SIMPSON MARTIN, Acoustic guitar instrumentals 1,2,3. TABLATURE DVD Rosie Anderson-Santa Cruz-The Shearing's Not for You-Bogie's Bonnie Belle-Pretty Saro-Long Steel Rail

SIMPSON MARTIN, Acoustic guitar instrumentals 1,2,3. TABLATURE DVD 

Acoustic Guitar Instrumentals
Series: Instructional/Guitar/DVD
Publisher: Homespun Video
Format: DVD
Artist: Martin Simpson

DVD One – Arrangements in Alternate Tunings: Acclaimed British guitarist Martin Simpson teaches dropped-D and altered-G tunings to bring out the widest possible harmonic range of the guitar. His fingerstyle playing, combined with his unique guitar frailing, will inspire guitarists of all levels and styles. Six magnificent arrangements include: Rosie Anderson • The Shearing's Not for You • Bogie's Bonnie Belle • Pretty Saro • Long Steel Rail • Santa Cruz. 75-MIN • INCLUDES MUSIC + TAB • INTERMEDIATE LEVEL

DVD Two – Creating Your Own Arrangements: Martin continues his excellent analysis of the romantic and compelling guitar arrangements for which he is justly famous. He teaches Jock O'Hazeldine, a Celtic air; Banks of the Bann, with the primary melody in the bass; and a Christmas carol, In the Bleak Midwinter, all in dropped-D tuning. 60-MIN • INCLUDES MUSIC + TAB • INTERMEDIATE LEVEL

DVD Three – Developing Style and Repertoire: Martin teaches his complex arrangements to Donal Ogg, My Generous Lover, and Betsy the Serving Maid (all in Gsus4 tuning), The Coo Coo Bird in the spectacular “mountain minor” tuning, and the fiddle tune Miss McCloud's Reel in the popular DADGAD tuning. 60-MIN • INCLUDES MUSIC + TAB • INTERMEDIATE LEVEL

Inventory #HL 00641825
ISBN: 9781597730006
UPC: 073999558654
Publisher Code: DVDSIMGT29
Width: 5.25"
Length: 7.5"
Run Time: 3:15:00

Prezzo: €74,99

AC/DC Guitar Play-Along Volume-You Shook Me All Night Long CD BASI TABLATURE SPARTITI LIBRO

AC/DC Classics, Guitar Play-Along Volume 119. CD TABLATURE




Che cosa ricordate del vostro primo tour negli States?

La prima volta che facevamo il tour avevamo una macchina tipo station wagon. Ci avevano messi insieme con i “Kiss”. Era il periodo quando loro portavano con se tutta loro stravaganza, make-up, travestimenti, show, mass media, lo stuff. E noi eravamo – 5 immigrati, piccoli micro uomini. Immigrati - lavoratori è così che è più giusto definire noi. “Dov'è la tua Green Cards?” Era difficile con quella station wagon arrivare al concerto. Molte volte è successo che non volevono farci passare al posto dove doveva svolgersi il concerto perchè non vedevano la limousine. “Dov'eeeh la vooostra limooo? Se siete il gruppo rooock, dov'e il voooostro limoooosineeee ?” Siamo arrivati in America nel 1977 e questo è stato nel 1978.


Series: Guitar Play-Along

Format: Softcover with CD - TAB

Artist: AC/DC


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


1980 - Back In Black - Parole e musica: Angus Young, Malcolm Young e Brian Johnson

1979 - Girls Got Rhythm - Parole e musica: Angus Young, Malcolm Young e Bon Scott

1980 - Have A Drink On Me - Parole e musica: Angus Young, Malcolm Young e Brian Johnson

1980 - Hells Bells - Parole e musica: Angus Young, Malcolm Young e Brian Johnson

1979 - Highway To Hell - Parole e musica: Angus Young, Malcolm Young e Bon Scott

1975 - The Jack - Parole e musica: Ronald Scott, Angus Young e Malcolm Young 

1977 - Whole Lotta Rosie - Parole e musica: Angus Young, Malcolm Young e Bon Scott

1980 - You Shook Me All Night Long - Parole e musica: Angus Young, Malcolm Young e Brian Johnson


Width: 9.0"

Length: 12.0"

64 pages

Prezzo: €24,99

KNOPFLER MARK, GET LUCKY GUITAR TABLATURE Monteleone-before gas & tv-border revier-Remembrance Day


Get Lucky is Knopfler's fifth studio album of the decade and was recorded at his award-winning British Grove Studios in West London and co-produced with long-time cohorts Chuck Ainlay and Guy Fletcher.

