HAL LEONARD

ROCK GUITAR STYLES MIKE iHDE BERKLEE CD LIBRO SPARTITI CHITARRA ACCORDI MUSICA METODO

ROCK GUITAR STYLES. BERKLEE, Mike Ihde.

LIBRO METODO PER CHITARRA SOLISTA E RITMICA, DI MUSICA HARD ROCK, METAL, FUNK, BLUES, ECC.  CON CD.

SPARTITI PER CHITARRA CON ACCORDI E PENTAGRAMMA.

Mike Ihde, Guitar
Peter Olson, Bass
Bob Harsen, Drums

 

FOREWORD
This book is written for all guitarists, professional or not, who realize the importance of being versatile on their instrument. If you plan to make a living as a working guitarist, sooner or later whether you like it or not, you'll be called upon to play some kind of Rock and Roll. This is why I've tried to cover what I think are the most valuable and enduring styles of rock. There may be only an example or two for each topic, but if you can play it exactly as written, with the right sound or gadget, I know you'll sound authentic. Hopefully, you'll find this book to be a short cut in learning rock lead or rhythm. You will need a certain amount of reading skills to handle it all, but I'm sure the results of your practice will be worth the struggle. Not all of the examples are recorded, but each one I chose demonstrates a particular technique that you must be able to imitate. All examples that have been recorded are indicated by a large star"* . I've been teaching the styles shown in this book in my Rock Guitar Styles Workshop at Berklee over the past few years with excellent results. Start anywhere in the book you want, but learn each style completely before going on. Most of all, try to learn why each style is different from the other, this way you'll be able to create your own licks instead of copying someone elses. The recordings are included because no matter how well you read, you won't be able to achieve the right feel unless you hear it

H. RIGHT HAND HAMMERING
Here's a new twist on bending that will add a great deal to the licks you already know. You know how to playa hammer when using your left hand. Well, this technique is the same except for the fact that the hammer is done with your right hand .. Use your right hand's middle finger and sharply nail it down anywhere on a string. You should hear a note just as you would have had you done it with your left hand.
It will definitely take a while to build up the strength and accuracy necessary for this technique but it'll be worth it. Now, try a bend with your left hand. Let's say G to A on the second string. While the note is bent up to A, hammer on your right hand's middle finger on the 13th fret. This will produce the note D. Now, keep your right hand's D helci.down while you release the bend in your left hand. You should hear that D go down to C. All right hand hammers are indicated with a star*.

Standard Notation
The string bending notation is my own, but the following notations are standard in all forms of music. THE SLUR: A curved line connecting two notes of different pitch, tells you not to attack the second note. For a horn player this would mean not to tongue the second note. For the guitar player it means not to pick the second note. The only way this can be done is by hammering on or pulling off . Beat one of measure one uses a hammer on. Pick only the first note(E~) and drop your third finger sharply on the string to produce the F. Between the "and" of three and beat four, pick only the F and ...

Early Rock
Ballads and Up Tempo Styles When rhythm and blues was discovered by white artists like Elvis, and mixed with the country music of the day, the result was Rock and Roll. In July of 1955 when "Rock around the clock" hit the number one spot on Billboards top 40 charts, a new era of music began. In 1956, Dean Martin and Nelson Riddle were riding high on the charts when Elvis released "Heartbreak Hotel". In the same year he had four more No.1 hits with "Hound Dog", "Don't be Cruel", "Love Me Tender" and "Any Way You Want Me". From then on, rock and roll was in full swing. Because of the roots rock had in country and blues, the chord progressions were always simple. The old "three chord special" was the rule in almost all the hits. This simplicity was probably the main·reason that thousands of kids decided to take up guitar and bass. Almost anybody could figure out a C, F and G chord on the guitar. Soon, every town had at least five or ten bands trying to get gigs at the high school dances. (Ah yes, I remember it well!) Most tunes were either slow ballads or fast rock and roll. For slow tunes, a typical rhythm would look like this:


Table of Contents
Foreword
Notation for string bending
Standard notation
Notation for rhythm guitar

CHAPTER ONE ROCK RHYTHM GUITAR
Early rock, ballads and up tempo styles
Cha Cha
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
NewWave
Blues
Soul & Funk
Funk
Jazz Rock

CHAPTER TWO ROCK LEAD GUITAR
Early rock and roll, ballads and up tempo styles
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
New Wave
Blues
Soul & Funk
Jazz Rock

CHAPTER THREE ELECTRONIC DEVICES FOR THE ROCK GUITARIST
Distortion & Fuzz
Phase Shifter & Hanger
WaWa & Envelope Follower
Octave Divider
Echo
Compressor & Limiter
Chorus & Double Tracking
Volume Pedal
Guitar Synthesizer
The Harmonizer

CHAPTER FOUR ARRANGEMENTS FOR LEAD GUITAR, RHYTHM GUITAR, BASS and DRUMS
Notation for rhythm guitar, bass and drums
Basic technique for arranging the rhythm section
Full length examples
1. "St;::eplechase", rock style
2. "Bent Over Backwards", country rock style
3. "Slightly Out", jazz rock style
4. "Funky Chicken Pickin"', funky country style
5. "After two very dry Martinos", fusion style 

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REGGAE GUITAR HOW TO PLAY Ray Hitchins CD TABLATURE CHITARRA LIBRO METODO SPARTITI

REGGAE GUITAR, HOW TO PLAY. Manuale per imparare a suonare all'ombra di una palma di Kingstone, nutrendosi di cocco. Una chitarra sempre al sole, in stile Bob Marley. Semplici esercizi sugli accordi, le pennate in alto e in basso, i ritmi, gli accordi staccati e muti, lo stile percussivo. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

Series: Fretted
Medium: Softcover with CD
Artist: Ray Hitchins

Learn to play authentic reggae guitar. Here's a complete guide to this unique style of music, including an explanation of the rhythms used, construction of guitar parts, exercises, examples, amplifier settings, and much more. The recording contains all the examples in the book, so you can learn to hear and play correctly from the very beginning. 56 pages

 

BY RAY HITCHINS

CONTENTS
Acknowledgements .
About The Author .
Introduction .
Introduction To The Recording .
THE FUNDAMENTALS
YourEquipment .
Rudiments .
Practice Schedule .
DOWN- & UPSTROKES (Theory and Practice)
Lesson 1 Downstroke Theory .
Lesson 2 Upstroke Theory .
Lesson 3 Downstroke Practice .
Lesson 4 Upstroke Practice .
Lesson 5 Stroke Changing .
BASIC TECHNIQUES
Lesson 6 String Grouping .
Lesson 7 Damping .
Lesson 8 Tenuto Downstrokes.Right-Hand Damping .
Lesson 9 Tenuto Upstrokes. Right-Hand Damping .
Lesson 10 Tenuto Down-and Upstrokes. Right-Hand Damping .
Lesson 11 Staccato Downstrokes,Right-Hand Damping .
Lesson 12 Staccato Upstrokes. Right-Hand Damping .
Lesson 13 Staccato Down-and Upstrokes. Right-Hand Damping .
Right-Hand Damping Summary Points .
Lesson 14 Left-Hand Damping .
NEW RHYTHMS
Lesson 15 Reggae Beats .
Lesson 16 Rhythm Fills .
Lesson 17 Rhythmic Patterns .
Lesson 18 Before Reggae .
FINAL STEPS
Lesson 19 Chords .
Lesson 20 Bass Lines & Riffs .
Lesson 21 Percussive Playing .
Lesson 22 Dummy Strokes .
Lesson 23 Sound Evaluation.
Conclusion

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€19,99

METAL LEAD GUITAR VOLUME 1 TROY STETINA LIBRO CD TABLATURE VIBRATO-BENDING-TAPPING-FRASEGGI

METAL LEAD GUITAR VOLUME 1. Stetina. BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA METAL, CON CD.

