

Funky blues in SI

Strumming in levare.

Blues in levare in FA.

 

CAPITOLO 13 – Turnaround

 

CAPITOLO 14 – Blues basati su riff

Blues basato su riff in MI minore.

Riffin’ in FA.

Octave Blues.

Blues funky in sol minore

 

CAPITOLO 15 – Pattern trasponibili

su due corde

Shuffle in SOL

Chuck’s blues

Shuffle in MI

 

CAPITOLO 16 – Accordi con barrè

Blues in LA b

con accordi in barrè .

 

CAPITOLO 17 – Blues in otto battute

Key to the Turnpike.

Too Long Blues.

 

Capitolo 18 – Blues minore

Blues minore in LA

Blues con tre pennate per ogni battuta

Blues per B. B.

 

CAPITOLO 19 - Blues fingerstyle

Blues minore per il reverendo Gary

Blues per Missisipi John

Keep on pickin’

Blues per Lightnin’

Boogie-woogie time

APPENDICE

RIFLESSIONI CONCLUSIVE

 

 

 

 

Prezzo: €19,99
€19,99

PLAYING GUITAR IN JAZZ BAND Practical Guide Students Teachers Sinclair LIBRO CD TABLATURE

PLAYING GUITAR IN JAZZ BAND, A Practical Guide for Students and Teachers. David Sinclair. CD GUITAR TABLATURE

LIBRO METODO DI MUSICA JAZZ, CON CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, GRIGLIA DEGLI ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

MANUALE, STUDIO, DIDATTICO, 

PER IMPARARE A SUONARE LA CHITARRA IN UNA BIG BAND.

 

Format: Book & CD

Instrument: Guitar

 

Playing Guitar in Jazz Band is for beginning to intermediate guitarists who are interested in playing in a jazz big band. Playing this style of guitar can be challenging, as the chord changes are often complex, yet the guitar parts should remain simple enough to avoid detracting from the overall sound of the band. This book breaks down that process by substituting difficult chord shapes with more flexible voicings that are designed to sound good on the guitar. Learn a wide variety of rhythmic patterns and work with authentic chord charts that are exactly like the ones you will encounter in real-life situations. This is the perfect crash course for students who have just joined their first jazz band and the ideal companion for music teachers who want to better understand the role of the guitar in their ensemble. A CD demonstrating the examples in the book is included. 

 

Introduction

So, you've joined a jazz band (sometimes called a big band, stage band, or jazz ensemble). Even if you've been a guitar player for a while, you're probably finding some of this music quite different from anything you've played before-a lot of chords going by kind of quickly-right? That's because the sound of big band jazz comes from the cool harmonies generated by the horn sections. Even when the individual horn parts are quite simple, the combined harmonies can be quite complex, making the guitar and piano parts a bit of a challenge. This book is designed as a practical guide for playing in a jazz band. The emphasis is on shortcuts that work in the real world, not complicated theory. You'll learn how to simplify complicated chord charts to suit your current level of ability and chord knowledge. To get the most out of this book, it will be helpful (but not absolutely necessary) to be able to read standard music notation. You need to know basic skills such as tuning the guitar, fretting notes and chords with your left hand, and picking and strumming with your right hand. There are two parts to this book. Part 1 will try to make your life a little easier by presenting some chord voicings and shortcuts to help you get through the musical charts. Part 2 shows you how to add to the basics as you get more comfortable with the pieces you are playing. You may find that these voicings and shortcuts sound better with the band than the fuller voicings you might use in a smaller group. The chord voicings used in this book, particularly in Part 1, are based on the technique used by legendary guitarist Freddie Green of the Count Basie Orchestra. Some band directors encourage guitarists to play chord voicings in a higher register and stay away from the bass. While this is certainly a valid approach-and one that is very effective in small jazz groups-it puts you in'the range of the horns and piano. This makes it necessary to play the extensions and alterations in the chord, as well as eliminate the root of the chord or place it on middle strings. For the novice player, the method in this book will be a lot easier to grasp, since the root will generally be on the bass strings and easier to find, and the shortcuts will enable the player to keep up with the band. Unlike playing in a rock, folk, or country band, the role of the guitar in a big band is primarily to work with the drummer to set up a solid groove, rather than establish the harmonies (which are being played by horns and piano). For example, instead of letting the chords ring, we damp them between the strokes for a more percussive effect (see Chapter 7 for more details). This book deals with the rhythm guitar aspect of stage band playing, or chording, which is mostly what you will be doing. To learn the lead guitar aspect of jazz, refer to a book such asTom Dempsey's Easy Soloing for Jazz Guitar (Alfred/National Guitar Workshop #28246).

How to Use This Book

I suggest you go through Part 1, learning the material in each chapter. If you spend 15 minutes a day, you should be pretty competent in two or three weeks. Then, have a look through Part 2 so you know what's there, but don't try to learn all the chord voicings at once. Gradually, add a few voicings at a time as you encounter them in the pieces you are playing with the band.

 

About the Author

David Sinclair is a guitarist from Vancouver, Canada who has toured and recorded with many artists, including Sarah McLachlan, k.d. Lang, Matthew Lien, Amy Sky, Michael Buble, Daniel Powter, Rita MacNeil, Paul Janz, Valdy, Susan Jacks, Terry Jacks, Prism, Bachman-Turner Overdrive, Irish Rovers, Holly Arntzen, Leon & Eric Bibb, Gary Fjellgaard, Leonard and Sample, Straight Lines, and Body Electric. As a member of Sarah McLachlan's band, and with k.d. lang, David toured North America, Europe, and Asia. He has appeared on television shows 'including The Tonight Show with Jay Leno, the Late Show with David Letterman, Late Night with Conan O'Brien, The Arsenio Hall Show, Saturday Night Live, The Larry Sanders Show, Good Morning America, The Rosie O'Donnell Show, MTV Unplugged, VH1 Storytellers, The Grammy Awards Show, and the Canadian Juno Awards. David has written and performed music for films and television, played with the Vancouver Symphony, the Opera Orchestra, and the Vancouver Chamber Choir, as well as pit bands for musical theater productions and shows. He has taught at Capilano College in North Vancouver, at the California and Toronto campuses of the National Guitar Workshop, and the Vancouver campus of Guitar Workshop Plus. He has also recorded solo acoustic guitar CDs

Acknowledgements

Thanks go to Joe Sallay, Mike Gillette, Frank Ludwig, Rob McLeod, Blair Fisher, Fred Stride, Bob Buckley, and my family: Christine, Taryn, Jaime, and Zak.