It is a beautifully crafted exploration of a lifetime of musical roots, fluently combining folk and blues with his original song writing and vivid observational lyricism.

He will be starting a 'Get Lucky' world tour in the spring of 2010.

All the songs from the album arranged for Guitar tab, complete with full lyrics and melody line.

Before Gas & TV
Border Reiver
Cleaning My Gun
Get Lucky
Hard Shoulder
Piper To The End
Remembrance Day
So Far From The Clyde
The Car Was The One
You Can't Beat The House

Prezzo: €27,99

YOU CAN PLAY JAZZ GUITAR, Mike DeMicco 3 DVD Mike Stern, Tal Farlow, John Coltrane


You Can Play Jazz Guitar
3-DVD Set
Series: Instructional/Guitar/DVD
Publisher: Homespun Video
Format: DVD
Author: Mike DeMicco

This comprehensive method is clear, accessible and highly informative. Mike DeMicco has devised the essential series that's perfect for anyone eager to play jazz guitar. This complete method contains an enormous amount of information, from improvising on II-V-I chords to arranging a complex jazz standard. Mike teaches scales, modes, voicings and other important basics, then shows how to put them to use. Mike then presents dozens of examples to show how to create dazzling solos over chord changes. He uses styles developed by Mike Stern, Tal Farlow, John Coltrane and others to explain how to use solo lines, passing tones and other devices to create personalized improvisations. Starting with his bebop-oriented tune “Boptology,” Mike shows how to build creative solos, challenging players to find their own voice. The melody of this tune is a complete study tool as it illustrates a compelling synthesis of several jazz styles. Mike then takes apart the classic Victor Young standard “Love Letters” to fully discuss chord melodies and new ideas for soloing. Over 3 hours.

Inventory #HL 00641959
ISBN: 9781597731409
UPC: 884088061715
Publisher Code: DVDDEMGT29
Width: 5.25"
Length: 7.5"

Prezzo: €79,99





Come ti è venuta l'idea del completo da scolaro?

Dalla mia sorella. Quando ero piccolo, tornavo da scuola e mi attacavo alla mia chitarra senza togliere l'uniforme. Per cena non ero ancora cambiato ma continuavo a suonare la chitarra. Mia sorella mi ricordava sempre questo fatto. Lei pensava che era carino suonare in uniforme. E era proprio lei che un giorno ha detto a Malcolm e me, “Sapete, sarebbe carino che lui uscisse sul palco vestito con la divisa di scuola. Almeno la gente guarderà qualcosa.” Penso che aveva ragione e che abbia funzionato.”

Serie: Libro per chitarra

EDITORE: Music Sales


Anything Goes
Big Jack
Black Ice
Money Made
Rock 'N Roll Dream
Rock 'N Roll Train
Rocking All The Way
She Likes Rock 'N Roll
Skies On Fire
Smash 'N Grab
Spoilin' For A Fight
Stormy May Day
War Machine

Prezzo: €30,99




70 RIFFS, non contiene assoli

96 pages. Since exploding out of Sydney, Australia in 1973, AC/DC have been at the very forefront of heavy metal. Built around the central core of Glaswegian-born brothers Malcolm and Angus Young, whose brutal dual guitar assaults almost immediately set the rock world aflame, the band's awesome live battery has since passed into legend. Now you can learn to play over 70 high voltage AC/DC riffs, including Back In Black, Hells Bells, Let There Be Rock, and Highway To Hell. Complete with hints and tips on how to create the AC/DC sound, plus band history and discography, this is a must for any fan!