SPARTITI PER CHITARRA CON:  

ACCORDI, TABLATURE. 

Finalmente disponibile in italiano il 1° volume della serie di Troy Stetina, uno dei più grandi didatti e chitarristi metal. I suoi metodi, utilizzati da insegnanti e musicisti di tutto il mondo, forniscono un sistema completo per l’apprendimento e il perfezionamento del metal e per la costruzione di una solida preparazione musicale di livello professionale. Il cd guida allegato ad ogni volume costituisce un valido e prezioso supporto per lo studio individuale. 
Metal lead Guitar, volume 1 è il punto di partenza per chi è già in possesso dei rudimenti fondamentali della musica. Il sistema notazionale utilizzato non richiede l’apprendimento della lettura musicale, ma fa uso delle tablature, dove i simboli ritmici sono applicati direttamente sui numeri. Propone una breve panoramica sulle tecniche di base e sei assoli, accompagnati da una band e di difficoltà e velocità progressiva, che sintetizzano e applicano gli argomenti di ogni capitolo. 

Argomenti trattati:
utilizzo delle scale minori pentatoniche, blues, doriche e minori naturali nelle frasi e negli assoli; la varietà delle articolazioni dei suoni che comprendono tipi diversi di bending, vibrato, palm-muting, staccato, ecc.; concetti sul ritmo e sul fraseggio, la costruzione di una solida tecnica per la pennata alternata, una serie di esercizi per lo sviluppo della velocità, la teoria di base, le forme e il concatenamento delle scale, il tapping, gli armonici e l’utilizzo della leva per il vibrato.

Traduzione italiana di Manuel Consigli

 

 

Series: Stylistic Method
Medium: Softcover with CD
Author: Troy Stetina

This intense metal method teaches you the elements of lead guitar technique with an easy to understand, player-oriented approach. The metal concepts, theory, and musical principles are all applied to real metal licks, runs and full compositions. Learn at your own pace through 12 fully transcribed heavy metal solos from simple to truly terrifying! "One of the most thorough" and "one of the best rock series currently available" - Guitar Player magazine. Music and examples demonstrated on CD. 64 pages

 

 

FOREWORD

The Metal Lead Guitar Method is designed to bring you to top notch lead guitar playing. This book, Volume I, is most appropriate for intermediate level players who have already been playing guitar for a year or more. Beginners are directed to Metal Lead Guitar Primer. Keep in mind that the pace of this method is somewhat ambitious, challenging you with a realistically professional level by the end of Volume 2, so take your time with it. It'll be worthwhile! Volume I kicks off with a brief overview of the fundamentals in the first chapter, then launches into the first of six solos with full backing band. As the method progresses, these solos build in speed and level of difficulty. Specific highlights of Volume I include using various minor pentatonic, blues, dorian, and natural minor scale forms in licks and solos, a variety of articulations including different types of string bending, vibrato, palm-muting, staccato, etc., phrasing and rhythmic concepts, building a solid alternate picking format, a series of speed exercises, basic scale theory, sequencing and contouring scales, right-handed tapping, harmonics, and using the vibrato bar. By narrowing your focus to just the skills that you need, you'll master them more quickly. And that's how this method is designed to teach metal guitar-the fastest way possible, by tackling just what a guitarist must master in order to be successful in this style. In part, it accomplishes this through a simple tab-staff notational system which eliminates the need for learning standard musical notation by applying rhythm symbols directly to the tablature numbers. Also, grid diagrams complete the shape-oriented approach and speed the learning process. Of course, learning to read standard notation is a useful skill and I highly recommend that anyone interested should pursue it, but it is arguably unnecessary here. In the end, all that matters is the sound and attitude that comes through your speaker cabinet. That is where your attention should be, and that's what this method is all about. Good luck, and enjoy the method!

 

WELCOME TO THE TROY STETINA SERIES.

The "Troy Stetina Series" is a complete learning system for mastering metal and building solid musicianship. It is written by someone who specializes in metal-who plays it, lives it and breathes it, as well as teaches it-so the result is a genuine and direct approach, giving you the information and technique that you need to get playing quickly and correctly. Taken together, the methods of this series cover the full spectrum of guitar playing, from the very beginning up to the most advanced rhythm and lead concepts, fretboard pyrotechniques, theory, how to develop your own personal lead style, and more. And it even goes beyond guitar playing with a guide to metal songwriting to help you develop that vital skill. In short, this series is designed to take you to a professional level of playing. Brief descriptions of each of the books and videos of the "Troy Stetina Series" appear at the end of this book. Use this to help you navigate through the series, selecting what is best for you. Also, keep in mind that it is generally best to use two or three complementary books at a time, in order to have plenty of variety in your practice routine. Each book's accompanying audio enables you to use them effectively by yourself as well as under the guidance of a teacher.

 

CONTENTS

Welcome to the TROY STETINA SERIES

Foreword

Introduction

How to read music in this book

Timing and rhythm notation

 

Chapter 1

The Minor Pentatonic Scale

The Hammer-On and Pull-Off

The Two-Fret Bend

Rock Cliches

Finger Vibrato

Rests

Rhythmic Patterns

Minor Pentatonic Riffs

Special Articulations

Riffs Using the Special Articulations

"Open Fire" (Solo #1)

 

Chapter 2 

Notes on the Sixth String

Changing Keys

The Octave Position

The Diagonal Form

Alternate Picking and Sixteenth Notes

Speed Exercises

"To The Stage" (Solo #2)

 

Chapter 3

The Blues Scale

The One-Fret Bend

Triplets

Special Articulations

Quarter Note Triplets

Photos 

Improvisation and Phrasing 

"From the Heart" (Solo #3)

 

Chapter 4

Notes on the Fifth String

Minor Pentatonic (Fifth String Root)

Scale Tones

Minor Pentatonic Tones

The Natural Minor Scale and Tones

Speed Exercises .

"The Heavy Side" (Solo #4) .