A compact disc is included with this book. This disc can make learning with the book easier and more enjoyable. The symbol shown to the left appears next to every example that is on the CD. Use the CD to help ensure that you're capturing the feel of the examples and interpreting the rhythms correctly. Example numbers are above the symbol. The track number below the symbol corresponds directly to the example you want to hear. Track 1 is a tuning track that will help you tune your guitar to this CD.

 

Contents:

About the Author

Introduction

How to Use This Book

PART 1

Chapter 1: Getting Started

Tablatu re (TAB)

Chord Diagrams

Learning Notes on the 6th String (Low E)

Chapter 2: Reading Chord Charts

Chapter 3: Major Scale and Chord Theory

The Major Scale

Chords

Chapter 4: Flexible Chord Forms

Chapter S: Extensions, Altered Tones, and Shorteuts

Extensions

Altered Tones

Chapter 6: Diminished 7th Chords

Chapter 7: Rhythms

Straight Eighth Feels

Latin Feels ;

Rock Grooves

The Swing Feel

Four to the Bar

Rhythmic Variation

PART 2

Chapter 8: More Chords

9th, 11th, and 13th Chords

Altered Chords

Various Altered Chords

2 Chords and Add 9 Chords

6/9 Chords

Slash Chords

The 5 Chord

Chapter 9: Tunes

Swingin' on the Loop

Plan B

Appendix

Time Signatures

Chords with Different Names

Getting the Right Sound

Conclusion 

Prezzo: €23,99
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TOTAL LATIN GUITARIST A Fun and Comprehensive of Latin Guitar Playing Doug Munro CD TABLATURE

The Total Latin Guitarist, A Fun and Comprehensive Overview of Latin Guitar Playing. BOOK WITH CD & GUITAR TABLATURE
By Doug Munro

LIBRO METODO DI MUSICA LATINA, CON CD. 

SPARTITI PER CHITARRA E BASSO CON : 

ACCORDI, PENTAGRAMMA, TABLATURE DELLA CHITARRA. 

BASSO SOLO IN PENTAGRAMMA.

Serie: The Total Guitarist
Categoria: Guitar Method or Supplement
Formato: Libro & CD
Instrumento: Chitarra

It’s time to infuse your playing with a little hot-blooded romance! The Total Latin Guitarist is an exciting journey into the world of Latin guitar playing. The book begins by teaching you soloing and accompaniment techniques used in all genres of Latin music, as well as the rhythmic backbone of many Latin styles, the clave. You'll learn to play in the Afro-Cuban styles of salsa, rumba, guaguancó, cha-cha-cha, mambo, and songo. You'll get a solid introduction to the Brazilian styles of choro, samba, batucada, partido alto, bossa nova, baião, and frevo. Other Latin styles featured are meringue (Dominican Republic); calypso, soca, and bachata (Trinidad); tango (Argentina); and ranchera, mariachi, norteño/conjunto, and tejano (Mexico). Aside from all of the important techniques involved with playing these styles, you will also learn all of the relevant theory. This book is for guitar players who are already familiar with the basics, but are looking to expand their vocabulary and repertoire in new and exciting ways. The CD features a full band demonstrating the examples in the book. 

This book is intended for the intermediate to advanced guitarist who hasan interest in exploring Latin guitar styles. To get the most out of this book, you should have a firm grasp on playing technique and theory, including scale theory, chord theory, and diatonic harmony. You should also be able to read standard music notation or tablature (TAB). For a refresher on some of these topics, refer to the Appendix on page 126.

The Total Latin Guitarist is a sampler of 23 different Latin music styles from six different countries. For every famous person mentioned in this book, there are many more that are not mentioned. In doing the research for this book, I found many contrasting explanations and points of view on musical and historical information. This book only includes material that musicians and historians are in general agreement about. Many of the common questions asked by musIcians studying Latin music are addressed in these pages. Concepts like the clave and specific rhythmic patterns are explained and demonstrated. All of the examples are hands-on, practical solutions for creating the distinctive sounds of each style. The Total Latin Guitarist, while not a history book, provides some background on each style of music played. Gaining a historical perspective on the music helps in interpreting and understanding the particular harmonic and rhythmic patterns intrinsic to each style. Every recording listed in this book is still available (at least at the time of this publishing). It is vital that you listen to the music that you study in this book. There are subtleties that can only be learned through immersing yourself in the music. Be sure to memorize the musical examples and play along with the recorded tracks on the CD. As you master the information in this book, it is vital that you go out and play it. Get together with like-minded musicians and play in these styles. There is a whole other education you get from playing and sharing this music with others. Most of all, it is so much fun to feel the groove and be a part of making this unique and exciting music. A compact disc is available with this book. Using the disc will help make learning more enjoyable and the information more meaningful. Listening to the CD will help you correctly interpret the rhythms and feel of each example. The symbol to the left appears next to each song or example that is performed on the CD. Example numbers are above the symbol. The track number below each symbol corresponds directly to the song or example you want to hear. Track I will help you tune your guitar to this CD.

Doug Munro is a critically acclaimed New York jazz guitarist. Since 1987, he has released I I albums as a bandleader and has appeared on over 50 recordings as a sideman, producer, and arranger, working with a diverse array of artists including Dr. John, Michael Brecker, and Dr. Lonnie Smith. Doug has over 75 published compositions and over 300 recorded arrangements by the finest players on the scene today. Doug has received two Grammy nominations and two NAIRD awards. Amazon.com picked Boogaloo to Beck, which Doug performed on, arranged, and co-produced, as one of its Top Ten Jazz CDs of 2003. Doug also did orchestration work on the Oscar-winning 1997 documentary When We Were Kings. Doug continues to actively perform with around 100 live dates per year.

As an educator, Doug created and was Director of the Jazz Studies Program at The Conservatory of Music at Purchase College from 1993-2002. He continues to teach there as Director Emeritus. This esteemed jazz program boasts a faculty that includes John Abercrombie, Todd Coolman, Jon Faddis, Eric Alexander, John Riley, and many other top jazz performers. Doug has written three books on jazz improvisation for Alfred Music Publishing: • Swing to Bebop (Alfred 00-0388B) (Winner of The Music and Sound Retailers' Instructional Book of the Year Award in 2000)

• Bebop and Beyond (Alfred 00-0609B)

• Organ Trio Blues (Alfred 00-0758B)

Acknowledgements

There are many people who helped make this book possible. I would first like to thank Aaron Stang, my longtime editor and friend, from back in the Warner Brothers days. After Alfred Music Publishing merged with Warner, it was Aaron who put me in touch with the people at Workshop Arts, who co-publish many instructional music books with Alfred. Thanks to Jason Shadrick for introducing me to everyone at Workshop Arts; he has always been very generous with his time and contacts, and his help and friendship has been invaluable to completing this project. Next up is Burgess Speed, my new editor; working with Burgess has been great, he has a solid view of the "big picture" but never loses sight of the small details involved in writing a meaningful book. I look forward to, hopefully, doing many more projects together. Thanks also to Gil Parris, a longtime friend and guitarist. His generosity in helping me with this, and pretty much every project I've ever done, is greatly appreciated. Lastly, I would like to thank the good Lord for his love and guidance and my wife, Kathleen, and my sons, Eugene and John, for their love and support.

