Musicians Institute

JAZZ-ROCK TRIAD IMPROVISING FOR GUITAR Jean Marc Belkadi CD TABLATURE 50 LICKS-Substitution-

JAZZ-ROCK TRIAD IMPROVISING FOR GUITAR, Jean Marc Belkadi. Mus. Inst. 50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

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Jazz-Rock Triad Improvising for Guitar
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Jean Marc Belkadi

In this “private lesson,” MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top, red-hot licks and lead phrases! He covers: modal and tonal usage, triad substitution and superimposition techniques, and much more. The book is in standard notation and tab, and the CD features 50 full-band tracks.

Inventory #HL 00695361
ISBN: 9780634001581
UPC: 073999953619
Width: 9.0"
Length: 12.0"
24 pages

PRIVATE LESSONS

JAZZ-ROCK TRIAD IMPROVISING for Guitar
50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top phrases.

- CD Includes 50 Full-Band Tracks
- Modal and Tonal Usage
- Triad Substitution and Superimposition Techniques
- Standard Notation and Tablature

ISBN 0-634-00158-2

 

Introduction
In contemporary music, the use of triads is an important element in improvisation and composition.
They are as prevalent as scales, modes, arpeggios, rhythms, and intervallic ideas.
Like scales and modes, triads can be substituted in tonal and modal music. They can also be
superimposed, creating bitonality or polytonality. Superimposed triads give us synthetic scales
such as hexatonic (6 note scales = 2 triads), or nonatonic scales (9 note scales = 3 triads).
What Is a Triad?
A triad is a three-note chord made up of a root, third, and fifth. There are four triad families:
Major triad: 1-3-5
Minor triad: 1-b3-5
Diminished triad: 1-b3-b5
Augmented tri ad: 1-3-# 5
Of course, in everyday applications triads are played with different inversions:
Root position
1-3-5

Inversion possibilities
3-5-1, 5-1-3, 3-1-5, etc.

Sometimes triads are played with one degree dispersed an octave higher:

regular triads
open triads

This dispersement procedure creates what is referred to as an open triad, and can be applied
to minor, diminished, and augmented triads, as well as major.

Triad Substitution
Triad substitution is where one triad is substituted in place of another. One of the most common
is flat-five-or tri-tone substitution. This is when a triad a flat-fifth degree (tri-tone) away is
substituted for a chord. For example: instead of playing a G major triad over a G7 chord, a Db
major triad (Db is a flat-fifth away from G) is "substituted."

Triad Superimposition
Triad superimposition is where two or more triads are played one after the other, creating a
"dispersed scale" effect of bitonality or polytonality. Of course all triads can be substituted or superimposed
in both tonal and modal music, either using the single-note approach or voiced in chord form.
 

About this Book
The purpose of this book is to help you to create your own ideas using triad concepts. It is
divided into two parts: tonal music (II-V-I chord progressions, Chapters 1 and 2) and modal
music (Chapters 3 and 4). Keep in mind that the examples do not follow a specific order
of difficulty; you can jump in anywhere and work with the licks you like best. You also might want
to listen to the CD first to locate the examples that appeal to you the most.

About the Audio
Throughout this book, the numbers in the audio symbols (+) indicate the CD track number
where each example will be found on the accompanying CD.
Each example is played at full tempo, and most are repeated at half speed. In addition, short
introductory phrases (which are not transcribed in the examples) are sometimes included to provide
a better sense of context and to maintain an improvisational feel.

 

Acknowledgments
I wish to give special thanks to Marie-Christine Belkadi, Kevin Holmes for editing assistance, all at Hal Leonard Corporation, Frank Gambale and Mike Stern for their support, Keith Wyatt from Musicians Institution, Steve Blutcher from DiMarzio, HHHrrernst Homeyer for his good advice, Marco Biasella and Pierre Pichon for letting me use their equipment, Alain Lasseube-Le frere
Gagarine, Olivier Hermitant for his friendship, and Chris Jero of Yamaha.
This book is dedicated to my dear Grandma, Georgette Bach.

About the Author
Jean-Marc Belkadi started playing guitar at age 14. He graduated from the Toulouse Music
Conservatory in his hometown. In 1984, he left France for the U.S. to study at Musicians
Institute in Los Angeles where he received the Best Guitarist of the Year award.
In 1989 and 1992, he was awarded third and second prize at the Billboard Song Contest.
For three years, he was musical director of the Johnny Hune TV show. He has written three guitar
method books-A Modern Approach to Jazz, Rock, & Fusion Guitar, The Diminished Scale for
Guitar, and Advanced Scale Concepts and Licks for Guitar-and has recorded one solo album.

 

Table of Contents
About this Book
About the Audio
Introduction

Chapter 1: Substitution and Superimposition Techniques in Tonal Music
Major Key II-V-I Progressions Using Substitution 
Major Key II-V-I Progressions Using Superimposition 
Minor Key II-V-I Progressions Using Substitution 
Minor Key II-V-I Progressions Using Superimposition 
Major Key IImi7b5-V-1 Progressions Using Substitution 
Major Key IImin5-V-1 Progressions Using Superimposition 
Major Key 117-V-1Progressions Using Substitution 
Major Key 117-V-1Progressions Using Superimposition 

Chapter 2: Open Triad Techniques in Tonal Music
Major Key II-V-I Progression Using Open Triads .
Minor Key II-V-I Progression Using Open Triads 
Major Key Ilmi7b5-V-1 Progression Using Open Triads 
Major Key II7-V-1Progression Using Open Triads 

Chapter 3: Substitution and Superimposition Techniques in Modal Music
Ma7 Chord Examples 
Ma7#11 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples
Dominant7 Chord Examples 

Chapter 4: Open Triad Techniques in Modal Music
Ma7 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples 
Mi6 Chord Examples 
Dominant7 and Altered Dominant7 Chord Examples 
Acknowledgments
About the Author
Guitar Notation Legend
Note: Track to tune up.
 