The Info
A Brief History Of AC/DC
The Code
The Riffs
Back In Black
Bad Boy Boogie
Beating Around The Bush
Dirty Deeds Done Dirt Cheap
Big Balls
Dog Eat Dog
Downpayment Blues
Flick of the Switch
For Those About To Rock (We Salute You)
Get It Hot
Given The Dog A Bone
Hard As Rock
Have A Drink On Me
Hell Ain't A Bad Place To Be
Hells Bells
High Voltage
Highway to Hell
If You Want Blood (You've Got It)
It's a Long Way to the Top (If You Wanna Rock 'n' Roll)
The Jack
Let Me Put My Love Into You
Let's Get It Up
Let There Be Rock
Love Hungry Man
Night Prowler
Problem Child
Rock And Roll Ain't Noise Pollution
Rock 'n' Roll Damnation
Riff Raff
Shake a Leg
Shoot to Thrill
Shot Down in Flames
Shake Your Foundations
Sink the Pink
Sin City
Stiff Upper Lip
That's the Way I Wanna Rock 'n' Roll
Touch Too Much
Two's Up
Whole Lotta Rosie
Who Made Who
You Shook Me All Night Long

Prezzo: €27,99

AC/DC, BASSOLOGY BASS TABLATURE Highway To Hell-Shoot To Thrill-Thunderstruck-You Shook Me All Night Long


Canzoni complete

Over twenty AC/DC classics transribed for Bass in tablature and standard notation with complete lyrics and chord symbols. Includes band history and discography. 159 pagine.

Back In Black
Big Balls
Dirty Deeds Done Dirt Cheap
For Those About To Rock (We Salute You)
Girls Got Rhythm
Given The Dog A Bone
Have A Drink On Me
Hells Bells
Highway To Hell
If You Want Blood (You've Got It)
Let Me Put My Love Into You
Money Talks
Problem Child
Shoot To Thrill
Shot Down In Flames
Sin City
Walk All Over You
What Do You Do For Money Honey
You Shook Me All Night Long

Prezzo: €31,99


JORDAN STANLEY, MASTER SESSION. Fenomeno del tapping a 8 dita! Suonare la chitarra come un pianoforte. Suonare 2 o 3 chitarre simultaneamente. 





Stanley Jordan
Series: Instructional/Guitar/DVD
Format: DVD
Artist: Stanley Jordan

Discover the secret to Stanley's perfected two-hand tapping with this DVD. Learn how to: improvise melodies that will keep audiences on the edge of their seats o utilize a full range of dynamics to develop a rich, colorful sound o use electronics to create unique, alluring sounds o develop practice techniques to minimize mistakes and maximize your performance potential o increase your flexibility and dexterity for two-handed tapping. 79 minutes. Booklet 27 pages.

Inventory #HL 00320477
ISBN: 9780634093593
UPC: 073999204773
Width: 5.25"
Length: 7.5"
Run Time: 1:19:00


A special close-up examination of the unique virtuoso techniques of guitar maestro Stanley Jordan. Jordan's multi-layered guitar sounds have created albums that defy conventions and catagorisations. He has taken the technique of two-handed tapping and developed a method of playing that pushes the technique to the limit, creating the impression of two or three simultaneous guitars. This style of playing allows Jordan to perform otherwise impossible melodic lines. arrangements and chords that embrace the full range of the fretboard at once. The technique has given Jordan a unique Jazz voice and an unmistakable sound that is both captivating and thrilling to witness.


This DVD covers all aspects of his tapping technique and how to develop the idea into full improvisations and solos, including:

Aspects of melody and the extended range offered by this technique

Dynamics and creating rich, expressive guitar tones

Utilizing electronics to create alluring and unusual sounds

Practice methods to minimise mistakes and boost your dexterity

Discover a whole new world of possibilities with this indispensable DVD from a true virtuoso. Includes a 28-page booklet of examples and exercises.


by Stanley Jordan

THE TOUCH, OR TWO-HANDED TAPPING TECHNIQUE can provide limitless possibilities for exploration on the guitar. The earliest documented guitarist using this approach was Jimmy Webster in the 1950s. It has now begun to enjoy considerable use among guitarists. The essence of tapping is this: By hammering the string against the fretboard with your finger, you can produce a note with one hand. You don't need to pluck or strum, because the impact of the string hitting the fret causes the string to vibrate. Either hand works, and you can even use both hands tapping simultaneously on the fingerboard, performing independent parts.

Producing the sound in this way is easy. But mastering its awesome and unexpected possibilities is another matter! It gives you a level of musical and orchestral complexity previously possible only on keyboard instruments. You can create bass and chord accompaniment to your own leads as a self-contained soloist. You can also perform complex counterpoint, such as Bach two and three-part inventions. With a band, you can use your hands together to play leads with undreamed-of speed and agility.

Many of your first experiments are likely to be expansions of what you already do on the guitar, and adaptations of pianistic possibilities. But you'll soon learn that you hold in your hands a whole new instrument with its own unique and unlimited potentials.