 

Chapter 5

Cross-String Picking Mechanics .

Scale Sequencing and Contouring .

Scale Sequencing in Licks .

Rhythmic Patterns .

The Dorian Mode .

Sixteenth Note Triplets .

Overbendi ng .

Speed Exercises .

"Montezuma's Revenge" (Solo #5) .

 

Chapter 6

Natural Harmonics

The Vibrato Bar.

Right-Hand Fretting

Speed Exercises

"Into the Spotlight" (Solo #6)

 

Keeping Tabs on Your Own Killer Licks.

Notation Guide

Glossary of Terms

THE TROY STETINA SERIES

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METAL LEAD GUITAR VOLUME 2 TROY Stetina LIBRO CD TABLATURE CHITARRA METODO SPARTITI

METAL LEAD GUITAR VOLUME 2. TROY Stetina. CD TABLATURE

LIBRO METODO DI MUSICA METAL ,  CON CD. 

SPARTITI, TABLATURE. 

Series: Stylistic Method
Medium: Softcover with CD
Author: Troy Stetina

This intense metal method teaches you the elements of lead guitar technique with an easy to understand, player-oriented approach. The metal concepts, theory, and musical principals are all applied to real metal licks, runs and full compositions. Learn at your own pace through 12 'smoking fully transcribed' heavy metal solos from simple to truly terrifying! 'One of the most thorough' and 'one of the best rock series currently available' - Guitar Player magazine. Music and examples demonstrated on CD. 64 pages

 

Finalmente disponibile in italiano il 2° volume della serie di Troy Stetina, uno dei più grandi didatti e chitarristi metal. I suoi metodi, utilizzati da insegnanti e musicisti di tutto il mondo, forniscono un sistema completo per l’apprendimento e il perfezionamento del metal e per la costruzione di una solida preparazione musicale di livello professionale. Il cd guida allegato ad ogni volume costituisce un valido e prezioso supporto per lo studio individuale.

Metal lead Guitar, volume 2 è la continuazione del Metal Lead Guitar Method. Per accelerare il processo d’apprendimento anche in questo volume è stato utilizzato un sistema notazionale che fa uso di tablature e di diagrammi. La struttura del libro è caratterizzata dallo stesso orientamento musicale del volume 1. Con altri sei assoli completi progressivamente più avanzati. 

Rivisitato e aggiornato per il chitarrista d'oggi, questo metodo per il metal insegna le tecniche, la teoria e i concetti musicali attraverso una sesie di frasi metal, Riffs e assoli elettrici.

Il volume 2, prosegue il metodo con esempi musicali più avanzati:

 

FRASEGGIO E CONCETTI RITMICI

ESERCIZIE DI VELOCITÀ

TEORIA SULLE TONALITÀ

MODI E ALTRE SCALE ESOTICHE

GLI ARPEGGI E LA LORO APPLICAZIONE

INTERVALLI

ARMONIA

RISOLUZIONE DEGLI ACCORDI

DITEGGIATURE ESTESE DELLE SCALE

SWEEP PICKING

TAPPING SUGLI ARPEGGI

E ALTRO...

 

Troy Stetina è riconosciuto internazionalmente come autore, insegnante e musicista. E' giustamente considerato uno dei massimi virtuosi della chitarra. I suoi libri, i metodi e i video, pubblicati per la TROY STETINA SERIES, hanno ricevuto ottime recensioni da riviste specializzate e sono utilizzati da insegnanti e musicisti di tutto il mondo. Troy ha collaborato con le riviste Guitar World, Guitar School e Guitar One e ha elaborato programmi didattici sul rock e il metal sia per seminari sia per corsi di livello universitario presso il Wisconsin Conservatory of Music. Figlio minore di una famiglia di ciclisti olimpionici d'Indianapolis, cresce nell'ambiente del ciclismo agonistico e conquista numerose medaglie in competizioni americane. Correre però è più un imperativo familiare che una scelta volontaria e la musica è la sua vera passione. All'età di dodici anni Troy inizia a suonare la chitarra da autodidatta. Si entusiasma per le ritmiche hard rock dei Kiss e passa intere giornate trascrivendo ad orecchio gli assoli dei leggendari Eddie Van Halen e Randy Rhoads. In seguito sviluppa la propria tecnica studiando la musica classica di Bach, Beethoven, Vivaldi e del famoso violinista Nicolò Paganini. All' età di diciotto anni Troy ha idee molto chiare e, con gran dispiacere dei suoi genitori, abbandona il ciclismo, rinuncia ad una borsa di studio per finire il college e insegue il suo sogno nel mondo del rock and rolI... Troy si trasferisce a Milwaukee, la mitica città della birra, per insegnare nel Conservatorio di Musica del Wisconsin dove attiva un corso di studi sul rock e il metal. Diventa direttore dei Corsi di Chitarra Rock ed è apprezzato per le ottime qualità d'insegnante e per la sua tecnica impeccabile. Scrive metodi di successo per chitarra metal per l'HaI Leonard Corporation. Tiene concerti presso il conservatorio dove si esibisce in brani impegnativi, come le versioni per chitarra sola dei "24 Capricci" e del "Moto Perpetuo". Per una strana coincidenza, il Conservatorio dove Troy ottiene i primi successi, si trova a pochi metri dal luogo in cui, alcuni anni prima, vinceva il campionato nazionale di ciclismo. Dalla tecnica della chitarra la sua attenzione comincia ora a focalizzarsi sulla composizione, come documenta la registrazione del 1993 di Set the World on Fire (Screaming' Cat Records) realizzata con la cantante e coautrice Shauna Joyce. Il disco è distribuito insieme al libro Secret to Writing Killer Metal Songs e riceve critiche entusiastiche da tutto il mondo per la bellezza delle composizioni e lo straordinario contributo della sua chitarra. ello stesso anno, Troy decide di lasciare il conservatorio per collaborare con musicisti di New York e Los Angeles. Attualmente vive in campagna in una bella casa colonica, collabora con musiciti di tutto il mondo, scrive metodi per chitarra e articoli, compone, suona e insegna in seminari e corsi di perfezionamento.

 

TROY STETINA SERIES

La "Troy Stetina Series" è un sistema completo per l'apprendimento e il perfezionamento del meta! e per la costruzione di una solida preparazione musicale. E' scritto da un musicista specializzato nel metal, che, oltre ad insegnarlo, lo suona, lo vive e lo respira. Il risultato è un approccio diretto, che fornisce le informazioni e illustra le tecniche che servono per suonare questa musica velocemente e in modo corretto. Nel loro complesso, i metodi di questa serie coprono l'intera gamma degli argomenti necessari per suonare, dai principi di base fino ai concetti più avanzati della chitarra ritmica e solista. Puoi imparare tecniche da virtuoso, la teoria, come sviluppare il tuo personale stile e molto altro. Il metodo si spinge oltre lo studio della chitarra con una guida alla composizione che ti può aiutare a sviluppare questa competenza essenziale. In breve, questa collana è pensata per fornirti una preparazione musicale di livello professionale. Ti consiglio di utilizzare, nello stesso tempo, due o tre libri complementari, per rendere più varia la pratica quotidiana. Il CD allegato ad ogni volume ti permette di utilizzare il metodo sia da solo sia con la guida di un maestro.