 

About the Author

Introduction

Chapter I: Latin Accompaniment Techniques

Accompaniment Styles Without a Bass Instrument

Accompaniment Styles with a Bass Instrument

 

Chapter 2: Latin Soloing Techniques

Soloing Based on a Scale or Mode

Soloing Based on an Arpeggio

Voice Leading

 

Chapter 3: Clave

Son Clave

Rumba Clave

BossaClave

 

Chapter 4: Montuno/Guajeo

 

Chapter 5: Afro-Cuban 

Son 

Salsa 

Salsa solo

Rumba

Rumba Solo

Guaguancó

Guaguancó Solo

Cha-Cha

Cha-Cha solo

Mambo

Mambo Solo 

Songo

Songo Solo

Mozambique

Mozambique

 

Chapter 6: Brazil

Choro 

Choro Solo 

Samba 

Samba

Batucada 

Batucada Solo 

Partido Alto 

Partido A/to

Bossa Nova 

Bossa Nova Solo 

Baião .

Baião Solo .

Frevo .

Frevo Solo

 

Chapter 7: The Dominican Republic

Merengue

Merengue Solo

Bachata

Bachata Solo

 

Chapter 8: Trinidad

Calypso

Calypso Solo

Soca

Soca Solo

 

Chapter 9: Argentina

Tango

Tango Solo

 

Chapter 10: Mexico

Ranchera

Ranchera Solo

Mariachi.

Mariachi Solo

Norteño / Conjunto

Norteño Solo

Tejano

Tejano Solo

Conclusion

 

Appendix

Reading Tablature (TAB)

Scale Diagrams

Major Scale Theory

Intervals

Diatonic Harmony

Circle of 4ths/5ths

Extended Chords

Prezzo: €29,99
€29,99

BRAZILIAN RHYTHMS FOR GUITAR, Samba, Bossa Nova, Choro, Baião, Frevo, Other Styles. Arana. CD TABLATURE

 

Brazilian Rhythms for Guitar, Samba, Bossa Nova, Choro, Baião, Frevo, and Other Brazilian Styles
By Carlos Arana
Series: Guitar Masters Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Here we will look at a few additional characteristics of each of the styles, a bit of their history, and their typical formations. SAMBA is the style generally considered most characteristic and representative of Brazilian music. Since the end of the 1870s, samba parties were frequent events in the houses of the "Bahian Aunts," women that had moved from Bahia in the north to Rio de Janeiro, which at that time was the national capital.The actual samba style originated in 1917 at the house of "Tia Ciata" ("Aunt Ciata"), a candy vendor who was one of the famous "Bah fan Aunts." The first samba recorded was "Pelo Telefone" ("By Phone"), by Donga e Mauro de Almeida, also in 1917. Samba had several influences including lundu, la habanera, the max;xe, and even tango, bits of which remain in its unique sound. The first major proponents of the style, Donga and Ismael Silva from the group Estacio (which is also the first samba school in Rio de Janeiro), were largely responsible for defining its sound. By the 1930s, the middle class had caught on to the new music, and it transformed from music played by the poor people for Carnaval into a more popular style. The major figures in this second era were Enrique Forreis (0 Almirante), Joao de Barro, and Noel Rosa the last of whom was responsible for the development of the new style called urban samba. The duo of Ismael Silva oel Rosa defined the format that samba still uses today. Others who followed these original masters include Ataulfo Alves, Wilson Batista, and Geraldo Pereira. Each gave his own particular vision of what the style was to sound like and left a body of work that has been played countless times. During the 1930s, samba. influenced by the growth of radio as a medium of communication, enjoyed a surge of growth in terms of both popularity and variety of interpretation, many of which came to have distinctive characteristics and actually evolved into new styles in their own right such as samba cancao and samba de breque. In the 1950s, samba came into contact with the new style of music called bossa nova developed by Antonio Carlos Jobim and Joao Gilberto, two young men from middle-class upbringings who lived in the southern section of Rio De Janeiro. In order to survive, samba evolved once again, this time at the hand of Cartola, an excellent composer who had written a few songs for Noel Rosa. Beginning from the time that Cartola arrived on the scene, musicians such as Paulinho da Viola and Martinho da Vila began careers that continue on to this very day.These musicians began incorporating harmonies and sounds that were closer to bossa nova (it is interesting to note the cross pollination that occurred between these styles) in their use of alterations and chord extensions in composing, which was markedly different from that which was used in the classic compositions. From that moment on, many new artists began to appear, some banding together and forming different styles, while others worked to maintain the more traditional sound. From that point on, the progression was practically non-stop with new groups of artists appearing all the time. Some artists returned to the original format while others moved on to the urban sound of Noel Rosa and his followers (passing through the style of Antonio Carlos Jobim and Chico Buarque). Some of the more notable names include Beth Carvalho, Alcione, Zeca Pagodinho, Claudio Jorge, and Aragao.

Educator and performer Carlos Arana captures Brazil's rich musical heritage with impeccable stylistic, historic, and technical analyses. The first section of this book covers the fundamental rhythmic and harmonic characteristics of samba, bossa nova, and choro styles followed by practical applications on the guitar. The practical applications break each of the styles down to their historic and regional roots combined with examples that capture the essence of each style. The next section takes you to the northeast of Brazil with the rhythm figures of baião, toada, xote, afoxé, frevo, Marcha, and Marcha Rancho. Over 60 examples, written in standard notation and tablature, are demonstrated on the included CD. TABLATURE

 