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CHORD TONE SOLOING A GUITARIST'S GUIDE TO MELODIC IMPROVISING ANY STYLE LIBRO CD TABLATURE BOOK

CHORD TONE SOLOING, A GUITARIST'S GUIDE TO MELODIC IMPROVISING IN ANY STYLE. MUSICIANS INSTITUTE. CD TABLATURE

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A Guitarist's Guide to Melodic Improvising in Any Style

Barrett Tagliarino
Editore: Musicians Institute Press

La guida per chitarra per le improvisazioni melodiche in qualsiasi stile.


Scopri con questo libro e CD come i professionisti creano assoli meravigliosi! Il Cd allegato contiene 68 tracce di esercizi, frasi, esempi di solos e play alongs. include tutto il materiale necessario di base, le istruzioni dettagliate su come e che cosa allenare; concetti essenziali per musicisti di ogni livello; sviluppa "riflessi melodici" in tempo reale; assoli in qualsiasi progressione e in qualsiasi stile musicale, usare gli accordi come una sorgente infinità di idee e molto altro. 112 pagine.

 

Chord Tone Soloing
A Guitarist's Guide to Melodic Improvising in Any Style
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD
Author: Barrett Tagliarino

Learn how the professionals create monster solos with this easy-to-use book/CD pack! The accompanying CD includes 68 tracks of exercises, licks, solo examples, and play-alongs. Includes all necessary foundation materials; detailed instructions on how and what to practice; essential concepts for players at every level; developing your real-time melodic reflexes; soloing over any progression in any style of music; using chords as an endless source of ideas; and more.
Inventory #HL 00695855
ISBN: 9780634083655
UPC: 073999958553
Width: 9.0"
Length: 12.0"
112 pages

 


A Guitarist's Guide to Melodic Improvising in Any Style

INCLUDES:
All Necessary Foundation Materials
Detailed Instructions on How and What to Practice
Essential Concepts for Players at Every Level
Developing Your Real-Time Melodic Reflexes
Soloing Over Any Progression in Any Style of Music
Using Chords as an Endless Source of Ideas
Standard Notation and Tablature

Learn how the professionals create monster solos with this easy-to-use book/CD! The accompanying CD includes 68 tracks of exercises, licks, solo examples, and play-a longs.


MUSICIANS INSTITUTE PRESS
is the official series of Southern California's renowned music school, Musicians Institute. MI instructors, some of the finest musicians in the world, share their vast knowledge and experience with you nomatter what your current level.

Whether your instrument is guitar, bass, drums, vocals, orkeyboards, MI PRESS offers the finest music curriculum for higher learning through avariety of series:

Essential Concepts – designed from MI core curriculum programs

Master Class - designed from MI elective courses

Private Lessons - tackle a variety of topics "one-on-one" with MI faculty instructors

Video-in-depth lessons with many of Ml's well-known instructors

ISBN 0-634-08365-


Introduction

What It Is
In any style, solos and melodies make use of the notes in the chords that are being played. In this book, we IIstart from scratch and learn to find both the chord tones and the correct scales to go with them in any spot on the fretboard.
Part I is a very simple preview to show you where the book is going. Then all the scales, arpeggios, and theory you need are presented, explained, and drilled in Part II with exercises that have a rhythmic focus. This all serves to prepare you for the longer chord-tone soloing routines in Part III. Pick up a guitar magazine or book and you'll find music being explained with a slew of numbers: "In measure 18, (insert amazing player here) sneaks in a stunning major 6th over the AD,resolving to the 3rd of the I chord." Ever wonder if great players actually think of those numbers, or is it all just theoretical justification dreamed up afterwards? The answer is yes, they do think that way, even if they don't know all the terms used by the guy who writes about it later. Be it crude or sophisticated, much musicality comes from knowing how notes relate to the underlying chords. The numbers (and letters) are the language used to express this chord-related, or harmonic, information. You might pick this up by trial and error, by relying on your ear, and/or by copying other players. This is necessary and desirable, and the way we all learn in the end, but you can cut down the time it takes to reach a professional level (where you're always ready to play something that fits the music) by applying harmonic theory to your practice. In other words, rather than reinvent the wheel, just steal it and run over those who came before you.

Who It's For
This book is for players of any style, at all but the most beginning levels. I'll only assume you know the most basic techniques like strumming chords and picking single notes (techniques like bending strings, hammer-ons, and pull-offs are not needed for the program). Everything beyond that is explained in detail, from basic harmony and theory on up. But there's no mistaking that by the end of Part III the material is advanced, and you can expect to continue to use this book for years to come.
Once you have enough basics from Part II under your fingers, the routines in Part III will produce noticeable differences in your playing in just a few weeks. After a year of applying the method, you'll know how to solo melodically over anything but the most challenging chord progressions. With the concept in hand, you can then make sense of those magazine transcriptions, attack other books with intelligence, and use what you learn from them in your own music.

Where It Came From
Students hear me soloing over tunes in different styles-rock, country, whatever. Sometimes they stop me and say, "Show me THAT lick!" I'd like to, but often I can't. There is not a giant mental library of licks that I simply plug in one after another. There are some licks to learn, of course, but there's more to it-some way of picking out notes on the fly so that they flow in a musical way, all in less time than it takes to think about it.
Then they might ask, "What scale did that come from?" or "Was that an arpeggio?" I explain that it's
neither scale nor arpeggio, but sort of both at the same time, which leads us into a productive course of study, the refinement of which you now have before you.


PRIVATE LESSONS
By Barrett Tagliarino
Table of Contents
Introduction .
About the CD .

Part I: A Preview to Chord-Tone Soloing .
Chapter 1: Let's Jam .
Chapter 2: Chord-Tone Targets on a Basic Blues .

