PRIVATE LESSONS

Acoustic Guitar Private Lessons BLUEGRASS GUITAR ESSENTIALS, LEARN TO PLAY BASS RUNS, FIDDLE TUNES, BLUESY SOLOS, AND MORE. CD TABLATURE

Series: String Letter Publishing
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: Scott Nygaard

Learn the fundamentals of bluegrass by exploring its various styles and the masters who defined the genre: Doc Watson, Clarence White, and Norman Blake. The book includes background information, instruction and 12 classic songs, including: Greenback Dollar - Kingdom Come - Lonesome Old River - Midnight on the Stormy Deep - Up the Creek - Whiskey Before Breakfast, and more. The CD includes demos of the exercises and songs. 72 pages.

Billy In The Lowground
Black Mountain Rag
Cuckoo's Next
Down In The Valley To Pray
Greenback Dollar
Kingdom Come
Lonesome Old River
Midnight On The Stormy Deep
Paddy On The Turnpike
Sugar Baby Blues
Up The Creek
Whiskey Before Breakfast

Contents

Introduction

Tune-up

Music Notation Key 5

FUNDAMENTALS

Bass Runs

  Greenback Dollar

Fiddle Tunes

  Paddy on the Turnpike

  Cuckoo's Nest

Bluesy Bluegrass

  Sugar Baby Blues

Bluegrass Kickoffs

EXPLORING BLUEGRASS STYLES

Crosspicking

  Midnight on the Stormy Deep

Going Beyond I-IV-V

  Up the Creek

New Directions in Flatpicking

Solo Flatpicking

  Kingdom Come

BLUEGRASS GUITAR MASTERS

Doc Watson

  Black Mountain Rag

Clarence White

  Billy in the Lowground

Norman Blake

  Whiskey Before Breackfast

MORE SONGS TO PLAY

Down in the Valley to Pray

Lonesome Old River

About the Author

Acknowledgments 

THE ACOUSTIC GUITAR FINGERSTYLE METHOD. LIBRO CON 2 CD E TABLATURE

LIBRO METODO DI MUSICA,  CON 2 CD.

SPARTITI PER CHITARRA FINGERPICKING :

ACCORDI, PENTAGRAMMA E TABLATURE.

The Acoustic Guitar Fingerstyle Method introduces you to the two most essential fingerstyle approaches for playing American roots music: Travis picking and the steady-bass style. In each lesson, you’ll learn new techniques, concepts, and chord voicings and ways to practice and get them under your fingers. Then you’ll use what you’ve just learned to play a classic song or solo break from the blues, ragtime, folk, country, and ragtime traditions. 18 In-Depth Lessons: Travis Picking Basics - From Backup to Melody - Switching Chords - Eighth Notes and Syncopation - The Steady-Bass Blues - Steady Bass from Chord to Chord - Triplet Feel - Picking Pattern Fills - Descending Bass Lines and Chord Substitutions - Quicker Chord Changes - Double Stops - Seventh Chords up the Neck - Walking Bass Lines - Doin’ that Rag - Chord Anticipations and Early Jazz - Dropped-D Tuning - Swinging the Blues - Open-D Tuning 15 Songs to Play: - John Henry - Since I’ve Laid My Burden Down - Delia - St. James Infirmary - Nobody’s Fault but Mine - Houston Blues - Down in Navasota - Alberta - Hazleton - The Uptown Lowdown - Rag Mama - I Ain’t Got Nobody - St. Louis Blues - The Blunn Creek Slow Drag - Battle Hymn of the Republic

Spice up your fingerstyle blues with this melodic technique. With audio examples.
Full song lyrics
Essential listening suggestions for classic recordings of every songs
Arrangements
complete guitar parts

Whether you are studying with a techer or on your own, let the acoustic guitar method be your guide to joys and pleasures of playing guitar. This comprehensive approach with graded lessons and supplementary songs, is the one tool you need to get started. On the companion CDs you'll hear clear performances of all the music in the book. 