I would like to begin this book by explaining a few basic facts that played a major role in shaping Brazilian music. Brazilian society is extremely easygoing and carefree, and musicians tend to place a great deal of emphasis upon artistic expression rather than on technical expertise and precision. The same holds true for other art forms, thus it is not surprising that Brazil is the home of the world's biggest party: Carnival in Rio! It is there, during Carnival, where you can experience some of the best examples of spontaneous artistic expression such as samba. The main influences on Brazilian music are the traditional Portuguese music brought by the Conquistadors, the exotic rhythms of the African slaves, and the native music of the indigenous inhabitants. Other influences such as American jazz also played a role in the way the music evolved. This can be seen, for example, in composer Antonio Carlos Jobim's use of harmonic structure. He often borrowed certain aspects of Claude Debussy's vertical harmony dating back to the late 19th century. Jobim's characteristic use of alterations and extensions created a kind of tonal complexity which, when combined with certain rhythmic patterns, defined the style of music that has come to be known as bossa nova. It is this fusion of styles which created the definitive sound of Brazilian music, and consequently left its mark on a variety of other musical genres which developed later. For a musician attempting to understand and assimilate the sound of Brazilian music, it is important to understand how all of these complex forces, so deeply rooted in Brazil's popular culture, worked together to form the music. This book uses a thoroughly tested method for providing the reader with a practical understanding of how to play Brazilian rhythms, so that over time the execution can become second nature and playful in terms of the general feel. The first portion of this book provides an in-depth look at the most common rhythmic patterns and syncopations used in samba and the other styles we will study. Following this, we will begin to look at the harmonic structure, including the typical chords and the characteristic chord progressions used by Brazilian guitarists that are unique to this kind of music. In Chapter 3, we will begin to look at practical applications of the chords and rhythms, in most cases using progressions from well-known songs which form the basis of the classic samba and its derivative repertoire. In Chapters 4 and 5, we will study baiao, frevo and other styles originating from the northeast of Brazil.l have recorded all of these examples on the CD so that you will be able to hear first-hand how the music should sound. As always, when learning to playa new style of music, it is highly recommended that you listen to as many different examples as possible in order to really begin to get a feel for the sound. Words and music notation are not always sufficient for describing music and there are many aspects that can only be understood by hearing them played. My goal in writing this book was to help guitarists understand and playa wonderful style of music that has not received the widespread popularity that it deserves. I sincerely hope it proves to be useful for you.

 

Contents

INTRODUCTION . 

Chord Symbol Notation 

 

SECTION 1: SAMBA, BOSSA NOVA AND CHORO 

 

CHAPTER 1: RHYTHM 

Example 1   

Example 2   

Rhythmic Independence Exercises   

Example 3   

Part I: Examples 4–5 .

Part 2: Examples 6–7

Part 3: Examples 8–9

Part 4: All Combinations 

Playing the Groove Components on the Guitar

Examples 10–11

Syncopating the Chord Changes   

Examples 12–13

Rhythmic Independence Exercises -Application 

Examples 14–15

Syncopating the Bass Line

Example 16 

 

CHAPTER 2:HARMONY 

Characteristic Chord Progressions of Samba, Bossa Nova, and Choro

Inverted Chords

Four-Voice Chords with Extensions andAlterations 

Open Chords

Characteristic Chord Progressions  

Major and MinorVamps with Line Clichés

IV – ivTurnaround to I 

 

CHAPTER 3: PRACTICALAPPLICATION OF RHYTHMIC PATTERNS

Examples 17–28: Samba Patterns 1–12 

Variations of the Samba Style 

Example 29: Samba Canção

Examples 30–31: Partido Alto Patterns 1–2

Examples 32–33: Samba-Rock/Funk Patterns 1–2

Example 34: Samba-Reggae   

Example 35: Samba Exercise 1 

Example 36: Samba Exercise 2

Page    CD Track

Bossa Nova  .

Examples 37–44: Bossa Nova Patterns 1–8 

Examples 45–46: Bossa Nova Exercises 1–2   

Chord Melody

Example 47: Chord Melody/“Gentle Rain”

Choro 

Basic Choro Pattern  

Choro Variations 1–5   

Examples 48–52: Choro Patterns 1–5

Example 53: Choro Exercise 

Final Considerations for Section I   

 

SECTION 2: RHYTHMS FROMTHE NORTHEAST OF BRAZIL   

 

CHAPTER 4: BAIÃO   

Basic Rhythm Patterns

Exercises 1–10                            

Application on the Guitar  

Example 54: Baião Pattern

BaiãoVariations:Toada,Xote andAfoxé   

Example 55: Baião Pattern 1 

Example 56: Baião Pattern 2 

Example 57: Xote Pattern 2

Example 58: Afoxé Pattern 

 

CHAPTER 5: FREVO

Basic Rhythmic Patterns

Exercises 1–7

Application on the Guitar

Example 59: Frevo Exercise  

    Example 60: Frevo Pattern 

    Example 61: Marcha Rancho Pattern 1

Example 62: Marcha Rancho Pattern 2

 

APPENDIX:Additional Style Considerations

Samba   

Bossa Nova 

Choro 

Baião

Frevo

Discography   

Bibliography

Prezzo: €22,99
€22,99

PENTATONIC SOLOING STRATEGIES FOR GUITAR, Modern Ideas for All Styles. Erik Halbig. CD TABLATURE

 

PENTATONIC SOLOING STRATEGIES FOR GUITAR, Modern Ideas for All Styles. Erik Halbig. CD TABLATURE

Pentatonic Soloing Strategies per la chitarra prende i più comuni strumenti di improvvisazione, le scale pentatoniche, e vi  fa vedere le sue praticamente illimitate possibilità.  Inizia con scale pentatoniche standard magiori e minori nelle 5 posizioni base e continua con la sfida delle variazioni pentatoniche per string skipping e sweep picking. Il libro culmina con le serie delle scale ?, compreso la 9-a tonica, diminuita, e la scala pentatonica a tono pieno aumentata. CD con la dimostrazione di tutti gli esempi inclusi nel libro.

Pentatonic Soloing Strategies for Guitar Modern Ideas for All Styles
By Erik Halbig
Item: 00-35302
UPC: 038081396064
ISBN 10: 0739070967
ISBN 13: 9780739070963

Series: The Improv Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Pentatonic Soloing Strategies for Guitar takes the most common improvisational tool, the pentatonic scale, and shows you its almost limitless possibilities. It begins with standard major and minor pentatonic scales in the five basic positions and quickly moves into challenging pentatonic variations for string skipping and sweep picking. The book culminates with a series of substitution scales, including the rootless 9th, the half-diminished, and the whole-tone augmented pentatonic scales. A CD demonstrating all the examples in the book is included:

FEATURES

THEORY, FORMS AND VARIATIONS FOR MAJOR AND MINOR PENTATONIC SCALES.

PENTATONIC SCALE PATTERNS THAT INCORPORATE SWEEP PICKING AND STRING SKIPPING.

EXTENDED INTERVAL FINGERINGS

12 SUBSTITUION SCALES TO EXPAND YOUR TONAL VOCABULARY AND ADD COLOR TO YOUR PLAYING.

EXAMPLES IN TAB AND STANDARD MUSIC NOTATION.