Part II: A Solid Foundation .
Chapter 3: Getting Serious About Practicing .
Chapter 4: Timing .
Chapter 5: The Five Patterns .
Chapter 6: Major Scales .. '': .
Chapter 7: Intervals ~ .
Chapter 8: Chords and Arpeggios .
Chapter 9: Diatonic Harmony .
Chapter 10: Finding Key Centers .
Chapter 11: Minor Scales and Keys .
Chapter 12: Modes .
Chapter 13: Extensions .
Chapter 14: Modal Interchange, Secondary Dominants, and Modulation .

Part III: Chord-Tone Soloing Exercises .
Chapter 15: 3rds and 7ths .
Chapter 16: The Frosty Fretboard .
Chapter 17: Arpeggiation .
Chapter 18: Targeting 1, 3, 5, or 7 ,
Chapter 19: Steady Eighth-Note Lines .
Chapter 20: Scalar Connection to Any Chord Tone .
Chapter 21: Ascending Arpeggios and Descending Scales .
Chapter 22: Choosing Your Targets .
Conclusion .
About the Author .
Acknowledgments

ISBN 0-634-08365-1

 

Conclusion
I suggest keeping some type of tone-targeting exercises as set forth in Part III of this book in your
practice regimen on a long-term basis. Add more challenges as you go:
• continue to target chords that change on beats beside beat 1 or 3 of the measure
• play lines consisting of triplets (three notes per beat), sixteenth notes (four notes per beat), or a mixture of the two
• use scale sequences and melodic ideas that fit or overlap chord phrases
• target chord tones over progressions that use odd time signatures
• apply phrasing ideas you've learned from other players
• think of some of your own ideas and practice until you can toss them in at will
An idea for a song may pop up while you're exploring a new exercise. It's also important to continue
learning and analyzing solos and melodies by other players, so you can absorb the pacing, phrasing, and structure, as well as the fun part: stealing the licks.
It's been a pleasure for me to work on this book, and I sincerely hope these practice routines help you as much as they have me and my students. Good luck.

About the Author
Barrett Tagliarino has been an MI instructor since 1987 and was Rock Department Head at Hohner
MusikSchule in Vienna, Austria, in 1994. This is his fourth book for the Hal Leonard Corporation. Barrett has recorded TV and radio commercials and a Starlicks instructional video, Classic Rock Guitar Soloing.
Barrett has also written articles in magazines like Guitar Player and Guitar One, and released an independent CD, Moe's Art. Find out more at his website, monsterguitars.com.

Acknovvledgllnents
I'd like to thank Tommy Gunn for playing the drums and Jason Moussa for testing this book. Thanks also to everyone at the Hal Leonard Corporation.
 

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BLUES RHYTHM GUITAR Musicians Institute Keith Wyatt Libro CD TABLATURE Shuffles-Boogies-Jump

BLUES RHYTHM GUITAR, Mus. Inst. Keith Wyatt. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

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Series: Musicians Institute Press
Publisher: Musicians Institute Press
softcover with CD - TAB
Author: Keith Wyatt
Blues Rhythm Guitar concentrates on the heart of blues music: the rhythm. You'll learn the crucial elements of the style that no guitarist should be without, including blues changes and variations, several shuffle rhythms, slow and fast blues rhythms, how to combine different rhythm parts, and much more. The included CD demonstrates all the concepts and features rhythm tracks so you can try out your newfound skills with a full band. 112 pages

BLUES RHYTHM GUITAR
MASTER CLASS
The Complete Guide to Shuffles, Boogies, Jump, Slow Blues, and Other Blues Styles
by Keith Wyatt

 

Introduction
The heart of blues lies in the rhythm. Rhythm is not just a back-up part; it's the essential
glue that ties everything together, from the underlying beat of the drums to the vocals and
solos. With a great rhythm feel, you don't need much else. Conversely, without a great rhythm
feel, nothing else amounts to much. Ever since electricity unleashed the guitar as a blues solo
instrument, players have tended to focus the bulk of their time and effort on developing the
guitar's single-note voice, but two facts about guitar playing can't be ignored: First, most of
your career as a player is spent backing somebody up. Second, your solos will always be
inspired, or limited, by your sense of rhythm. Any attempt to separate great blues guitar playing
into "licks" and "rhythm" is ultimately meaningless-neither B.B. King nor Albert King play
many chords, but their phrasing is profoundly rhythmic. At the other extreme, you won't hear
many solos on a John Lee Hooker record, but he built an entire career on a distinctive rhythm
style. After a century of blues-guitar history, it's still the rhythm that holds it all together.
This book is specifically focused on blues rhythm guitar, but the principles of rhythmic
phrasing (e.g., how to capture a drum beat on the guitar, how to break down chords into
usable fragments, and how to mesh with other musicians) go beyond blues-specific vocabulary;
they apply to any groove or musical style. The blues developed during a period of time
in which the dance rhythms of American popular music were almost universally based on the
eighth-note triplet shuffle, and the bulk of this book is devoted to playing that rhythm at various
tempos. For decades, though, artists have been blending blues with other dance
grooves, from funk and R&B to Latin, rock, and disco. (Stevie Ray Vaughan made his debut
on a David Bowie dance-pop record, after all). Today, it's rare to find a blues band that doesn'
t incorporate a variety of grooves in its set, but the feel of the shuffle is still at the heart of it
all. In the end, this book is for anyone who wants to become a better guitar player-period.

How to Get the Most Out of This Book
To get started, you need to at least know the following:
1. The names of the notes on the sixth and fifth strings.
2. How to play major, minor, and dominant seventh chords in both open and barre chord
(movable) voicings.

If you don't have this knowledge under your fingers yet, practically any beginner guitar
method will provide it. (Check out Guitar Basics, by Bruce Buckingham [MI Press/Hal
Leonard], in particular). You might also want to pick up a basic theory book that explains
chord and scale construction (why a ninth chord is called a ninth chord, how scale tones are
numbered, and so on). A good (and admittedly biased) recommendation is Harmony and
Theory: The Essential Guide, by Keith Wyatt and Carl Schroeder (MI Press/Hal Leonard).
If you're a beginning guitar player or new to playing blues, Chapters 1 and 2 cover the
fundamentals of blues rhythm and chords. If you're a more advanced player or you want to
concentrate on expanding your blues rhythm vocabulary, you may want to start from Chapter
3, or just browse through the chapters and listen to the CD until something catches your
attention. The material is not arranged from "easy" to "difficult"-at any point along the way
you may find things that are challenging to your brain and to either, or both, hands. What I've
attempted to do is to break blues rhythm playing into segments, so that by learning how different
rhythm patterns are developed and how they relate to the other instruments in the
band, you can learn to create your own parts.