 

Il Volume 2 è la continuazione del Metal Lead Guitar Method. Per accelerare il processo d'apprendimento anche in questo volume è utilizzato un sistema notazionale che fa uso di tablature e di diagrammi. La struttura del libro è caratterizzata dallo stesso orientamento musicale del volume l. Con altri sei assoli completi progressivamente più avanzati. Il percorso proposto ha obbiettivi elevati, quindi prenditi il tempo necessario! Con questo volume potrai imparare concetti e tecniche di primaria importanza: i modi e il loro usoaltre scale particolari come la phrygian-dorninant, la scala cromatica e la minore armonica oltre alla pentatonica maggiore, la mixolydian e le scale maggiori- il fraseggio e concetti ritmici- esercizi di velocità- la teoria musicale sulle tonalità- la struttura delle scale e le loro relazioni- gli arpeggi- come enfatizzare le progressioni di accordi nell'improvvisazione- patterns intervallari e armonia- l'utilizzo degli arpeggi diminuiti e le risoluzioni degli accordi- tecniche speciali per la pennata degli arpeggi e lo sweep picking- diteggiature estese di scale per coprire tutta la tastiera- tapping per progressioni di accordi arpeggiati e molto altro! Ricorda che puoi completare lo studio di questo volume con altri libri. Metal Lead Guitar Jams fornisce delle tracce supplementari d'accompagnamento per mettere in pratica il materiale proposto in ciascun capitolo di questo volume. Inoltre, se ancora non stai utilizzando il libro di tecnica Speed Mechanics for Lead Guitar, ti consiglio di studiarlo ora come complemento a questo volume. Questo libro culmina con l'assolo strumentale "Babylon", dove vengono sostanzialmente applicate tutte le idee e tutte le tecniche illusturate nei volumi LEAD 1 e 2. Potete trovare la parte completa della chitarra ritmica del pezzo "Babylon" alla fine del libro con CD e Tablature METAL RHYTHM GUITAR VOLUME 2.

 

INDICE

Benvenuto nella TROY STETINA SERIES

Prefazione

 

Capitolo 7

Le note sulla terza e quarta corda

I Modi

Il Modo Frigio

La scala Phrygian-Dominant

I Trentaduesimi

Esercizi di velocità

"Mystic Places" (solo #7)

 

Capitolo 8

Teoria musicale:

Le tonalità e i concetti relativi

Le relazioni all'interno delle tonalità

Tonalità maggiori

Tonalità minori

Tonalità "modali"

Esercizi sulle relazioni fra i modi

Arpeggi

Enfatizzare le progressioni armoniche

e i modi relativi agli accordi

Individuare la scala giusta da suonare su una

data progressione d'accordi

Introdurre i cromatismi

Patterns ritmici

Esercizi di velocità

"Drastic Measures" (Solo #8)

 

Capitolo 9

Le note sulla prima e seconda corda

Relative maggiori e minori

Utilizzare i patterns della scala minore

per improvvisare nelle tonalità maggiori

Intervalli

Armonia

"New Lands" (Solo #9)

 

Capitolo 10

La scala minore armonica

Introduzione allo Sweep Picking

Arpeggi di settima diminuita

Esercizi di velocità

"Lightning's Edge" (solo #10)

 

Capitolo 11

Patterns estesi delle scale

Risoluzione degli accordi e cadenze

Tapping a due mani - arpeggi

Esercizi di velocità

"Battle to Vìctory" (solo #11)

 

Capitolo 12

"Babylon"

Intro

Verso 1

Chorus 1

Verso 2

Chorus 2

Bridge (accenti ritmici)

Verso 3

Dal bridge al finale

(break della chitarra solista)

Finale ( guitar solo)

Teoria musicale ed espressione creativa

Raccogliere sulle tablature

le tue frasi migliori

Guida alla notazione

Glossario

Nota del traduttore 

Prezzo: €24,99
€24,99

METAL LEAD GUITAR, PRIMER. Stetina. CD TABLATURE

METAL LEAD GUITAR, PRIMER. Stetina. CD. TABLATURE

Series: Guitar School
Medium: Softcover with CD
Author: Troy Stetina

Learn metal guitar the best way - by playing music! This primer for the beginning lead guitarist builds the solid musical and technical foundation you'll need as it prepares you for Metal Lead Guitar Vol. 1 with several metal 'jams'. Whether trading licks with the pre-recorded leads, or soloing by yourself, these rhythm tracks with full band accompaniment will make you sound great and they're fun to play! A great starter book - no experience necessary! Includes tablature. 48-minute audio accompaniment. 48 pages

Prezzo: €20,99
€20,99

METAL RHYTHM GUITAR VOLUME 1 Troy Stetina CHITARRA CD TABLATURE LIBRO METODO

METAL RHYTHM GUITAR VOLUME 1. Troy Stetina. CD TABLATURE

LIBRO METODO DI MUSICA METAL CON CD .

SPARTITI PER CHITARRA, TABLATURE. 

 

Series: Stylistic Method
Medium: Softcover with CD
Author: Troy Stetina

 

WELCOME TO THE "TROY STETINA SERIES" 

The TROY STETINA SERIES is a complete system for mastering metal and building solid musicianship. Taken together, the methods of the series cover the full spectrum of playing from the beginning all the way up to the most advanced rhythm and lead concepts, fretboard pyrotechniques, theory, melodic principles, songwriting, and how to develop your own personal lead style. In short, the series will take you to a professional level of playing. It is written by someone who specializes in metal so each method gives you what you need to get playing quickly and correctly. Brief descriptions of the books and videos of this series appear at the end of this book. You can use this to help you navigate through the series, selecting what is best for you. It is generally a good idea to use two or even three complementary books at a time, in order to have plenty of variety in your practice. Each book comes with accompanying audio so they can be used individually as well as with the guidance of a teacher.