 

INTRODUCTION
The pentatonic scale is a scale consisting of five notes. It can be found in almost every style of music, from early African-American spirituals such as "Swing Low, Sweet Chariot" to the classical compositions of Claude Debussy and Maurice Ravel to the bluesy rock guitar sounds of Jimi Hendrix, Jimmy Page, and Eric Clapton.
Players sometimes fall into the rut of playing the "same old pentatonic licks." This book-which will change how you think about the pentatonic scale-is the remedy for this situation.
This is not a beginner's book. To use it effectively, you should already have a working knowledge of music, music theory, and the minor and major pentatonic scales. However, a quick review of the basics is included on page 5. A review of the minor and major pentatonic scales follows (starting on page 11), after which you will learn many new and exciting ways to manipulate and rework these basic scales. Most importantly, practical applications are provided.
There are lots of new ideas in this book to stimulate your own creativity. You can write
down ideas that come to you on the blank page (page 95) at the end of this book. Good luck!

A compact disc is included with this book. Use the CD to help ensure you're capturing the
feel of the examples and interpreting the rhythms correctly. The symbol shown at the left
appears next to every example that is on the CD. Example numbers are above the symbol,
while the track number below the symbol corresponds directly to the example you want to
hear. If there's a decimal (1.1,1.2, etc.), it means that there's more than one example on the
track. Track I provides tuning notes for your guitar.

ABOUT THE AUTHOR
Erik Halbig holds a degree in studio/jazz guitar performance from the University of
Southern California School of Music. He has presented numerous clinics and special
seminars at the California and Nashville campuses of the National Guitar Workshop.
He is also the author of two other Alfred/National Guitar Workshop titles: Mastering
Rock Guitar (#14096) and Stand Alone Tracks: Country (#17805). Currently living
in Nashville, Tennessee, Erik is busy doing session work and touring. He has toured
and recorded with Sugarland, Sara Evans, Blackhawk, Tanya Tucker, Wynonna,
and many others.

Acknowledgements
Thanks to Bruce Bolen, Jr. at Fender Guitars, Myles Rose at Groove Tubes, Ryan
and Chris at Gadow Guitars, Derek Brooks at Ernie Ball, Danica Levy at Levy's
Leathers, James Heidrich at Bad Cat Amplifiers, Steve Blucher at DiMarzio,
Michael Tuttle, Don Grosh, and Ampeg Amplifiers.

 

CONTENTS
About the Author .
Introduction .
Getting Started .
Whole Steps, Half Steps, and Scales .
Standard Music Notation .
Tablature (TAB) .
Sliding .
The Guitar Fretboard .
Pentatonic Theory , .
The Major Scale .
The Minor Pentatonic Scale .
The Major Pentatonic Scale ; .
The Minor Pentatonic Scale .
Five Minor Pentatonic Scale Forms in A .
The Major Pentatonic Scale .
Five Major Pentatonic Scale Forms in A .
Variations .
Variation I-Sliding Combinations .
Variation 2- Weaving Combinations .
Variation 3-Extended Weaving Combinations .
Variation 4-Extended Weaving and Sliding Combinations .
Variation 5-Skipping and Weaving .
Variation 6-Sequenee Weaving .
Variation 7-Weaving and Sliding .
Extended Interval Fingerings .
Extended 4th Intervals .
Extended 5th Intervals ,. .
Extended 7th Intervals .
Penta-Scales .
Pentatonic Motives .
Four-Note Motives .
Five-Note Motives .
String-Skipping Pentatonics .
One-Note-Per-String Pentatonics-Sweep Picking .
One-Note-Per-String Pentatonic Combinations .
Substitutions .
Rootless 9th Pentatonic Scale .
Dominant 7th/9th Pentatonic Scale .
Minor 6th Pentatonic Scale .
Minor 6th Blues Pentatonic Scale .
Lydian Dominant Pentatonic Scale .
Half-Diminished Pentatonic Scale .
Lydian Pentatonic Scale .
Dominant Pentatonic Scale .
Altered Dominant Pentatonic Scale .
Whole Tone Augmented Pentatonic Scale .
Dominant 7b9 Pentatonic Scale .
Diminished Pentatonic Scale .
Conclusion .
 

Prezzo: €21,99
€21,99

MOTLEY CRUE: GREATEST HITS UPDATED Authentic Guitar TABLATURE SPARTITI LIBRO CHITARRA

Mötley Crüe: Greatest Hits 2009 UPDATED

Mötley Crüe

 

LIBRO DI MUSICA HEAVY METAL.

SPARTITI PER VOCE E CHITARRA.

ACCORDI, PENTAGRAMMA, TABLATURE. 

UPC: 038081386584
ISBN 10: 0739068725
ISBN 13: 9780739068724

Category: Guitar Personality
Format: Book
Instrument: Guitar
Version: Authentic Guitar TABLATURE

This updated version of Crüe's best-selling Greatest Hits CD features all their classic hits plus their newest singles. Titles: Too Fast for Love * Shout at the Devil * Looks That Kill * Too Young to Fall in Love * Smokin' in the Boys Room * Home Sweet Home * Wild Side * Girls, Girls, Girls * Dr. Feelgood * Kickstart My Heart * Same Ol' Situation (S.O.S.) * Don't Go Away Mad (Just Go Away) * Without You * Primal Scream * Sick Love Song * Afraid * If I Die Tomorrow * Saints of Los Angeles * Animal in Me [Remix].

TITLE COMPOSER

1997 - Afraid - Nikki Sixx (composer)
1982 - Too Fast for Love - Nikki Sixx (composer)
2008 - Saints of Los Angeles (Gang Vocal) - Nikki Sixx (composer); Marti Frederiksen (composer); James Michael (composer); D.J. Ashba (composer)
2008 - The Animal in Me - Nikki Sixx (composer); Marti Frederiksen (composer); James Michael (composer); D.J. Ashba (composer)
2005 - Sick Love Song - Nikki Sixx (composer); James Michael (composer)
2005 - If I Die Tomorrow - Nikki Sixx (composer); Pierre Bouvier (composer); Charles Andre Comeau (composer)
1983 - Too Young to Fall in Love - Nikki Sixx (composer)
1983 - Shout at the Devil - Nikki Sixx (composer)
1983 - Looks That Kill - Nikki Sixx (composer)
1985 - Home Sweet Home - Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)
1987 - Girls, Girls, Girls - Mick Mars (composer); Nikki Sixx (composer); Tommy Lee (composer)
1987 - Wild Side - Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)
1991 - Primal Scream - Mick Mars (composer); Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)

1989 - Dr. Feelgood - Mick Mars (composer); Nikki Sixx (composer)
1989 - Don't Go Away Mad (Just Go Away) - Mick Mars (composer); Nikki Sixx (composer)
1989 - Without You - Mick Mars (composer); Nikki Sixx (composer)
1989 - Kickstart My Heart - Nikki Sixx (composer)
1989 - Same Ol' Situation (S.O.S.) - Mick Mars (composer); Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)
1973 - Smokin' in the Boys Room - Michael Lutz (composer); Cub Koda (composer) 

Prezzo: €32,99
€32,99

YORK ANDREW THE CLASSICAL GUITARIST'S GUIDE TO JAZZ Expand Your Playing with a New Style CD

YORK ANDREW, THE CLASSICAL GUITARIST'S GUIDE TO JAZZ, Expand Your Playing with a New Style. CD 

LIBRO DI MUSICA, SPARTITI METODO PER CHITARRA CON CD E MP3. 