Table of Contents:

Introduction
How to Get the Most Out of This Book
How to Use the CD

Part I: Medium Shuffles and the 12-Bar Blues
Chapter 1: The Shuffle
Chapter 2: Blues Changes
Chapter 3: Medium Shuffle Part I: Low-range Rhythms
Chapter 4: Medium Shuffle Part II: Mid-range Rhythms
Chapter 5: Medium Shuffle Part III: High-range Rhythms
Chapter 6: 12-bar Variations
Chapter 7: Combining Rhythm Parts
Summary of Part I

Part II: Beyond the Medium Shuffle
Chapter 8: Slow Blues
Chapter 9: Fast Blues
Chapter 10: Beyond the 12-bar Form
Chapter 11: Beyond the Shuffle: Other Rhythms in Blues
Summary of Part II

Appendix
CD Track Listing
Suggested Listening
Guitar Notation Legend

 

Description
Straight Eighth Notes
Eighth-note Triplets
Triplet Shuffle
Accented Shuffle
Accented and Muted Shuffle
Boogie Pattern
Boogie with Accented Downbeats
Boogie with Accents and Muting
Turnaround in the Key of A
Turnaround in the Key of D
Ending in the Key of A
Ending in the Key of D
Adding the 7th
Separate, Sustained Notes
Adding Bass Notes with the Fourth Finger
Adding Bass Notes while Shifting Position
12-bar Walking Bass Pattern
Bass Riffs
Slapping/Muting Technique
12-bar Bass Riff
Upbeats
Chord Riffs
Riff-chord Variations
Riff Chord
Picking the Fourth String Separately
Sliding into Riff Chords
Legato and Staccato Phrasing Variations
Combined Legato, Staccato and Dynamics
Horn Riff Phrasing
Half-step Embellishment
Two-bar Riff with Whole-step Embellishment (R6)
Two-bar Riff with Whole-step Embellishment (RS)
12-bar Horn-section Riff with Embellishment
Robert Junior Ninth-chord Arrangement
Horn Riff with 13th Chords
Two-bar Horn Pattern Over a Slow Change
Two-bar Horn Pattern Over a Quick Change
B over A
Chicago Turnaround
Adding the IV Chord to the Turnaround
Adapting Two-bar Horn Pattern to the Turnaround
Four Turnaround Examples
Open-string Turnaround in the Key of E
"From the Turnaround" in the Key of G
Regular and Final Turnarounds
"Three Times Around" Ending

Boogie and Fill
Substituting the 4th
Expanding the Fill
Moveable Boogie and Fill
12-bar Moveable Boogie and Fill
Thumb-over Four-string Boogie
E Walking Line
Adding Upstrokes
Walking Line on A, with Upstrokes
V-IV (B-A) Walking Pattern and Turnaround
12-bar Shuffle in E
12-bar Combination Rhythm in G
Adding Chord Embellishments
Hybrid-picked Combination Rhythm
) Slow Blues Bass Riff
Quick-change 12-bar Blues in A
T-Bone-style Slow Blues Rhythm
Phrasing Combinations
12-bar Triplet Rhythm
Jump Blues Walking Line
Uptempo Boogie Pattern
Uptempo Mid-range Chord Riff
Organ-style Rhythm
Albert Collins-style Chord Voicings
Jump Horn Riffs w/ Variations
Two-note Horn-style Rhythm
Two-bar Repeating Riff
Bass Line Combined with Chord Punches
Bass Pattern combined with Two-note Chords
Boogie #1
Boogie #2
Boogie #3
Two-beat Bass Riff
Two-beat Bass Riff
Two-beat Bass Riff
Two-beat Accents and Fills
Eight-bar Progression, Version 1
Eight-bar Progression, Version 2
Sixteen-bar Progression
Blues Rumba Chord Pattern
Blues Rumba Bass/Chord Combination
R&B Combined Guitar/Bass Rhythms
"Chicks" in C
R&B Triplet Ballad
Minor Blues Rhythm with "Chicks & Fills"


Standard blues changes and form
Developing a strong shuffle feel
Useful rhythm parts in high, middle, and low ranges
Fast blues, slow blues, and beyond the 12-bar form

 

With a great rhythm feel, you don't need
much else. Conversely, without a great
rhythm feel, nothing else amounts to much.
This book is specifically focused on blues
rhythm guitar, but the principles of rhythmic
phrasing (e.g., how to capture a drum beat
on the guitar, how to break down chords
into usable fragments, and how to mesh
with other musicians) go beyond bluesspecific
vocabulary; they apply to any
groove or musical style.

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ETHNIC RHYTHMS FOR GUITAR Musicians Institute Jean Marc Belkadi LIBRO CD TABLATURE CHITARRA SPARTITI

ETHNIC RHYTHMS FOR GUITAR, MUS. INST., Belkadi. CD TABLATURE

5 Continents · 27 Countries · 2 Hands
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Author: Jean Marc Belkadi

Acclaimed guitarist Jean Marc Belkadi takes you on a musical expedition around the world from Europe to Africa, South America, Asia, and the Middle East. You'll discover a huge variety of unusual and inspiring ethnic rhythms, riffs, and licks in this creative book and CD pack. The accompanying CD contains 81 demo tracks of all the music in the book. 40 pages.