FOREWORD

The Metal Rhythm Guitar method is designed to get you-the beginning guitarist-playing serious metal guitar as quickly as possible. It jumps right into the real thing, and before you know it, you'll be jamming on metal tunes with a full backing band! You'll be learning the chording, riffs, rhythms and progressions used by leading bands-from Guns 'N' Roses, Aerosmith, Van Halen, Metallica, Ozzy Osbourne, Alice in Chains, Soundgarden, Stone Temple Pilots, Nirvana, and Pearl Jam, to other classic bands such as Black Sabbath, AC/DC, Motley Crue, and the Scorpions. As you probably know, metal in the '90s isn't just one style, but has progressed into a broad range of "substyles" which we could call pop metal, thrash metal, grunge metal, alternative metal, punk metal, progressive metal, rap metal, and so on. (The lines between them are often fuzzy.) Each embodies different attitudes and uses different stylistic elements, yet they also share quite a lot in common-they all use different applications of metal guitar. In this method, we'll shed some light on each of these categories, while we build the solid underlying musical foundation you need to play guitar well. To teach all of this, Metal Rhythm Guitar employs a series of exciting "mini-songs," or jams with bass and drums, which progress from simple to advanced. And in case you are wondering, you don't have to wait to get to the good stuff. The first song appears right at the end of the first chapter. Volume 2 continues with the same format and concludes with the full instrumental tune "Babylon," which applies nearly all the concepts and techniques learned throughout Metal Rhythm Guitar. (The complete lead guitar track of "Babylon" likewise appears at the end of the companion lead guitar method.) You may also find it helpful to supplement this book with others to keep more variety in your practicing. Check out Metal Lead Guitar Primer and/or the beginning rock videos mentioned at the end of this book. Good luck with your playing, and enjoy the method! 

Because rhythm and timing lie at the foundation of everything you play, its importance can't be underestimated. This series will give you that solid foundation you need. Starts with simple upbeat rhythms for the beginner and moves step by step into advanced syncopations - all demonstrated with seriously heavy metal examples that have practical applications to today's styles. Tablature. Music and examples demonstrated on CD.
64 pages

 

 

Metal Rhythm Guitar - Volume 1

about the author

Welcome To The Troy Stetina Series 0:06

foreword

the electric guitar

positioning

Tuning 1:07

Getting the Sound 2:31

reading music in this book

 

CHAPTER 1

Power Chords On The Sixth String 0:27

Whole Notes, Half Notes, - Quarter Notes 1:29

Power Chords On The Fith String 1:46

'Switching' Between Strings 1:08

Eighth Notes 0:28

Sound Of Silence 0:23

The Slide 0:46

'Whips And Chains.' (Song -1) 2:28

'Whips And Chains.' (Song -1) - Backing Track 2:33

 

CHAPTER 2

Expanded Power Chords 0:51

Economy Fingering 1:02

Sharps And Flats 0:23

Muting Mayhem 1:02

Pedaling The Root 1:15

'Tales From The Crypt.' (Song -2) 2:28

'Tales From The Crypt.' (Song -2) - Backing Track 2:56

 

CHAPTER 3

Left Hand Muting 0:22

More Open Power 1:10

Upbeat Accents 2:10

Rhythm Variations 1:35

Vibrato Articulation 0:45

'The Tao Of Metal.' (Song -3) 2:37

'The Tao Of Metal.' (Song -3) - Backing Track 2:37

 

CHAPTER 4

Fourth Diads 0:28

Upbeats With Ties (Syncopation) 2:46

Rock And Roll Comping 0:55

12-Bar Changes 2:55

'Rock 'n' Roller.' (Song -4) 2:16

'Rock 'n' Roller.' (Song -4) - Backing Track 2:21

 

CHAPTER 5

Hammer-On And Pull-Off Articulations 0:50

String Bending 0:21

Double Upbeat Accents 1:13

Open Major And Minor Chords 2:30

Arpeggiation 0:47

'On The Prowl.' (Song -5) 3:31

'On The Prowl.' (Song -5) - Backing Track 3:46

 

CHAPTER 6

The Blues Scale 0:30

Riffs In The Blues Scale 1:04

Multiple Upbeats 1:28

Rhythmic Patterns 1:20

'As Darkness Gathers.' (Song -6) 3:13

'As Darkness Gathers.' (Song -6) - Backing Track 3:23

 

Keeping Tabs on your killer riffs

Notation Guide

Glossary Terms

The troy stetina series

Prezzo: €25,99
€25,99

METAL RHYTHM GUITAR VOLUME 2 TROY STETINA CD TABLATURE CHITARRA LIBRO SPARTITI METODO

METAL RHYTHM GUITAR VOLUME 2. Stetina. CD TABLATURE

LIBRO METODO DI MUSICA METAL CON CD. 

SPARTITI PER CHITARRA, TABLATURE. 

Series: Stylistic Method
Medium: Softcover with CD
Author: Troy Stetina

 

Un metodo all'avanguardia per gli stili moderni della chitarra metal. Grunge. Alternative Rock. Pop-Punk. Thrash. Funk-MetaLClassic Metal. e altro.

VOLUME DUE continua il metodo del Volume Uno con ritmi ancora più avanzati. riff, teoria musicale. esplorando ulteriormente le tecniche ritmiche nello stile di...

Alice In Chains

Bush

Collective Soul

Guns 'N' Roses

Live

Metalluca

Ministry

Nirvana

Offspring

Ozzy Osbourne

Pantera

Pearl Jam

Soundgarden

Stone Temple Pilots

Van Halen

White Zombie

e molti altri

Troy Stetina è riconosciuto come autore di spicchio, insegnante, musicista e virtuoso della chitarra acclamato dalla critica. I suoi libri, i metodi e i video della serie hanno ricevuto ottime recensioni dalle riviste di settore e sono utilizzati da insegnanti e chitarristi di tutto il mondo. Troy è anche stato un editore importante di Guitar World, Guitar School, e Guitar One, ed ha creato programmi didattici per il rock e il metal, per seminari e per corsi di livello universitario al Conservatorio Musicale del Wisconsin. Per una lista dei libri, metodi e video relativi alla TROY STETINA SERIES, vedere le pagine finali di questo libro

CREDITI E RINGRAZIAMENTI

Chitarre e Basso: Troy Stetina Batteria: Brian Reidinger (tutti i brani nel Volume 1 e 2, ad eccezione di "Babylon") Tutti i brani e gli esempi sono stati scritti ed arrangiati da Troy Stetina Mixaggio effettuato presso "Gemini Studios", Faribault, MN (Eccetto "Babylon") Prodotto da Troy Stetina e Brian Reidinger Edizioni Digitali "In the Groove", Minneapolis MN

Strumentazione:

Chitarre: Jackson solista (con Sustainiac GA-2, Duncan Custom Pickup); Washburn MG-700

Amplificatori: Marshall 100 Watt, MkII; Marshall50 Watt, serie JCM 800; Casse Marshall4x12

Pedali: Boss PD-I (pedale Distorsione); Ibanez TSIO Tube Screamer Drum Machine Alesis HR-16 (su tutti gli esempi) Molte persone hanno contribuito o dato spunti per la realizzazione/ produzione di questo metodo per chitarra, e tutti meritano dei ringraziamenti. Grazie a tutti coloro che lavorano alla HaI Leonard Corporation. Un ringraziamento speciale all'amore della mia vita, Shauna. Grazie inoltre a Brian Reidinger, Don Dokken, chitarre Washburn, Wolf Marshall e alla rivista Guitar One, e grazie a tutti i pionieri della musica che creano curiosità e interesse, ci intrattengono, ma ci fanno anche pensare a dove siamo e a che cosa stiamo facendo. E infine, grazie a tutti voi, i chitarristi emergenti di domani. Alla fine siete voi che avete reso possibile tutto questo.