The Classical Guitarist's Guide to Jazz

Expand Your Playing with a New Style

By Andrew York / ed. Nathaniel Gunod

Categoria: Guitar Method or Supplement

Formato: Libro & CD

Istrumento: Chitarra

 

Chitarrista e compositore Andrew York presenta la sua ultima guida jazz per la chitarra classica. Le prime due sezioni delle tre del libro riguardano l'armonia e gli accordi/melodie jazz, focalizzandosi sul comping, chord voicing, voice leading e arrangiamenti per la chitarra solo. La terza parte è dedicata all'improvisazione che potrebbe essere l'aspetto più emozionante del jazz per chitarristi classici. York dimostra che l'improvvisazione è un'abilità che può essere imparata e praticata come altre. Eseguendo gli esercizi del libro per l'allenamento dell'orecchio e gli esercizi  di visualisazzione imparerai come trasformare la musica che senti nel tuo "orecchio mentale” nei più fantasiosi e buoni jazz solo. Il CD contiene gli esercizi e esempi eseguite dall'autore.

Guitarist and composer Andrew York presents the ultimate guide to jazz for classical guitarists. The first two sections of this three-part book cover jazz harmony and chord/melody, focusing on comping, chord voicings, voice leading, and arranging for solo guitar. Part three looks at improvisation, which may be the most exciting—yet foreign—aspect of jazz for classical guitarists. York shows you that improvisation is a skill that can be learned and practiced just like any other. By practicing the ear training and visualization exercises in this book, you will learn how to turn the music you hear in your "mind's ear" into imaginative, great-sounding jazz solos. The CD contains the exercises and examples performed by the author.

Prezzo: €30,99
€30,99

SANTANA GUITAR HEAVEN The Greatest Guitar Classics of All Time Authentic TABLATURE SPARTITI LIBRO

SANTANA, GUITAR HEAVEN The Greatest Guitar Classics of All Time. Authentic Guitar. BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA ROCK,
SPARTITI PER VOCE E CHITARRA,
TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA, NOTE, TABLATURE.

 

Carlos Santana: Guitar Heaven The Greatest Guitar Classics of All Time

Categoria: Guitar Personality
Formatto: Libro
Strumento: Chitarra
Authentic Guitar TABLATURE Edition
Photography: Timoty Saccenti
Illustratios: Alberto Seveso

Per il disco "Santana's Guitar Heaven" uscito il 21 settembre 2010, Carlos Augusto Alves Santana e Clive Davis hanno creato l'elenco delle più belle canzoni di chitarra rock di tutti tempi. Il leggendario chitarrista Messicano interpreta ogni canzone con vocalisti famosi come Chris Cornell (Soundgarden, Audioslave), e Joe Cocker. Nell' album è inclusa anche una speciale dedica a George Harrison con “While My Guitar Gently Weeps,” con India, Arie e il maestro violoncellista Yo-Yo Ma. Tutte le canzoni del disco con complete autentiche tablature.

Carlos Santana è nato il Autlan de Navarro, Jalisco, in Messico, il 20 luglio 1947.

 

Titoli: 

* Whole Lotta Love - Led Zeppelin

* Can't You Hear Me Knocking - Rolling Stones

* Sunshine of Your Love - Eric Clapton

* While My Guitar Gently Weeps - The Beatles

* Photograph - Def Leppard

* Back in Black - AC/DC

* Riders on the Storm - The Doors

* Smoke on the Water - Deep Purple

* Dance the Night Away - Van Halen

* Bang a Gong (Get It On) - T.Rex

* Little Wing - Jimi Hendrix

* I Ain't Superstitious - JEFF BECK

* Fortunate Son - C.C.R

 

Whole Lotta Love featuring Chris Cornell

Can't you hear me knocking featuring Scott Weiland

Sunshine of your Love featuring Rob Thomas

While My Guitar Gently Weeps featuring india.arie & Yo-Yo Ma

Photograph featuring Chris Daughtry

Back in Black featuring Nas

Riders on the Storm featuring Chester Bennington & Ray Manzarek

Smoke on the Water featuring Jacoby Shaddix

Dance the Night Away featuring Pat Monahan

Bang a Gong featuring Gavin Rossdale

Little Wing featuring Joe Cocker

I ain't Superstitious featuring Jonny Lang

Fortunate Son featuring Scott Stapp

 

GUITAR HEAVEN: THE GREATEST GUITAR CLASSICS OF ALL TIME

“Whole Lotta Love” featuring Chris Cornell (Led Zeppelin)

“Can’t You Hear Me Knockin’” featuring Scott Weiland (The Rolling Stones)

“Sunshine Of Your Love” featuring Rob Thomas (Cream)

“While My Guitar Gently Weeps” featuring india.arie and Yo-Yo Ma (The Beatles)

“Dance the Night Away” featuring Pat Monahan (Van Halen)

“Back In Black” featuring Nas (AC/DC)

“Riders On the Storm” featuring Chester Bennington and Ray Manzarek (The Doors)

“Smoke On the Water” featuring Jacoby Shaddix (Deep Purple)

“Photograph” featuring Chris Daughtry (Def Leppard)

“Bang A Gong” featuring Gavin Rossdale (T. Rex)

“Little Wing” featuring Joe Cocker (Jimi Hendrix)

“I Ain’t Superstitious” featuring Jonny Lang (Howlin’ Wolf, Jeff Beck Group)

“Fortunate Son” featuring Scott Stapp (Creedence Clearwater Revival)

“Under the Bridge” featuring Andy Vargas (Red Hot Chili Peppers).