 

ETHNIC

Acclaimed guitarist Jean Marc Belkadi takes you on a musical expedition around the world. You'll discover a huge variety of unusual and inspiring ethnic rhythms, riffs, and licks in this creative book and CD pack. The accompanying CD contains 81 demonstration tracks of all the music in the book.
Standard Notation and Tablature.
Middle East
Asia
South America
Europe
Africa
Exotic Rhythms,
Riffs, and Licks
Book WITH CD

 

Introduction
The traditional music of every country has its own unique sociological and cultural characteristics. The rhythmic form, harmonic movement, melodic sense, and personal sounds are elements that identify each musical composition. On a larger perspective, we may notice that each continent has its own musical identity, but there are still cultural differences from one country to another.
The music of Eastern Europe (Russia, Romania, Bulgaria, etc.), for example, is quite unique and differs significantly from the countries of Western Europe (Spain, France, Germany, etc.), but the overall European identity is drastically different from the sound of Africa, South America, and Asia. This book covers ethnic rhythms from many countries to provide you with new inspiration and ideas.
Play these samples, change them, create some of your own, and use them in your own music. Then the objective of this book will be achieved.

Jean-Marc Thanks to:
All at Hal Leonard Corporation
Ernesto Homeyer (for transcribing these examples)
Jordan Kent Ramey (for recording, engineering, and editing)
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
Dory Lobel
Jimmy Rosen
Khoa Truong


Europe
Bulgaria
Romania
Spain
France
Celtic
Africa
Morocco
Algeria
Tunisia
Sierra Leone
Mali
Guinea
Congo
Zimbabwe
South America
Brazil
Argentina
Colombia
Jamaica
Cuba
Asia
Russia
Vietnam
India
Pakistan
Middle East
Saudi Arabia
Iraq
Turkey
Syria
Egypt

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EXOTIC SCALES & LICKS FOR GUITAR Musicians Institute Jean Marc Belkadi LIBRO CD TABLATURE CHITARRA

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.
 

Prezzo: €17,99
€17,99

TECNICA VOCALE-Dena Murray 2CD LIBRO CANTO VOCE METODO IMPARARE CANTARE STUDIO MANUALE

TECNICA VOCALE, Dena Murray. In Italiano. 2CD

LIBRO METODO DI CANTO, CON 2 CD.

SPARTITI CON PENTAGRAMMA. 

METODO, MANUALE, DIDATTICO, STUDIO, TECNICA, 


Una guida per trovare la vostra vera voce.
Concetti essenziali

Basta sforzare per intonare queste note alte! Sbloccate il vostro potenziale reale e cominciate a cantare facilmente e senza sforzo! Come respirare naturalmente; Come migliorare la voce parlata; Come smettere di trattenere, spingere, sforzare; Come sviluppare la vostra estensione naturale di tre ottave; Come impostare la voce di petto e di testa; Come collegare i registri e farli suonare come un'unica voce. Include 2 CD con dimostrazioni, esercizi guidati, e moltissime tracce per allenarvi!

Prezzo: €27,99
€27,99

THE ART OF WALKING BASS A Method Acoustic Electric Bass Musicians Institute Magnusson CD TABLATURE

THE ART OF WALKING BASS, A Method for Acoustic or Electric Bass. Musicians Institute. B. Magnusson. CD TABLATURE

LIBRO METODO DI MUSICA PER TUTTI GLI STILI, CON CD. 

SPARTITI PER BASSO CON: ACCORDI, PENTAGRAMMA, TABLATURE. 

MANUALE, STUDIO, TEORIA, 

IN ITALIANO


Publisher: Musicians Institute Press
Softcover with CD - TAB
Composer: Bob Magnusson

This comprehensive source for learning to build melodic walking bass lines in all styles pulls together lessons from MI elective courses. The CD includes 31 full-band tracks and demonstrates the exercises in the book. Topics covered include: intervals, chord symbols, and key centers; passing tones, chromatic tones, surround tones, sequences, and bypassing changes; blues, rhythm changes, II-V-I progressions, and other common progressions. In standard notation and TABLATURE.
64 pages.

Magnusson Bob, L' ARTE DEL WALKING BASS.

Una fonte completa per imparare a costruire linee melodiche di walking bass in tutti gli stili. Comprendere gli intervalli, i simboli degli accordi e i centri tonali. Note di passaggio, note cromatiche, note di contorno, sequenze, cambi. Blues, variazioni ritmiche, progressioni II-V-I, e altre progressioni comunemente usate. Notazione standard e Tablatura. Il CD allegato include 31 tracce suonate dal vivo. IN ITALIANO


Una Fonte Completa per Imparare aCostruire Linee Melodiche di Walking Bass in Tutti gli Stili.

- Il CD allegato include 31 tracce suonate dal vivo
- Comprendere gli intervalli, i simboli degli accordi e i centri tonaIi
- Note di passaggio, note cromatiche, contorni cromatici, sequenze, cambi
- Blues, variazioni ritmiche, progressioni II-V-I, e altre progressioni comunemente usate
- Notazione standard e Tablatura

MUSICIANS INSTITUTE PRESS
È la serie ufficiale della rinomata scuola di
musica californiana. Gli insegnanti, alcuni
dei migliori al mondo, condividono la loro
conoscenza ed esperienza con voi, non
importa quale sia il vostro livello attuale.
Qualsiasi strumento voi suoniate (chitarra,
basso, batteria, tastiere o voce), MI PRESS
offre il miglior curriculum musicale per una
conoscenza avanzata attraverso una varietà
di serie:

Concetti Essenziali – studiato per i programmi di base MI

Master Class - studiato per i corsi superiori MI

Lezioni Private – comprendono una varietà di argomentazioni con gli insegnanti MI

Guida Tascabile - un riferimento portata di mano per i concetti base

Video - lezioni approfondite con alcuni degli insegnanti MI più conosciuti

Workshops - trascrizioni delle più belle canzoni, concepite per le classi MI nelle lezioni di
performance.