 

L'Autore

Crediti e Ringraziamenti

Benvenuto nella Troy Stetlna Series

Prefazione

Accordatura

 

Capitolo 7

Accordi Barre con la Forma del "Mi"

Accordi Barre con la Forma del "La"

Lo Strumming

GLI Armonid Naturali Stoppati

I Riff contro le progressioni

La Forma del Rlff

"Lucky Day (Canzone n° 7)

 

Capitolo 8

Teoria di Base

Costruire Accordi in Tonalità Maggiori

Progressioni in Mi Maggiore

Trasportare Progressioni Maggiori

La Variante bVIl

Accordi "Sus" e “Add”

Note Comuni e Frammenti Melodici

I Rivolti e gli Accordi Slash

Tempo Tagliato (Introduzione al Sedicesimi)

"In the Spirit" (Canzone n° 8)

 

Capitolo 9

Costruire Accordi in una Tonalità Minore

Progressioni in Mi Minore

Trasportare progressioni minori e i Rlff

V Maggiore, IV e I in tonalità Minori

Gli Accordi bV e bII

Figure con sedicesimi

Etensioni dei Power Chord

"Nervosa" (Canzone n. 9)

 

Capitolo 10

Gli Accenti in Levare con i Sedicesimi

Schemi Ritmici in Sedicesimi

Sedicesimi con Pennate In giù e Pennate Accentate

Ancoro nuove forme di Barre

Collegare I Punti

Utilizzo degli Armonlci Artificiali nei Riff

Accordi di Settimo e di Nona

Tempo Non-comune

"Monster-Funker" (Canzone n° 10)

 

Capitolo 11

Ancora Forme di Diadi

Le Terzine

Ritmi Shuffle e In 12/8

Terzine conSemiminime

Accordatura ln Re

Altre Accordature

"Demons Woltz" (Canzone nQ 11)

 

Capitolo 12

Note su Babylon

"Babylon" (Canzone n° 12)

Raccogliere sulle Tablature le tue frasi migliori

I nomi delle note sulla tastiera della chitarra

Guida alla notazione

Glossario


Because rhythm and timing lie at the foundation of everything you play, its importance can't be underestimated. This series will give you that solid foundation you need. Starts with simple upbeat rhythms for the beginner and moves step by step into advanced syncopations - all demonstrated with seriously heavy metal examples that have practical applications to today's styles. Tablature. Music and examples demonstrated on CD. 72 pages

Prezzo: €25,99
€25,99

CONSTRUCTING A SOLID-BODY GUITAR A COMPLETE TECHNICAL GUIDE-ROGER H. SIMINOFF LIUTERIA LIBRO

CONSTRUCTING A SOLID-BODY GUITAR, ROGER H. Siminoff.

LIBRO MANUALE DI LIUTERIA PER LA COSTRUZIONE DI UNA CHITARRA ELETTRICA SOLID BODY. 

FOTOGRAFIE BIANCO E NERO E A COLORI DI TUTTE LE FASI DI LAVORAZIONE. 

CON ALLEGATI I PROGETTI IN SCALA 1/1.

 

Guida tecnica completa curata nei minimi particolari per la costruzione di una chitarra elettrica solid-body. I vari tipi di legno, il manico, la tastiera, il corpo, la posizione dei pickup, l'assemblaggio delle diverse parti, fino al colore e alla verniciatura. Il tutto illustrato da oltre 150 fotografie. Contiene anche un progetto pronto per essere realizzato a grandezza naturale. In inglese.

Whether you're a musician or a woodworking enthusiast, you'll thoroughly enjoy Roger Siminoff's book, Constructing A Solid Body Guitar. This 64-page manual uses over 150 photos, several illustrations and four life-size blueprints to assist the reader in choosing the proper materials and tools, as well as using the correct skills and techniques to produce a beautiful handmade instrment that doesn't look handmade at all! Plastic-comb bound.

 

Roger H. Siminoff has been building and playing musical instruments for almost 30 years. During that time, he has had far more than a passing interest in music, graphic arts, and industrial design - a combination that has made him one of America's foremost authorities on string instruments and their design, a leading music journalist, and a highly respected inventor. Born in 1940 in Newark, New Jersey, Siminoff showed an early interest in mechanical things. That laid an important foundation for his creative career. As a teenager, one of Roger's first instruments was a pedal steel guitar with linkage made from model airplane parts. Among others was a roughly crafted - but playable - 5-string banjo. The first led to a second, and that led to a whole series of instruments, and ultimately to a catalog full of Siminoff-made instrument parts. By the early 1960's, Roger was building custom banjo necks and parts for musicians in the New York metropolitan area. Before the end of the decade, his mail-order parts business - Siminoff Banjos – was providing special equipment and accessories to instrument makers in every part of the world. During that time, Roger was attending the Parsons School of Design in New York City. He majored in Industrial Design and then started a graphic arts company in New Jersey that specialized in photography, art services, and printing. Not limiting his mechanical interests to instrument construction, in 1963 he developed and built a prototype for a major East Coast printing equipment manufacturer, of an offset printing machine capable of printing the faces and flaps (at the same time) of envelopes at 18,000 impressions per hour - a rate unprecedented in the industry. Having branched out into the building of guitars and mandolins in early 1970, Siminoff conceived and built special carving machines needed to do the exact shaping of instrument necks, and of mandolin top and back plates. By early 1973, he had developed a unique truss rod system to counteract the forces of string tension on musical instrument necks. For this design, he was awarded a U.S. patent in 1974. During the following year, that design was licensed to Gibson Incorporated, an internationally prominent musical instrument manufacturer now based in Nashville, Tennessee. With printing facilities readily available to him, Siminoff channeled his banjo expertise into the writing and preparation of an instruction book for bluegrass banjo playing. The book established itself as a success in a matter of months. Then Roger embarked on an even more ambitious publishing project: the creation of a monthly music magazine that focused on bluegrass and old-time country music. In February 1974, PICKIN' MAGAZINE made its debut. Within two years, it was hailed as the most influential publication of its kind. By mid 1975, Roger had several other musical instrument and accessory designs in progress. These included the invention of a special fast-wind tuning knob for string instruments (for which he was granted a U.S. Patent and several foreign patents). The knob, dubbed the "CRANK," has been licensed to Gibson and to Schaller, (W. Germany) a world reknowned manufacturer of tuning machines, A unique nut, with adjustable slots for each string, also won Siminoff a U.S. patent and subsequently was licensed to Dunlop Manufacturing. Then his frustrations at the inconvenience of changing strings won him a few more patents: he invented two methods to change instrument's strings without cutting, twisting, or knotting them. One design, a string with a special pin at its peghead end, was licensed to Gibson under the name "GRABBERS." In early 1984, Roger was granted another U.S. Patent, this one for an unusual modular guitar. It features interlocking parts that permit a musician to put together an instrument to suit his or her tastes in much the same way a photographer might change camera bodies and lenses. It is expected that this guitar will make its debut in mid-1986. Several other music-related designs are in progress on the Siminoff workbench. Competing with them for space are many projects not related to music, such as a radical design for a new valve system for the common gasoline engine. As a consultant to Gibson, Roger assisted in the reissuance of several instruments originally produced by Gibson in its earlier years. Among these were the Earl Scruggs model banjo (a replica of Scruggs' Granada model). Another was the reintroduction of the famed F-5 mandolin first produced by Gibson in the 1920's. This instrument has been enthusiastically received since making its successful "comeback" in 1978. Doing consulting work for several other instrument manufacturers, Siminoff has been responsible for the development of special hand-finishing techniques, improved structural designs, and compatability "tuning" of the acoustic properties inherent in individual instrument parts. As an author, Siminoff's writings include literally hundreds of articles on instrument construction and repair, musical acoustics, and the history and craftsmanship of musical instruments.