 

Titolo - suonata da: - Autore - anno composizione
Whole Lotta Love - Santana Featuring Chris Cornell - Led Zeppelin - 1969
Can't You Hear Me Knocking - Santana Featuring Scott Weiland - Rolling Stones - 1971
Sunshine Of Your Love - Santana featuring Rob Thomas - Cream - 1967
While My Guitar Gently Weeps - Santana Featuring India.Arie & Yo-Yo Ma - The Beatles, Geoge Harrison - 1968
Photograph - Santana Featuring Chris Daughtry - Def Leppard’s “Photograph - 1983
Back In Black - Santana con Nas - AC/DC - 1980
Riders On The Storm - Santana Featuring Chester Bennington & Ray Manzarek - The Doors - 1971
Smoke On The Water - Santana con Jacoby Shaddix - Deep Purple - 1972
Dance The Night Away - Santana con Pat Monahan - Van Halen - 1979
Bang A Gong - Santana con Gavin Rossdale - T. Rex - 1971
Little Wing - Santana con Joe Cocker - Jimi Hendrix - 1968
I Ain't Superstitious - Santana con Jonny Lang - Willie Dixon - 1963
Fortunate son - Santana con Scott Stapp, cantante dei Creed - CREEDECE CLEARWATER REVAIVAL, John Fogerty - 1969

8 delle 13 canzoni sono del periodo tra il 1967 e il 1972 quando Santana era famoso, non quando era un ragazzino, non sono i titoli che lo hanno ispirato quando era giovane, ma al contrario invece perchè sono canzoni di Hard Rock; Deep Purple, Led Zeppelin, Def Leppard, Van Halen, AC/DC ! Lontane dal suo stile musicale il cosidetto Latin Rock, 

Prezzo: €32,99
€32,99

MODAL SOLOING STRATEGIES FOR GUITAR-MODERN IDEAS FOR ALL STYLES-JODY FISHER CD TABLATURE LIBRO

MODAL SOLOING STRATEGIES FOR GUITAR, Modern Ideas for All Styles. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA CON CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, DISEGNO DELLA TASTIERA, PENTAGRAMMA, TABLATURE

SOLISTA, ARMONIA, STUDIO, MANUALE, 

By Jody Fisher
Item: 00-35461
UPC: 038081396576
ISBN 10: 0739071629
ISBN 13: 9780739071625

Series: The Improv Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Modal Soloing Strategies for Guitar is a comprehensive, multi-faceted study of the seven major-scale modes. Start applying and understanding the modes through sample licks, extended solos, and play-along tracks. In addition, you'll play each mode in all 12 keys, learn different types of fingerings, and even learn the formula for each mode and its relationship to the diatonic chord. Soon, you'll be harmonizing the modes and deriving them by altering other scales. A CD with play-along tracks and demonstrations of all the examples in the book is included. 

FEATURES
• Each mode of the major scale in all 12 keys, examined from five different perspectives
• Harmonized modes with suggested voicings
• Open, closed, and single-string fingerings
• Licks and play-along tracks for every mode
• Extended solos showcasing the modes in various combinations
• Examples in TAB and standard music notation

ALSO AVAILABLE
Pentatonic Soloing Strategies for Guitar (35302)

The Improv Series
MODAL SOLOING STRATEGIES FOR GUITAR
Modern Ideas for All Styles
JODY FISHER

ISBN-10: 0-7390-7162-9 (Book & CD)
ISBN-13: 978-0-7390-7162-5 (Book & CD)
Alfred Music Publishing Co., Inc.

This book was acquired, edited, and produced by Workshop Arts, Inc., the publishing arm of the National Guitar Workshop.
Nathaniel Gunod, acquisitions, managing editor Burgess Speed, acquisitions, senior editor
Timothy Phelps, interior design Ante Gelo, .music typesetter

CD tracks 1, 4, 7, 10, 13, 16, 19, and 22 recorded by Robert Brown at Workshop
Sounds Studio, Cranford, NJ; tracks 2,3,5,6,11, 12, 14, 15, 17, and 18 recorded at
Studio Blue, Derry Hill, TX; tracks 8 and 9 recorded by Glenn Riley; tracks 20 and 21
recorded by Steve Robertson at Standing Room Only Studios, Fontana, CA

Alfred, the leader in educational publishing,
and the National Guitar Workshop,
one of America's finest guitar schools, have joined
forces to bring you the best, most progressive
educational toolspossible. We hope you will enjoy
this book and encourageyou to lookfor
other fine products from Alfred and the
National Guitar Workshop.

Cares. Contents printed on recycled paper.

 

INTRODUCTION

Welcome to Modal Soloing Strategies for Guitar, the only book about the modes
you may ever need. This book is for intermediate to advanced guitarists desiring
a thorough understanding of modes and their applications for improvising. For
those unfamiliar with the basics of notation and music theory, there is a review
starting on the next page. If you are already familiar with these basics, you can
skip the review and jump ahead to page 20.
The modes have been in existence for centuries as compositional tools for classical,
folk, and ethnic musicians, as improvisational devices for jazz musicians, and a
source of "new" sounds for rock, pop, and country artists. But, unfortunately,
the subject has been shrouded in mystery, causing many guitar students a lot of
confusion. The confusion may be due to an incomplete overview of the subject.
There are many ways of looking at modes and each one has an important place
in understanding and applying the modes to improvising, composition, or both.
Although modes can be derived from both major and minor scales, this book deals
only with the modes of the major scale. Each chapter is devoted to a particular
mode and will include:
• A notated list of the mode in twelve keys
• Perspective #1: The modal formula, a look at where the half steps occur in
the scale and how it relates horizontally to the fretboard
• Perspective #2: The mode's relationship to the diatonic harmony
• Perspective #3: The mode created by altering another scale
• Perspective #4: The mode's intervallic distance from the "parent" key,
measuring from the root of a chord
• Perspective #5: Deducing a mode's key signature
• Six closed-position fingerings
• Open-position fingerings in every key
• The harmonized mode, with sample chord voicings
• Mode usage
• Practice suggestions
• Licks
• Melodic patterns
• Backing track to practice soloing
Also, sample solos utilizing most of the modes in various combinations have been
included at the end of the book.
One way this book is different from many others is that three fingering options are
covered. The first is the horizontal approach along the single string. The second
is the use of "locked" fingerings or scales that are played in a fixed position. The
third fingering option is the "open" position. When any musical concept is explored
on the guitar, a more complete understanding is accomplished by examining all
three fingering options.
It should be noted here that, while a clear understanding of the modes is important,
it represents only a part of what is needed to become an accomplished improviser.
Modes, in conjunction with other scales, arpeggios, and licks, are only part of the
picture. Improvisation is a lifetime study. Try to keep this in mind.
Each chapter of this book is complete so it's all right to skip around. You can also
move straight through from beginning to end for a very comprehensive study. To
get the most out of this book, you need to transpose all exercises and fingerings in
all twelve keys. At first this may seem like a hassle, but in time it will get easier
and payoff in the form of greater fluency.
 