Chances are, you can apply the touch technique to your own guitar with just a few minor adjustments. I have used it successfully on Fender Stratocasters, Gibson Les Pauls and ES-175s, Travis Beans, and others. I have even used it on various brands of acoustic steel-and nylon-string guitars. Ideally, an instrument used for touch playing should be an electric with an accurate neck, frets in good condition, strong pickups, and good sustain. Of all these characteristics, the neck and frets are the most critical.

The lack of proper adjustment is the main reason people say to me, "I tried it on my guitar, and it didn't work." The most important single factor is low action; the strings should practically touch the frets. This is absolutely crucial for ease of playing, clarity, and sustain. If you have tried tapping with normal action, you probably heard a weak, dull tone, because a large portion of the attack was the sound of the finger hitting the string. But with low action, a very light tap unites string and fret immediately, giving you a crisp tone.

How low must you set your action ? Extremely low! If the distance between a string and the 12th fret is greater than the thickness of a penny, it is probably too high. After you become more proficient with tapping, you may decide to bring your action back up a bit for a fuller sound. But for now, get it as low as possible.

The fingerboard and the height and contour of the frets must be accurate to get the required action without buzzing at certain points. If you have a problem, sight along the neck to check the straightness. The instrument may need a truss rod adjustment. [Ed. Note: If you aren't sure how to adjust a truss rod, take your instrument to a repair person. Incorrect adjustment can result in permanent damage to your guitar.] However, electric guitars have an advantage, because some buzzes aren't picked up and therefore don't reach the amp. Check the condition of your frets; if they are unevenly worn, you won't be able to get the required action. Consider getting a fret job. If the frets are worn, it may be a good idea anyway--regardless of how you play. It could make all the difference in the world for setting your guitar up for the touch technique. If you decide to get a fret job, ask around to find out who does the best work in your area. Then explain to the repair person about your special requirements, because this fret job must be more accurate than usual. Set the action where you want it, take your instrument to the shop, and say, "I'd like to be able to tap with my action this low without buzzing."

There is an advantage to having a bridge with individual height-adjustable saddles for all six strings: It allows you to set each string where you want it, to compensate for differences in string tension and volume. (There is also an advantage to the bridge with just two height adjustments, one at each end: It allows you to change your action quickly, facilitating a single guitar's use should you employ both conventional and touch techniques on the same gig.)

Intonation is also critical because your new freedom allows you to play at opposite ends of the neck simultaneously, thereby spotlighting any inaccuracies in the intonation. Your two-handed harmonies will sound much sweeter and the voices of your chords will sing more clearly if the intonation is properly adjusted.

As if there weren't enough to think about already, here is yet another problem to overcome. With "normal" techniques, you rely on the energy from right-hand plucking or strumming to sound the notes, while your left hand merely holds down strings. You probably employ left-hand fingers to mute strings not in use, preventing accidental extraneous sounds. But with the touch technique, that can be hard to do. Because of the low action, you can easily hit notes on strings you don't want to play: All it really takes is a touch. I recommend bringing the fingers straight down, trying to touch only the strings you want to play.

Even with clean, direct fingering, you will still get sympathetic vibrations in the strings you're not touching, so you will probably need some kind of damper near the nut to prevent vibrations in the untouched strings. On the stick, for example, this is accomplished by a strip of felt permanently attached to the fingerboard, lying under the strings at the 1st fret. You may want to experiment with a similar attachment, or if you want something quicker and less permanent, you can put a loose-fitting capo at the 1st fret to act as a damper. Not just any capo will work, though, because you must be able to put it on without pushing the strings all the way to the frets. I get good results with Jim Dunlop 14 FD and 14 CD capos, as well as the Golden Gate GC-8. Also, you might get good results with the George van Eps or Kleen-Axe String Dampers. When choosing a capo, it must match the contour of your fingerboard, so take note whether it's curved or flat. Incidentally, if you do happen to use an acoustic, the damper is essential to prevent string vibrations between your finger and the nut.

Before you try the touch technique, change your strings; old ones can be more debilitating with touch than with other techniques. Prepare to increase your budget for strings. They must always be clean and true to tuning. As far as their gauges are concerned, use some discretion. When I first started, I used .008 and .009 high E's. Now I use .010s on my Travis Bean and .009s on my Vigier. Sometimes I'll take a set of .009s but replace the .009 with a .010 for more punch and sustain in my leads. There is a tradeoff here, because lighter strings and lower action make the technique easier, but the sound is less full and the dynamic range is reduced.