Welcome to the Acoustic Guitar Fingersty/e Method. This book focuses on the two most essential fingerstyle approaches for playing American roots music, Travis picking and the steady-bass style. In each lesson, you'll be introduced to new techniques, concepts, and chord voicings and shown ways to practice them and get them under your fingers. Then you'll use what you've just learned to play a new song or solo break. If you mostly play and sing, these lessons will give you the tools to spice up your guitar accompaniment as well as add instrumental breaks, intros, and outros. Ifyou'd sooner dance down the street in your underwear than sing, this book will give you lots of ways to make cool and complete-sounding music all by yourself without ever opening your mouth. Either way, by the end of this book, you'll have a whole new repertoire of tunes to play and a big handful of new chops to play them with. The Acoustic Guitar Fingersty/e Method picks up where the Acoustic Guitar Method left off, and assumes that you're familiar with picking patterns and with at least a dozen essential open-position chords. However, in case you're starting from scratch with this fingerpicking thing, or could just use a little brushing up, in the first lesson we'll review simple picking patterns and how to apply them to chords. (Speaking of which: for a detailed discussion of the theory, construction, and naming of chords, you might check out the Acoustic Guitar Chord Book, written by the very same quirkily handsome and surprisingly coherent gentleman who has the privilege of your attention at the present moment.) So if you think you've already got all these preliminaries in the bag, proceed directly to Lesson 2. Youmay pass Go, but alas, there is no $200 waiting for you. On the flip side, you won't have to sit on your hands for most of the book waiting for Mississippi John Hurt to hit your hotels on Boardwalk or Park Place ... 

Chapter 1 - Introduction.
CD Track: Tune Up

Chapter 2 - Travis Picking Basics.

Chapter 3 - From Backup to Melody.
CD Track: John Henry

Chapter 4 - Switching Chords.
CD Track: Since I've Laid My Burden Down

Chapter 5 - Eighth Notes and Syncopation.
CD Track: Delia

Chapter 6 - The Steady-Bass Blues.
CD Track: Nobody's Fault but Mine

Chapter 7 - Steady Bass From Chord to Chord.
CD Track: Houston Blues

Chapter 8 - Triplet Feel.
CD Track: Down in Navasota

Chapter 9 - Picking Pattern Fills.
CD Track: Since I've Laid My Burden Down

Chapter 10 - Descending Bass Lines and Chord Substitutions.
CD Track: Delia

Chapter 11 - Quicker Chord Changes.
CD Track: St. James Infirmary

Chapter 12 - Double Stops.
CD Track: Alberta

Chapter 13 - Seventh Chords Up the Neck.
CD Track: Hazleton

Chapter 14 - Walking Bass Lines.
CD Track: The Uptown Lowdown

Chapter 15 - Doin' That Rag.
CD Track: Rag Mama (Versions 1 and 2)

Chapter 16 - Chord Anticipations and Early Jazz.
CD Track: I Ain't Got Nobody

Chapter 17 - Dropped-D Tuning.
CD Track: St. Louis Blues

Chapter 18 - Swinging the Blues.
CD Track: The Blunn Creek Slow Drag

Chapter 19 - Open-D Tuning.
CD Track: Battle Hymn of the Republic

By David Hamburger.
Published by String Letter Publishing
Book/2 CDs

EXOTIC SCALES & LICKS FOR GUITAR, MUSICIANS INSTITUTE, Belkadi. CD TABLATURE

LIBRO DI SPARTITI PER CHITARRA CON CD E TABLATURE. 

16 Tantalizing Scales & 80 Great Ways to Use Them
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Author: Jean Marc Belkadi

Expand your lead lines and scalar vocabulary with a whole book packed full of unusual scales and interesting ways to play them. The accompanying CD contains 80 demonstration tracks of all the licks in the book. Scales include: Prometheus, enigmatic, Hebrew, Hungarian Gypsy, Hindu, Neapolitan Major, Neapolitan Minor, East Indian, Romanian, double harmonic minor, Persian, double augmented, 8-Tone Spanish, Byzantine, overtone, harmonic major, and more. 40 pages

EXOTIC SCALES & LICKS

16 TANTALIZING SCALES
80 GREAT WAYS TO USE THEM

Introduction
The exotic scales in this book can be thought of as scales that are not related to the standard major or minor scales. Most of them have seven notes, but a few have more or less. They provide an excellent source for technical improvisation/composition and work in many styles, such as rock, jazz, funk, pop, and R&B.
This book contains a total of 80 examples (five for each exotic scale), and its purpose is to show you how to use these scales in any chord combination from the harmonized scale. Each exotic scale is harmonized with its respective chord on each scale degree, giving you a better understanding of the scale's sound and its possible harmonies.
The examples are recorded over grooves featuring a full rhythm section, so you'll have a good overview of how to use the scales in your own music. Each example is repeated at tempo a few times, after which it's played very slowly so you can hear each and every note. The licks don't progress in any particular order, so feel free to skip around to the ones you like. Enjoy. Jean-Marc