ABOUT THE AUTHOR
Jody Fisher has worked professionally in virtually all
styles of music during his career, from straight-ahead
and contemporary jazz to rock 'n' roll, country, and
pop. For several years, he was a director of the National
Guitar Workshop. He also taught guitar and jazz studies
at both the University of Redlands and Idyllwild School
of Music and the Arts (ISOMA TA). He is an active
performer in the Southern California area, where he
maintains a busy private teaching practice as well.

Acknowledgements
One does not survive in the music business without
help and support from a large network of family and
friends. I would like to thank my wife, Julie; my son,
Josh; Shauna Perry; and my parents, Howard and Edith
Fisher. Also, thanks to my brother, Rich; my uncle, Sid;
David Smolover, Nat Gunod, Ted Greene, Joe Diorio,
George Stanley, Bob Scarano; and the entire gang at
Caleb's Guitar.

Other Instructional Materials by Jody Fisher
3D-Day Guitar Workout (AlfredlNational Guitar Workshop-Book #17867)
Ear Trainingfor the Contemporary Guitarist (AlfredlNational Guitar Workshop-Book & CD #19370)
Jazz Skills (National Guitar Workshop-Book & CD #07-1012)
Rhythm Guitar Encyclopedia (AlfredlNational Guitar Workshop-Book & 2 CDs #14838)
Stand Alone Tracks: Smooth Jazz (AlfredlNational Guitar Workshop-Book & CD #17808)
The Complete Jazz Method:
Beginning Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14120)
Intermediate Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14123)
Mastering Jazz Guitar: Chord/Melody (AlfredlNational Guitar Workshop-Book & CD #14126)
Mastering Jazz Guitar: Improvisation (AlfredlNational Guitar Workshop-Book & CD #14129)
Jazz Guitar Harmony (AlfredlNational Guitar Workshop-Book & CD #20440)
Teaching Guitar (AlfredlNational Guitar Workshop-Book & CD #22916)
Jazz Licks Encyclopedia (AlfredlNational Guitar Workshop-Book & CD #19420)

A compact disc is included with this book. Use the CD to help ensure you're capturing the feel
of the examples and interpreting the rhythms correctly. The symbol shown at the left appears
next to every example that is on the CD. The track number below the symbol corresponds
directly to the example you want to hear. Track 1 provides tuning notes for your guitar.
0001 Soloing Strategies for Guitar

 

CONTENTS
About the Author
Introduction
otation and Theory Review 5
Tablature (TAB)
Scale Diagrams
Chord Diagrams
Reading Roman Numerals
Left-Hand Techniques
The Chromatic Scale
The Major Scale
Key Signatures
Intervals
Minor Scales

The Ionian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
C Ionian Backing Track

The Dorian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
D Dorian Backing Track

The Phrygian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings ; .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
E Phrygian Backing Track .

The Lydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
F Lydian Backing Track .

The Mixolydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale ,
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
G Mixolydian Backing Track .

The Aeolian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position fingerings: in every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
A Aeolian Backing Track .

The Locrian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
B Locrian Backing Track .

Concluding Solos .
Ionian/Dorian .
Ionian/Dorian/Phrygian .
Lydian/Dorian .
Mixolydian .
Aeolian/Mixolydian .
Locrian/Mixolydian/ Aeolian .

Modal Soloing Strategies for Guitar 

 

NOTATION AND THEORY REVIEW

Tablature (TAB)
Tablature (TAB) is a system of notation that graphically represents the strings and frets of the guitar fingerboard. Each note is indicated by placing a number, which indicates the fret to play, on the appropriate string.

Scale Diagrams
This book is loaded with scale diagrams. The top line represents the first string of the guitar, and the bottom line the sixth. The vertical lines represent frets, which are numbered with Roman numerals.

The root Scale tones First string
Frets Fret numbers

Chord Diagrams
Chord diagrams are similar to scale diagrams, except they are oriented vertically instead of horizontally. Vertical lines represent strings, and horizontal lines represent frets. Roman numerals are used to number the frets.

Chord Name First String -C7
Barre + Fret number
Frets Sixth String

Reading Roman Numerals
Roman Numeral Review
Here is a review of Roman numerals and their Arabic equivalents.
I or 1
II or 2
III or 3
IV or 4
V or 5
VI or 6
VII or 7

Left-Hand Techniques
SL= Slide
H = Hammer-on
P= Pull-off
Bend and Release
Whole-Step Bend
Half-Step Bend
Left-hand fingering
 

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JACKSON MICHAEL GUITAR TAB ANTHOLOGY AUTHENTIC EDITION TABLATURE SPARTITI LIBRO CHITARRA

JACKSON MICHAEL, GUITAR TAB ANTHOLOGY AUTHENTIC GUITAR TAB EDITION TABLATURE

LIBRO DI MUSICA.

SPARTITI PER VOCE E CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

Michael Jackson
Serie: Guitar TAB Anthology
Categoria: Guitar Personality
Formato: Libro
Strumento: Chitarrra
Versione: Authentic Guitar TAB
Diciasette dei più grandi hits di Michael Jackson con le tablature complete per la chitarra.


Seventeen of Michael Jackson's greatest hits with complete guitar TAB. Titles:

Titoli                - Album
Bad                  - Bad - Written and composed: Michael Jackson - 1987
Beat It              - Thriller - Written and composed: Michael Jackson - 1982
Billie Jean       - Thriller - Written and composed: Michael Jackson - 1982
Black or White - Dangerous - Written and composed: Michael Jackson - Lyrics: Bill Bottrell - 1991
Dirty Diana       - Bad - Written and composed: Michael Jackson - 1987 
Don't Stop 'Til You Get Enough   - Off The Wall - Written and composed: Michael Jackson - 1979
Human Nature      - Thriller - Words and Music: Jeff Porcaro, John Bettis - 1982
Man in the Mirror - Bad - Words and Music: Siedah Garrett and Glen Ballard - 1987
Off the Wall          - Off The Wall - Words and Music: Rod Temperton - 1979
P.Y.T. (Pretty Young Thing) - Thriller - Words and Music: James Ingram and Quincy Jones - 1982 
Rock with You   - Off The Wall - Words and Music: Rod Temperton - 1979 
She's Out of My Life - Off The Wall - Words and Music: Tom Bahler - 1979
Smooth Criminal     - Bad - Written and composed: Michael Jackson - 1987
The Lady in My Life   - Thriller - Words and music: Rod Temperton - 1982
The Way You Make Me Feel - Bad - Written and composed: Michael Jackson - 1987
Thriller                - Thriller - Words and music: Rod Temperton - 1982
Wanna Be Starting Somethin' - Thriller - Written and composed: Michael Jackson - 1982

 

Prezzo: €28,99
€28,99
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