It is also a good idea to wash your hands and trim your fingernails before playing. When your fingers come straight down onto the strings, fingernails really get in the way. I recommend warming up with conventional techniques before attempting touch, and if you happen to be a keyboardist, it may help to do a keyboard warmup. Naturally, the spacings are different, but the strength and agility you develop playing keyboards can be a big help. Since the touch system results in a certain amount of volume loss, electric guitars tend to be more suitable; strong pickups are also helpful. Turn up your volume, and learn to play sensitively in order to increase your range of dynamic control. If your pickups have pole pieces, screw them in, and/or move the pickups as close to the strings as possible for maximum sensitivity.

So, here you are with your guitar set up for the touch technique. Your strings are adjusted and your hands are clean. You're ready to get down. How should you hold the guitar? Start with whatever you're used to, whatever feels most comfortable. You can stand up, sit down with the guitar on your left or right leg, or you could even set the guitar on a stand. A very important thing to remember: Stay relaxed, especially in your hands. The key to relaxing your hands is keeping your thumbs loose. Both hands are stabilized on the neck by means of the thumbs. However, in time you will learn to not always stabilize your right hand in this way, depending on what you're playing.

Your fingers should come down between the frets in the same places they would using normal techniques. Your right hand is more nearly perpendicular to the neck, and therefore you may want to hold the guitar with the nut tipped up so that you don't have to bend your right wrist too much. Moving your right elbow forward a few inches can help straighten your right wrist. To avoid tendonitis and carpal tunnel syndrome, try not to bend your right wrist more than about 10 degrees. Make sure to keep your right shoulder down to minimize shoulder tension and to keep your overall posture in balance.

The basic finger action to sound a note is tap and hold. Your finger comes straight down and taps the string against the fret, holding it there for as long as you want the note to last. To cut off the note, lightly pull your finger straight off the string with as little side-to-side motion as possible. This movement must be very light. You barely even try to release your finger; mainly relax it, and let the string push it back up.

This hammering action should come primarily from your fingers--not your wrists. If you get into the habit of using your wrists too much, your fingers may get stiff and you will never develop much speed. You can use all four fingers on both hands. You can even use your right thumb, but I recommend starting with just the fingers.

And now for a big surprise: The words "tap" and "touch" are oversimplifications, because we're really talking about a whole cluster of related techniques. You'll need other techniques to make your articulation more interesting and to add some real expression to your music. One useful technique is the "slide," which is used to create glissandi (glides between notes on a single string; see bar 11 in the A section of "Touch Of Blue," which follows). Tap the string and slide your finger along it while holding it down. Make sure your finger comes straight down on the string, avoiding adjacent strings.

Slurs and legato lines (hammers and pulls) are easiest when all the notes are on the same string (example: the opening figure of two sixteenth-notes and a quarter-note in the first bar of the A section of "Touch Of Blue"). To play an ascending line, tap the first note normally, but after that, tap each note without releasing your finger from the previous note. Just hammer each note in turn, leaving all the fingers on the string.

To descend along a string, use pulloffs. Again, the first note is tapped normally, but before you release it, have the finger for the next note already down. Then pull the releasing finger off sideways, so that it plucks the string on its way off. Generally, right-hand fingers pull off toward the sixth string, and left hand fingers toward the first string. As always, be careful not to hit adjacent strings.

When crossing from one string to another, whether ascending or descending, release the first note late so that it overlaps the next one for an instant (see bar 3, first beat, part A). This eliminates gaps of silence between notes, and blurs differences in timbre and volume between strings. The overlapping technique takes practice. After all, it's hard to make perfectly seamless legato runs, because crossing strings is still different from playing along a single string. For a legato run to be as smooth as possible, all of the notes must be located on the same string.

The lower your action, the less you need the overlapping technique, because differences between strings are reduced and there is less time between hitting the string and hearing the sound. This reduces the likelihood of gaps between the notes, and single-string legato techniques become easier. When your strings are really down low, you can play runs with great speed and fluidity.

If a legato run involves more than four notes in either direction or contains wide interval skips, you can use both hands together, "handing off" the series from one hand to the other or back and forth, as necessary. This opens up a wealth of cool possibilities.