Thanks to:
All at Hal Leonard Corporation
Ernesto Homeyer (for transcribing these examples)
Danny Osuma (for mastering the audio recording)
Beth Marlis, from Musicians Institute
Steve Blucher, from Dimarzio
Joseph lacobellis, from Everly Strings
Jude Gold, from Guitar Player

Table of Contents:

Prometheus Scale
Enigmatic Scale
Hebrew Scale (Ahavoh Rabboh)
Hungarian Gypsy Minor Scale
Hindu Scale
Neapolitan Major Scale
Neapolitan Minor Scale
East Indian Scale (Raga Todi)
Romanian Scale
Double Harmonic Minor Scale
Persian Scale
Double Augmented Scale
Eight-Tone Spanish Scale
Byzantine Scale
Overtone Scale
Harmonic Major Scale

SCALES:
Prometheus
Enigmatic
Hebrew
Hungarian Gypsy Minor
Hindu
Neapolitan Major
Neapolitan Minor
East Indian
Romanian
Double Harmonic Minor
Persian
Double Augmented
Eight-Tone Spanish
Byzantine
Overtone
Harmonic Major
Many Licksin Different Styles
Scale Spellings & Harmonizations
Standard Notation and Tablature

Expand your lead lines and scalar vocabulary with a whole book packed full of unusual scales and interesting ways to play them. The accompanying CD contains 80 demonstration tracks of all the licks in the book.
 

SLAP & POP TECHNIQUE FOR GUITAR. 52 LICKS AND LESSONS Musicians Institute. Jean Marc Belkadi. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO METODO PER CHITARRA, CON CD :

ACCORDI, PENTAGRAMMA, TABLATURE .

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Composer: Jean Marc Belkadi

This one-on-one lesson with MI instructor Jean Marc Belkadi applies the slap bass techniques popularized by Louis Johnson, Marcus Miller, Victor Wooten and others to the guitar. Covers basic slap and pop techniques in funk, rock, R&B, Latin and reggae styles. The book includes standard notation and tab, and the accompanying CD features 52 full-band demo tracks. 24 pages .

Introduction

The purpose of this book is to provide a fresh perspective on the subject of funk guitar. For years, I played funk the way most guitarist do-with a pick. This sound is certainly a staple of funk music and a must-learn for all serious funk guitarists. After becoming increasingly interested in funk bass players and the techniques they used, however, I began experimenting with slap and pop techniques (commonly used with bass) in my guitar playing. Influenced by players such as Louis Johnson, Yanic Top, Marcus Miller, Stanley Clarke, Victor Wooten, and Kevin Eubanks, I began imitating the sounds I heard from them on my guitar. Years later, I've found that, although funk is an obvious choice, this technique can be applied to many styles. Throughout this book, we'll also see it applied to R&B, Motown, Reggae, and Latin styles. We'll also cover odd meters and straight-ahead funk-rock grooves. When it's all done, you'll have a new vocabulary of techniques to incorporate into your own playing.

Technical Performance Notes

In order to best digest the information in this book, it's probably necessary to discuss a few techniques

that aren't commonly found in guitar notation. Below is a list of abbreviations and explanations

that pertain to the musical figures found in this book. You may recognize many of these from

conventional bass notation.

T - Strike or "slap" the string with the right-hand thumb.

P - Snap or "pop" the string by pulling upwards with the index finger of your right hand and quickly

releasing it.

L - Slap the strings on the fretboard with your left-hand fingers laid flat, creating a muted percussive

effect.

I - Strum with your right-hand index finger (downstroke) as if it were a pick.

$- Hammer or "tap" the fret indicated with one of the fret-hand fingers.

F - Strum with the nail of your right-hand thumb (upstroke).

Though the "slap" technique is very familiar to most bass players, guitar players have usually not experimented

with this before. Try different positions along the string to ensure that you are not producing a

harmonic with your slap. Also, try to keep your right arm parallel to the strings.

About the Audio

Throughout this book, the numbers in the audio symbols ( • ) indicate the CD track number

where each figure will be found on the accompanying CD.