INTRODUZIONE
Le linee di "walking bass" sono i blocchi di costruzione o le fondamenta sulle quali si crea una
canzone. Il termine descrive la sensazione o il movimento della linea di basso. Molto simile alla
camminata fisica (cioè un passo dopo l'altro), il flusso continuo di semiminime crea una
sensazione di movimento in avanti:
Cma7 F7 Emi7 A7 Dmi7 G7 etc.
Le linee di walking bass sono legate all'esecuzione del jazz tradizionale, ma vengono anche
utilizzate in molte altre forme di musica, come il blues, il rock, l'R&B, il gospel, il country, la
classica, eccetera. Sviluppare l'abilità di costruire una buona linea di walking bass può perciò
migliorare la scelta di note per creare qualsiasi tipo di linee di basso. In tutti gli stili musicali,
la procedura usata per costruire queste linee di basso è essenzialmente la stessa: stabilita
un'armonia o una progressione di accordi, il bassista deve scegliere quali note suonare e in quale
ordine. L'obbiettivo specifico di questo libro è di aiutarvi a capire le varie tecniche usate per
costruire una buona linea di walking bassi con queste tecniche sarete quindi in grado di costruire
delle ottime linee di basso da soli, ed anche analizzarle e determinare cosa le rende forti o deboli.
Ed ecco come funziona il libro ...

La Forma
Durante i miei anni di insegnamento, ho notato che la forma di una canzone è spesso un'area
troppo trascurata dagli studenti; tuttavia è una parte essenziale in tutti gli stili di musica - così
come qualsiasi casa ha un disegno, qualsiasi canzone ha una forma. In questo libro impareremo
a suonare e scrivere delle linee di walking bass in contesti diversi, in forme di canzoni comunemente
usate. In maniera specifica, daremo un'occhiata a ciascuna delle seguenti forme e progressioni,
cercando di analizzarle:
- blues in tonalità maggiori
- blues in tonalità minori
- progressioni II-V-I
- variazioni ritmiche
altre progressioni armoniche comunemente usate

I Tre Elementi Tonali
Mano a mano che si imparano queste forme e progressioni, esamineremo anche dal punto di
vista tecnico la costruzione di una linea di walking basso Vedremo che qualsiasi linea di basso
può essere spezzata in tre elementi musicali basilari:
- note dell'accordo (arpeggi)
- note diatoniche (note della scala)
- note cromatiche (semitoni)
Esamineremo ciascuno di questi elementi individualmente, isolando gli esercizi e gli esempi per
vedere come funzionano. Attraverso questo approccio, costruiremo gradualmente un vocabolario
musicale, assimilando ciascun elemento individuale prima di muoverci al successivo, e infine
combineremo tutti gli elementi e i loro diversi aspetti in un unico approccio per creare delle linee
melodiche di walking basso


Come Cominciare ad Esercitarsi
Il nucleo di questo libro sono gli esercizi di linee di walking bass, ciascuna delle quali ha la
propria traccia audio sul cd allegato. Per ciascun esercizio dovreste analizzare dapprima la linea
di basso, comprendere come funziona, esercitarvi da soli, e infine suonare insieme al cd; in
q uesto modo fam iIiarizzerete megl io con gl i esercizi.
Vi chiederò poi di scrivere le vostre linee di basso per la stessa progressione. All'inizio, quando vi
esercitate per scrivere le linee di basso, raccomando vivamente che vi sediate con il basso e con
dei fogli di carta pentagrammata. Poi, usando il vostro orecchio, cercherete di costruire una, due,
tre o quattro misure sul basso usando il metodo di "prova ed errore". Quando avrete ottenuto un
segmento che vi piace, scrivetelo. Poi suonate la parte che avete scritto e continuate in questo
modo fino a quando le linee di walking bass saranno completate. In questo modo l'orecchio
diventa una parte attiva del processo, elemento cruciale per eseguire musica improvvisata.
Quando avrete completato la linea di basso, analizzate armonicamente le cose che avete suonato.
Con questo metodo, sarete in grado di stabilire un vocabolario nel linguaggio del walking basso
Costruirete gradualmente un gruppo di frasi, di licks o idee che suonano bene in diverse
situazioni armoniche ricorrenti. Mentre il vocabolario musicale cresce, il vostro orecchio allenato
prenderà il sopravvento e vi guiderà attraverso sorprendenti e divertenti escursioni.
Ogni improvvisatore ha del materiale tematico o dei licks per creare un assolo. Allo stesso modo,
potete sviluppare delle frasi o idee per le linee di basso che si adattano a diverse situazioni
armoniche. Con l'aiuto delle tracce registrate sul cd allegato, avrete l'opportunità di applicare
quest'idea ad una situazione musicale. Sarete inoltre in grado di sentire e percepire come
funziona la vostra linea personale di walking basso
Per ciascuna traccia audio sul cd, il basso si trova sul canale sinistro e la sezione ritmica sulla
destra; per improvvisare la vostra parte di basso, semplicemente ruotate il balance a destra e
suonate insieme alla sezione ritmica.
Buona fortuna e buon divertimento!
Bob Magnusson

A Proposito del CD
Quando ho registrato il cd per questo libro, il mio obbiettivo è stato quello di creare un ambiente
il più vicino possibile ad una situazione dal vivo. I tempi sono stati eseguiti a velocità medio-lenta
per dare allo studente il tempo sufficiente per sentire ed eseguire le linee scritte. Ad eccezione
degli esempi le 2, tutti gli altri sono ripetuti. L'esempio 23 ha una versione lenta e una media,
mentre la Sezione 6 include tempi medi per coincidere con il progresso dello studente nel
costruire le linee di basso.
Ciascun esempio è scritto semplicemente in semiminime per focalizzarsi direttamente sulla
tecnica necessaria alla costruzione delle linee di walking basso Sebbene sulla registrazione io legga
gli esempi scritti, l'ascoltatore attento noterà come utilizzo l'anticipazione ritmica ed altri trucchi
per aggiungere vitalità alla musica e facilitare l'interazione con la sezione ritmica.
Ciascuna traccia inizia con Peter Erskine che conta il tempo. Mike Wofford in genere compare
in modo sparso nel primo chorus e negli assoli sul secondo. Sarà divertente suonare con questi
due grandi musicisti di fama mondiale.
Per coloro i quali hanno poca o nessuna esperienza in teoria musicale, la seguente
sezione introduttiva intitolata "le fondamenta", fornisce un corso accelerato sugli
intervalli, le scale, gli accordi ed anche una discussione sulla linea di basso e
connessione degli accordi. Qualsiasi sia il vostro livello, principiante o professionista,
consiglio comunque di dare un'occhiata a questa sezione prima di cominciare...