One more thing before we start playing: Although you can use the touch technique with any tuning you please, most guitarists will probably want to start with standard tuning. However, I usually tune in fourths: E A D G C F, low to high. The first and second strings are raised a half-step higher than standard tuning. Thus, any pair of adjacent strings is a perfect fourth apart. I find that this simplifies the fingerboard and makes it more logical--an advantage that can really be appreciated when you have two hands going all over the neck. The exercise and song that follow are written in standard tuning, but as you'll see, it is easy to convert to the fourths tuning if you are feeling adventurous.

There is a lot more to the touch technique, but now you know the basics. The exercise should get your hands working. Both hands play the same thing an octave apart. Practice the exercise until you feel comfortable with it and are producing clear tones with even dynamics.

A few words on notation: The exercise and song are written at actual pitch on double staves employing both the treble and bass clefs, in order to accommodate the extended range facilitated by the technique. (Most guitar music is written an octave higher than it sounds.) The top staff is for the right hand, while the lower staff is for the left hand. Numbers next to the notes indicate fingerings using standard Arabic numbering for both hands. The numbers in parentheses show the fingerings you would use in fourths tuning.

Under the double staves is a tablature staff written for standard tuning. If you want to try the fourths tuning, simply retune your first and second strings up a half-step and play one fret lower on those strings (subtract one from all the numbers on the top two tablature lines). The exercise demonstrates the advantage of the fourths tuning, since both hands play exactly the same patterns, merely transposed to a different part of the neck.

Prezzo: €23,99





For the first time the legendary HOT LICKS classic video titles are available on DVD, making it even easier to learn with top players ... right in your own home!

These brilliant new DVD transfers make them look better than ever, giving you improved navigation, many extra features and some newly recorded introductions.

Jimmy Bruno has played guitar with some of the all time greats, including Frank Sinatra, Barbra Streisand and Elvis Presley.

He makes even the most daunting techniques accessible to anyone who wants to learn.

Jimmy covers II / V / I progressions, changing chord colours, training hands and ears to work together, natural picking techniques, adding bass lines to chords and much more! No nonsense-just great jazz guitar!


With this fantastic DVD you'll never miss a note!

You see the music and the tablature on screen as it's being played. All right and left-hand techniques are shown in close up and with helpful split-screen effects to make learning easy
-Slow motion segments with standard pitch sound
-Artist biographies
-Selected discographies
-Suggested listening
-Booklet with music examples included

Hot Licks classic video titles have been made available on DVD, making it even easier to learn with the world's top players' right in your own home! These new transfers make them look better than ever while DVD technology makes navigating each lesson even easier!

Running time 120 minutes.
Language: English / French / German / Italian / Spanish 

Prezzo: €27,00



Un'ora e mezza di Rockbilly, Country, Blues, e armonie Jazz. Controllo del tono e del volume, gli armonici, ritmo e melodia.

46 esercizi, 

Introduzione di Jeff Golub

Hot Licks





Con sottotitoli in ITALIANO


smorzamento delle corde con entrambe le mani
Slide con una bottiglia di Alka Seltzer
Gli accordi con le ottave di Wes Montgomery


In this lesson, blistering country guitar star Danny Gatton teaches you an endless array of harmonic techniques, volume and tone control usage for pedal steel effects, B3 organ effects, Jazz chord and mode juxtapositions and substitutions, new blues progressions, Jazz/Country styles and pick-and-finger independence. He also works on banjo-style 'rolls', Scotty Moore and Cliff Gallup styles, Rockabilly and echo effects, Les Paul style trills and harmonies, Wes Montgomery and Kenny Burrell styles, as well as slide guitar and right-hand damping. Running time, 90 minutes.


For the first time the legendary HOT LICKS classic video titles are available on DVD, making it even easier to learn with top players right in yow own home! These brilliant new DVD transfers make them look better than ever, giving you improved navigation, many extra features and some newly recorded introductions. Danny Gatton's guitar talents cover a wide range of styles. Whatever the lick, style or technique this virtuoso player can do it-and show you how to do it!
You'll learn just how much a Telecaster can do, including hannonic techniques, volume and tone control for pedal steel effects, jazz chord and mode juxtapositions & substitutions, banjo-style rolls and much more! This is as broad a view of guitar style techniques as you'll ever find in one package!

Language: English / French / German / Italian / Spanish

Prezzo: €16,99
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