Table of the Contents:

Page CD Tracks

Introduction

Technical Performance Notes

About the Audio

Chapter 1:Funk Figures

Chapter 2:Funk-Rock Figures

Chapter 3:R&B and Motown Figures

Chapter 4:Latin and Reggae Figures

Chapter 5:Technical Exercises

Acknowledgments

About the Author

Note: Use Track 53 to tune up.

MODES FOR GUITAR, MUSICIANS INSTITUTE Tom Kolb. CD TABLATURE

LIBRO METODO DI MUSICA PER CHITARRA.

SPARTITI CON ACCORDI, PENTAGRAMMA E TABLATURE. 

IN ITALIANO

Per un solismo completo

Pattern

Progressioni armoniche

Lick

e molto altro

LEZIONI PRIVATE

UN APPROCCIO PRATICO ED EFFICIENTE AI MODI SPIEGATI ACCURATAMENTE!

• Ionico, dorico, frigio, lidio, misolidio, eolio e locrio

• Scale minore melodica, minore armonica e blues

• Esecuzione di soli su progressioni diatoniche e modali

• Superimposizione dei modi

• Pattern, progressioni, lick e altro

Il CD comprende 83 tracce suonate da un 'intera band

I modi della scala maggiore sono da tempo un argomento affascinante per i chitarristi, ma allo stesso tempo possono diventare una notevole fonte di confusione. In questo libro Tom Kolb, insegnante del prestigioso Musician Institute, accompagna il lettore, con gradualità e numerosi esempi pratici, nel mondo della musica modale. La trattazione, snella ma allo stesso tempo precisa ed esauriente, risponde alle domande: "cosa sono i modi?", "cos'è una progressione modale?", "in che modo è possibile sfruttare le nozioni proposte per creare fraseggi, assoli, riff?", "che sonorità offre ciascun modo e quali sono i suoi principali ambiti di applicazione?", "come ottenere attraverso la superimposizione di determinati modi tensioni e sonorità dissonanti?". A ciascuno dei modi derivati dalla scala maggiore (ionico, dorico, frigio, lidio, misolidio, eolio, locrio) è dedicato un intero capitolo, mentre l'ultima parte del testo didattico offre un'ampia panoramica sui principali modi derivati dalla scala minore melodica, dalla minore armonica e dalla pentatonica. Tutti gli esempi sono proposti sia in partitura che in intavolatura, e ne può essere ascoltata l'esecuzione dell'autore nel CD allegato. Sono infine presenti diverse basi, sfruttabili per sperimentare l'applicazione pratica delle indicazioni didattiche proposte, anche nell’improvvisazione.   Per ciascuna, l'autore fornisce la chart degli accordi, nonché consigli circa gli strumenti solisti di volta in volta a disposizione del musicista.

Come definiresti esattamente il concetto di modo e come utilizzeresti i modi nell'improvvisazione e nella composizione?
Se hai saputo rispondere alla domanda sopra in modo esaustivo e sicuro fai parte di una piccola percentuale dei chitarristi che suonano musica moderna.
Per la maggior parte di essi i termini modo, ionico, dorico, frigio, lidio, misolidio, eolio e locrio non significano nulla, o, peggio, corrispondono a una serie di preconcetti confusi e imprecisi. Le cose vanno in genere ancora peggio quando si parla di scala alterata, locrio #2, lidio di dominante, modi della scala blues e così via.
L'origine di questa confusione va ricondotta da un lato alla complicatezza dell'argomento, che si presta facilmente a fraintendimenti e incomprensioni, dall'altro alla difficoltà di reperire materiale didattico chiaro ed esaustivo sul tema in oggetto. Nonostante queste difficoltà, i modi restano un ambito della teoria musicale che il chitarrista moderno di livello intermedio o avanzato non può permettersi di ignorare.
I Modi per la Chitarra risponde perfettamente alle esigenze del musicista che, dopo aver completato la prima fase del percorso formativo (tecnica di base, competenze teoriche come note, intervalli, scale, accordi, tonalità, lettura dell'intavolatura e preferibilmente - ma non necessariamente - dello spartito), vorrebbe ampliare le proprie conoscenze avvicinandosi ai modi.
La trattazione parte dalla domanda fondamentale "cosa sono i modi?", e prosegue con una breve trattazione delle modalità di applicazione degli stessi. Seguono quindi sette capitoli, dedicati ciascuno a uno dei modi della scala maggiore (ionico, dorico, frigio, lidio, misolidio, eolio e locrio). Di essi viene indicata la formula intervallare, la categoria (che distingue tra modi maggiori e minori), i gradi della scala particolarmente significativi, gli accordi su cui vengono applicati, le progressioni più diffuse basate su di essi, i pattern per eseguirli sulla chitarra, una descrizione del tipo di sonorità. Seguono diversi fraseggi d'esempio dettagliatamente analizzati, che utilizzano il modo in oggetto su un singolo accordo, e poi su progressioni armoniche più elaborate. Conclude ciascun capitolo una base su cui improvvisare. In chiusura, una decina di pagine è dedicata ai principali modi della scala minore melodica (scala alterata, locrio #2, lidio di dominante), della scala minore armonica (frigio di dominante) e della scala blues (scala bluegrass).
Dopo avere studiato I Modi per la Chitarra non avrai più dubbi sulla teoria e sull'applicazione pratica dei modi. Avrai migliorato nettamente le tue capacità nell'ambito dell'improvvisazione e della composizione. Ti sarai aperto le porte nel migliore dei modi ad un campo di studio e sperimentazione pressoché infinito.
Oltretutto, gli esempi proposti nel corso del libro sono sempre fraseggi piacevoli e musicali, non esercizi fine a se stessi. Studiandoli non solo prenderai confidenza con i modi, ma migliorerai anche la qualità dei tuoi assoli.