A COMPLETE TECHNICAL GUIDE by ROGER H. SIMINOFF

A COMPLETE TECHNICAL GUIDE by ROGER H. SIMINOFF

CONTENTS

PREFACE

 

CHAPTER ONE

THE INSTRUMENT

TOOLS

HARDWARE

 

CHAPTER TWO

ACOUSTICS OF THE ELECTRIC GUITAR

 

CHAPTER THREE

WOOD

AVAilABILITY OF WOODS

 

CHAPTER FOUR

GLOSSARY

 

CHAPTER FIVE

BUILDING THE NECK

THE TRUSS ROD

ATTACHING THE EARS

lOCATING THE FRETBOARD PLANE

INSTALLING THE NECK-FASTENING HARDWARE ..

THE PEGHEAD

Covering The Peghead

Creating The Peghead's Shape

Preparing The Peghead Veneer

Attaching The Peghead Veneer

Finalizing The Peghead Thickness

Shaping The Peghead

Drilling The Peghead

 

CHAPTER SIX

THE FRETBOARD

Binding The Fretboard

Installing The Fretboard

SHAPING THE NECK TO THE FRETBOARD

DECORATION

Creating The Designs

Cutting The Pearl

Inlaying The Pieces

Cementing The Pieces In Place

Finishing The Peghead's Inlaid Surface

ARCHING THE FRETBOARD

POSITION MARKERS

INSTALLING THE FRETS

SHAPING THE NECK

 

CHAPTER SEVEN

CONSTRUCTING THE BODY

Types Of Body Constructions

Creating The Body's Shape

laminating The Body

Fitting The Neck To the Body

Cutting Out The Body Shape

lOCATING THE BRIDGE POSITION

INSTALLING A STUD BRIDGE AND STUD

TAILPIECE

INSTALLING A TREMOLO UNIT

lOCATING THE PICKUP POSITIONS

ROUTING OUT THE PICKUP CAVITIES

POSITIONING THE ELECTRONIC CONTROLS

ROUTING OUT THE ELECTRONICS CAVITY

lOCATING THE OUTPUT JACK

CONNECTING All COMPONENTS

INSTALLING THE BRIDGE AND TAILPIECE STUDS.

 

CHAPTER EIGHT

PRE-FITTING All THE PARTS

Fitting The Nut

Electronics Coverplate

 

CHAPTER NINE

FINAL SANDING

FilLING THE WOOD'S PORES

 

CHAPTER TEN

COLORING

Curly Maple Grain Contrast

Sunburst Shading

CLEANING THE BINDING

 

CHAPTER ELEVEN

FINISHING

Preparation For Spraying

Wet Sanding

Polishing

 

CHAPTER TWELVE

ASSEMBLING THE INSTRUMENT

Dressing The Fretboard

Dressing The Frets

Truss Rod Cover

Installing The Geared Machines

Shielding The Electronics

Attaching The Tailpiece, Bridge, and Pickups

Wiring The Electronics

Attaching The Neck

Filing The String Slots In The Nut

MAINTENANCE AND MINOR ADJUSTMENTS

ADJUSTING THE INTONATION

TAKING CARE OF YOUR GUITAR

PARTING THOUGHTS

 

APPENDIX I

SUPPLIERS

 

APPENDIX II

FRETTING SCALES

 

APPENDIX III

HARDWARE

DIAGRAMS 1-4

Prezzo: €69,99
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JOBIM ANTONIO CARLOS FOR SOLO GUITAR Fred Sokolow TABLATURE SPARTITI CHITARRA LIBRO

JOBIM ANTONIO CARLOS, FOR SOLO GUITAR. Fred Sokolow. 16 Titoli. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA BOSSA NOVA. 

SPARTITI PER VOCE E CHITARRA, E SOLA CHITARRA, CON:  

ACCORDI, PENTAGRAMMA, TABLATURE.

Sixteen chord-melody arrangements by Fred Sokolow. Includes 'The Girl From Ipanema', 'How Insensitive', 'One Note Samba' and 'Desafinado'. Also includes introduction and discography.

 

The sixteen Antonio Carlos Jobim tunes in this book are arranged for the solo guitarist in the jazz guitar chordmelody style. The beauty of this style is that the guitar, like a piano, plays melody, rhythm, and harmony. The melody is usually the top note of each chord. Whether you use a pick or your fingers, the guitar is the perfect instrument to express these beautiful bossa nova songs. Guitar is essential to Brazilian music in general, and to bossa nova in particular, and Jobim played many of his classic hits on guitar.

Jobim will always be remembered as one of the originators of bossa nova, the melodious and rhythmic blend of Brazilian samba and cool U.S. jazz that became a pop sensation in the early '60s. His 600+ compositions include several pop hits and Grammy winners. Tunes like "The Girl from Ipanema," "Wave," and "Corcovado (Quiet Nights of Quiet Stars)" have been recorded by Frank Sinatra, Ella Fitzgerald, Tony Bennett, and countless other jazz-pop singers. Like George Gershwin and Duke Ellington, Jobim created a catalog of hits that will forever be reinterpreted by singers and instrumentalists.