L'Autore
Nato a New York il 24 febbraio 1947, Bob Magnusson è cresciuto in una famiglia di musicisti. Ha
iniziato a studiare il corno francese all'età di sei anni, e ha continuato per 12 anni fino a quando
ha scoperto la chitarra e il basso elettrico, suonando in gruppi rock. Nel 1965 ha fatto parte di una
band R&B di San Diego, dove è stato contaminato dal jazz di Miles Davis. Poco dopo ha comprato
un basso acustico ed ha iniziato ad imparare a suonarlo.
Nel 1968 ha fatto parte del gruppo di Buddy Rich per un anno, poi ha lavorato con il Sarah
Vaughan Trio nel 1971-72 e 1975-76, suonando con il famosissimo batterista Jimmy Cobb.
Trasferitosi a Los Angeles nel '75, ha suonato attivamente registrando anche per i seguenti gruppi:
Art Pepper Quartet, Benny Golson Quartet, e Joe Farrell Quartet.
Dopo una vasta carriera con diversi gruppi, in jazz clubs, e suonando in tutta America e all'estero,
è diventato famoso come insegnante e come seminarista (è stato membro del famosissimo Musician
Institute di Hollywood dal 1977-1996). È tornato a San Diego nell'83, dove attualmente risiede
con la moglie e la famiglia. Da quel momento ha registrato due dozzine di colonne sonore per
documentari jazz alla televisione, inoltre si tiene occupato suonando e registrando.
La sua discografia personale consiste di oltre 100 album al suo attivo, includendo registrazioni
di famosissimi artisti pop come Linda Ronstadt, Neil Diamond, Bonnie Raitt, 10,000 Maniacs,
e Madonna. Ha anche suonato con grandi del jazz come Hank Jones, Cedar Walton, Jimmy Heath,
Art Farmer, Kenny Barron, Freddie Hubbard, Slide Hampton, Billy Higgins, Cari Fontana, Tommy
Flanagan, Kenny Burrell, Roger Kellaway, Ernie Watts, Eddie "Cleanhead" Vinson, Lou Donaldson,
Joe Henderson, Clifford Jordan, Gorge Cables, Victor Lewis, Bud Shank, e moltissimi altri.
Nel 1983, Bob è stato insignito dalla San Diego Hall of Fame come "Musicista jazz dell'anno".

I Musicisti
Mike Wofford è entrato nella scena musicale di Los Angeles alla fine degli anni '50 e nei primi '60
con i leggendari Lighthouse AII-Stars e i gruppi di Shelly Manne, Teddy Edwards, Chet Baker, Zoot
Sims, Bud Shank, Sonny Criss e Shorty Rogers, per citarne alcuni. In tutti questi anni è apparso ed
ha registrato con artisti del calibro di Kenny Burrell, Stan Getz, Lee Konitz, Joe Henderson, Harry
"Sweet" Edison, Slide Hampton, Benny Golson, Art Farmer, Charlie Haden e Joe Passo È stato poi
pianista e direttore artistico del Sarah Vaughan trio nel 1979 e nel 1983. È stato anche il direttore
musicale e pianista di Ella Fitzgerald. Inoltre, ha registrato lO album solisti. La rivista musicale
"Downbeat" l'ha definito "uno dei più grandi pianisti del nostro tempo", e il famoso critico musicale
Leonard Feather ha scritto "Wofford occupa un posto di riguardo prezioso insieme a pochi altri".

Peter Erskine è stato per oltre 26 anni uno dei più grandi musicisti a livello mondiale con diversi
gruppi. Dal 1972 al 1975 ha suonato con la Stan Kenton Orchestra, nel 1976 e 1977 è stato
batterista della Maynard Ferguson Big Band; nel 1978 ha fatto parte dei Weather Report. L'eccellenza
della sua collaborazione con il grandissimo Jaco Pastorius è stata parte integrante del successo di quel gruppo. Dopo quattro anni con i Weather Report, Peter ha suonato con Michael Brecker nel gruppo Steps Ahead. Egli è stato in tour e ha registrato più di 300 album con artisti diversi, quali ad esempio Steely Dan, Chick Corea, Joe Henderson, Freddie Hubbard, Gary Burton, Pat Metheny, e Joni Mitchell.
Peter ha registrato 12 album come solista. Nel 1999 è entrato a far parte del gruppo Yellowjackets.
Egli ha inoltre realizzato tre video didattici, un video di performance intitolato "Peter Erskine Trio/Live at Jazz Baltica" (Hai Leonard Corporation), e anche due libri di metodo di batteria, il più recente dei quali intitolato "The Drum Perspective", anch'esso pubblicato dalla Hai Leonard Corporation.
Ho avuto il grande onore di suonare con questi due grandi e meravigliosi musicisti in varie situazioni in tutti questi anni, ed essi non smettono mai di stupirmi con la loro capacità musicale e col loro calore di esseri umani. Li ringrazio entrambi per il loro contributo a questo progetto.

MUSICIANS INSTITUTE

L'Arte del WALKING BASSO
di Bob Magnusson
Traduzione italiana di FrancescaVisentin e Marco Pontiroli

Indice
Introduzione
Le basi
1: Il blues - triadi
2: Il blues - note diatoniche di passaggio
3: Il blues - note cromatiche
4: Scale minori e blues minori
5: L'" Anatole"
6: Altre progressioni armoniche comuni
Glossario
L'autore.