Contenuti

Introduzione 

L’Autore

Publisher: Musicians Institute Press

In this one-on-one lesson, MI instructor Tom Kolb unravels the mystery of the modes, giving guitarists a complete approach to soloing and a thorough, hands-on explanation of Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. He also covers: melodic minor, harmonic minor and the blues scale; soloing over diatonic and modal progressions; superimposing modes; patterns, progressions, licks; and much more. The accompanying CD includes 83 full-band tracks.

The theory of the modes

what are modes?

The name of the Modes

The parent Scale

How Modes are Used

Modes and diatonic progresses

Modes and Modal Progression

Modes as altered Scales

IONIAN

The "Fundamental" Major Mode.

Ionian liks and the Five-Pattern System.

Using Ionian in Key Center Playing

More Ionian Phrasis

Odds and Ends.

Play-Along Progressing

DORIAN

The "Kinder, Gentler" minor mode

Dorian Licks

Dorian Applications

Dorian Progressions

The IV Chord in Minor

Play-along Progressions

PHRYGIAN

The "Exotic" Minor Mode

Superimposing Phrygian

Phrygian Progressions and Riffs

LYDIAN

The "Dreamy" Major Mode

Borrowing from the Parent Scales

MIXOLYDIAN

The "Hip and Funky" Dominant Mode

Mixolydian and The Blues

AEOLIAN

The "Romantic" Minor Mode

Minor Scale Harmony

Using Aeolian in Key Center Playing

LOCRIAN

The "Eccentric" Diminished Mode

OTHER MODES

Melodic Minor and its Modes

Harmonic Minor and its Modes

The Blues Scale and its Modes

The modes of the major scale have long been a fascinating subject for guitarists. But at the same time, they can be a great source of confusion and misunderstanding. The purpose of this book is to unravel the mysteries of the modes and to guide you through the world of their applications. We'll take an in-depth look at how modes can be used in various soloing situations, as a source for creating riffs, and as tools for writing unique chord progressions. Each chapter contains suggested fretboard patterns, licks, and musical examples, as well as valuable insights into each mode's unique application. Each example is demonstrated on the accompanying CD. There is also a jam track featuring a "play-along progression" for each mode, so you can practice applying the modes in an improvisational setting. As a special bonus, in the final chapter, we'll explore some of the modes of other popular scales. Although it's highly recommended that you start at the beginning of this book and work your way through to the end, if you prefer, you can jump in anywhere, especially if you're already familiar with a mode or two. You can always refer back to the first chapter, "Theory of the Modes," if you find yourself getting confused. Every musical example in this book is demonstrated on the accompanying CD. Tracks with a full rhythm section are played twice-once at normal speed and then again at half speed. For the normal-speed examples, the featured guitar is mixed hard right. This allows you to play along either with the entire mix, or, by adjusting the balance to the left, with just the rhythm section. Don't forget-there's a jam track for each mode, so you can practice applying what you've just learned in an improvisational setting. You can work on soloing all over the neck with the various finger patterns provided, experiment with the musical examples presented in the text, and apply the concepts presented in the "Odds and Ends" section at the end of each chapter. Use Track. of the CD to tune your guitar.