His songs are among the "standards" that most working musicians find essential to their repertoire. Born January 25, 1927 in Rio de Janeiro, Brazil, Jobim grew up on Rio's bucolic beach of Ipanema. He often said that the beauty of nature that surrounded him -"the sea, the forest, the mountains, the birds, the lagoon" - influenced his musical composition as much as the piano and guitar lessons he took as a child. He was fascinated by chord changes, and loved experimenting with them. Inspired by Duke Ellington and other jazz bands that came through Rio, Jobim began performing in local nightspots in his early twenties. He developed a mellow guitar and piano style uniquely suited to the expression of his original music. In 1956, Jobim and guitarist Luis Bonfa wrote a musical score for the play Black Orpheus, which, in '59, was turned into a popular French-Brazilian film. The movie's intense music drew international attention to Jobim and Bonfa. That same year, singer guitarist Joao Gilberto recorded Jobim's "Chega de Saudade" for Odeon Records, a Brazilian company for which Jobim was musical director. More than a major hit, the tune defined the budding musical form. As Jobim explained it, in Corcova, Brazil, "bossa" refers to the soft hump above a bull's shoulders, which swings gracefully when the animal walks. Bossa nova has the graceful swing of the Brazilian samba, but with subtler chord changes and more relaxed vocalizing.

Subsequent recordings by Gilberto, helped popularize the new sound, but it really took off internationally when U.S. sax player Stan Getz toured Brazil in 1961 and began cutting bossa nova albums, first with jazz guitarist Charlie Byrd, then with Bonfa, Gilberto, and Jobim. These recordings for Verve were very successful (the Getz/Byrd collaboration entitled "Jazz Samba" was 1962's number one pop album), and bossa nova entered the mainstream.

 

In the next few years, Jobim, Bonfa, and Gilberto recorded many hit albums and concertized at Carnegie Hall and all over the world. The bossa nova craze peaked with the 1964 release of "The Girl from Ipanema," featuring Getz, Gilberto, Jobim, and a sultry vocal by Gilberto's then-wife, Astrud. The tune went to #5 on pop charts and won a "Record of the Year" Grarnmy. It has become one of the ten most recorded songs of all time.

During the next few decades, Jobim lived in Los Angeles and continued to write hit tunes, perform, and create film scores. His concerts often featured members of his family including his son Paulo on guitar and his vocalizing second wife, Ana Lontra and daughter, Elizabeth. There was a "second wave" of interest in bossa nova in the late '80s, but Jobim was scornful of the vagaries of the pop music business. In 1989 he told and interviewer, "How boring, how annoying to be modern. I want to be eternal, not modernal." "Tom," as Jobim was called in Brazil, lived his last years in a Manhattan penthouse with his family, making music and devoting much of his time to environmental causes. He was inducted into the Songwriters Hall of Fame in 1991 and received numerous other awards and honors. Since his death in December of 1994, several tribute albums have been released by jazz luminaries. There is no doubt that his music will continue to bring enjoyment to millions in the decades to come. As his colleague Oscar Neves said, "The beauty of his music is everlasting."

 

A Felicidade

Agua De Beber (Water To Drink)

Chega De Saudade (No More Blues)

Desafinado (Slightly Out Of Tune)

Dindi

How Insensitive (Insensatez)

Meditation (Meditacao)

O Morro Nao Tem Vez (Favela) (Somewhere In The Hills)

Once I Loved (Amor Em Paz) (Love In Peace)

One Note Samba (Samba De Uma Nota So)

Quiet Nights Of Quiet Stars (Corcovado)

So Danco Samba (Jazz 'N' Samba)

The Girl From Ipanema (Garota De Ipanema)

Triste

Vivo Sonhando (Dreamer)

Wave

Prezzo: €49,99
€49,99

REH-JAZZ IMPROVISATION FOR GUITAR-Creative Substitution Melodic Soloing Les Wise-CD TABLATURE

REH, JAZZ IMPROVISATION FOR GUITAR, Creative Substitution Principles For Melodic Soloing. Les Wise. BOPOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: REH Publications
REH PROLESSONS
Softcover with CD - TAB
Author: Les Wise

This terrific book/CD by Les Wise will allow you to make the transition from playing disjointed scales and arpeggios to playing melodic jazz solos that maintain continuity and interest for the listener.
Topics covered include:

- tension and resolution

- major scale, melodic minor scale, and harmonic minor scale patterns

- common licks and substitution techniques

- creating altered tension, and more! Features

- standard notation and tab, and a CD with 35 demo tracks. 32 pages.

 

Altered Tension In The Ii-v-i Progressions
Altered Tension With The Major Arpeggio
Altered Tension With The Major Scale
Finding Functioning Dominant 7th Chords
Jazz Guitar Thinking
Major Scale Patterns
Melodic Minor Scale And Arpeggion Forms
Minor Ii-v-i Examples
Natural And Altered Tension
Playing The Examples From Chord Forms
Putting It All Together
Resolution In Soloing
Scale Harmonization
Tension And Resolution
Tension And Resolution With Harmonic Minor
Tension And Resolution With Jazz Minor
Tension And Resolution With Major Scales
The Dominant 7th Chord
The Harmonic Minor Scale
The Harmonic Minor Scale Forms
The Jazz Or 'Real' Melodic Minor Scale
The Minor Ii-v-i Progression 

 

the Author

In1978, Les Wise was selected to join the staff at the Guitar Institute of Technology (G.I.T.) in Hollywood,
California. Previously, he taught jazz guitar at Loyola University in New Orleans, Louisiana. Les has played
with such stars as Lou Rawls, Jack Jones, Peggy Lee, Nancy Wilson, and Tony Bennett. His playing has been
featured on countless albums, jingles, and commercials. Besides teaching at the G.l.T. and recording, Les heads
his own quartet and is authoring several guitar instructional books.
 
Note from the Author
I hope this book will provide you with a fresh outlook on the subject of improvisation. You should also be listening
to other instruments and learning from as many sources as you can. Remember that improvising also
means taking chances, experimenting, and really listening to what you play. Without these elements, improvised
music is robbed of its essential drama and spontaneity.

Introduction

There have been many books written on the subject of jazz improvisation. Many of these books simply contain
an abundance of scales to be used when soloing. While the learning of scales is certainly essential, I
feel the more important lesson lies in learning to make actual music with the scales you know. The overall
purpose of "Jazz Improvisation for Guitar" is to equip the guitarist with the necessary tools to make the transition
from playing disjointed scales and arpeggios to playing melodic solos that maintain continuity and interest
for the listener.
 
Contents
Tension and Resolution 
Scale Harmonization 
NaturaI and Altered Tension 
The Dominant 7th Chord 
Major Scale Patterns 
Tension and Resolution with Major Scales 
Finding Functioning Dominant 7th Chords 
Altered Tension with the Major SeaIe 
Altered Tension with the Major Arpeggio 
Altered Tension in the ii-V-i Progression 
Playing the Examples from Chord Forms 
The Jazz or "Real" Melodic Minor Scale 
Melodic Minor Scale and Arpeggio Forms 
Tension and Resolution with Jazz Minor 
The Harmonic Minor Scale 
The Harmonic Minor Scale Forms 
Tension and Resolution with Harmonic Minor 
The Minor ii"'-V-i Progression 
Minor ii"'-V-i Examples 
Jazz Guitar Thinking 
Resolution in Soloing 
Putting It All Together 
Prezzo: €23,99
€23,99
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