Tutti gli esempi in questo libro sono da eseguire con accordatura standard, E-A-D-G,
dalla nota più grave alla più acuta. L'ultima traccia (32) fornisce le note per accordarvi. 

Prezzo: €22,99
€22,99

INTRODUCTION JAZZ GUITAR SOLOING Improvisation Method Joe Elliott CD TABLATURE LIBRO BOOK

INTRODUCTION TO JAZZ GUITAR SOLOING, A Comprehensive Improvisation Method. Musicians Institute Press. BOOK CD & TABLATURE

LIBRO METODO DI MUSICA JAZZ, CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE. 

Introduction to Jazz Guitar Soloing
A Comprehensive Improvisation Method

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Author: Joe Elliott

Perfect for seasoned rockers seeking new challenges and jazz newcomers looking for a good start, this book/CD pack covers scales, chords, licks, techniques and other vital jazz improv concepts step by step. The accompanying CD features 65 full-band demo and play-along tracks.

Inventory #HL 00695406
ISBN: 9780634009709
UPC: 073999998580
Width: 9.0"
Length: 12.0"
104 pages
 

A COMPREHENSIVE IMPROVISATION METHOD
• Key Center Soloing
• Chord Tone Soloing
• The Connecting Game
• Situation Playing
• Acquiring Vocabulary and Repertoire
• Scales
• Arpeggios
• Color Notes
• Chromatics
• Harmonization
• Solo Shaping
• Writing and Using Licks
• How to Practice
• Much More!

Whether you're a seasoned rocker seeking a new challenge or a jazz newcomer looking for a good start, this book and CD pack will provide the vital concepts you need to begin your journey into jazz improvisation. Includes loads of step-by-step information, scales, licks, and techniques, plus the accompanying audio CD features 65 full-band demo and play-along tracks!

Introduction
If you're like me, your first experience playing a guitar solo was in your friend's basement or garage. You probably learned the A minor pentatonic scale in fifth position, learned a few repetitive "didlee-diddies," a couple of bends, and had a great time jammin'. When I figured out what key a song was in, I would move my minor pentatonic shape, didlee-diddles, and bends to the place on the neck that seemed to fit and-jam. The soloist in me didn't really seem to care that I didn't know too much. Well, this was how I played for quite some time. I gradually expanded my knowledge by learning more patterns of minor and major pentatonic scales. I played with this amount of scale knowledge until I got into college and was introduced to some jazz guys. Playing tunes with them, I continued this basic approach but had to adapt to the songs changing keys more often. My solo approach, however, was still basically the same: figure out the key and wander around the pattern hoping I'd get lucky and play something good. This is called key center soloing, and there is nothing wrong with it. It's a wonderful way for us to break into the world of soloing early on in our musical development. It's great that we guitarists can learn to make good music with a small amount of information. But I knew there had to be more. Most guitarists live in this stage of development for a long time with a growing sense that they are missing some important element that would make them sound better. They're right. What's missing is the knowledge of how to make your solo fit the chords the band is playing. How do the great players pick those great notes in their solos? Some people might refer to these notes as "sweet notes," but they are really just chord tones. Chord tones are simply the notes of the chord that the band is playing. This very simple concept, which is called chord tone soloing, is the basis for the technical side of playing jazz. The vehicle for playing chord tones is the arpeggio. Understanding the concept is simple; implementing it requires some special and organized efforts. This book is designed to do just that: organize and gradually build your fretboard knowledge to a level where chord tone playing becomes as natural as wandering around the minor pentatonic scale. This book is based on the jazz improvisation method I've taught at G.I.T. since 1988. It works for the seasoned rocker who is ready for a new challenge or the jazz newcomer looking for a good start. The essence of the book can be summarized by the following statement.
As a developing player, you have two simple goals:
• To acquire a vocabulary (licks you know)
• To acquire a repertoire (songs you know)
(For a song to be "in your repertoire" you must be able to play the melody, improvise a solo, and comp for another soloist-all from memory.)
This book will cover the following general topics to help you develop vocabulary:
• key center soloing
• chord tone playing
• arpeggios
• organizing arpeggios
• situation playing-the concept of extracting common chord progression fragments from tunes and learning vocabulary to play over them
• colorful note options
• writing licks (developing vocabulary)
• inserting the licks into songs
• acquiring and developing repertoire
• other melodic devices
• solo shaping

 

A Comprehensive Improvisation Method by Joe Elliott

Contents
Introduction

Chapter 1: Getting Started
Chapter 2: Organizing Arpeggios in Major Scale Patterns
Chapter 3: Organizing Arpeggios in Minor Scale Patterns
Chapter 4: Situation Playing
Chapter 5: The Connecting Game
Chapter 6: The Connecting Game in More Patterns
Chapter 7: Expanding Note Options with Added Color Tones
Chapter 8: Introducing the Melodic Minor Scale
Chapter 9: Adding Altered Tones
Chapter 10: Referencing and Worksheets
Chapter 11: The Connecting Game with the Altered Scale
Chapter 12: The Locrian #2 Scale
Chapter 13: Writing Licks
Chapter 14: Inserting Licks
Chapter 15: Disguising Licks
Chapter 16: Harmonizing the Melodic Minor Scale for Altered Dominants
Chapter 17: Harmonizing the Melodic Minor Scale for Minor 7 (b5)Chords
Chapter 18: Turnaround Licks in Major (1I1-VI-II-V-I)
Chapter 19: Turnaround Licks in Minor (I-VI-II-V-I)
Chapter 20: The Lydian b7 Scale
Chapter 21: Harmonizing the Melodic Minor Scale for Non-Functioning Dominants
Chapter 22: Non-Resolving II-V Progressions
Chapter 23: The Bebop Bridge
Chapter 24: Chromatic Connections
Chapter 25: Other Melodic Devices
Chapter 26: Putting It Together
Chapter 27: Solo Shaping
Chapter 28: How to Budget Practice Time
Conclusion

ISBN 978-0-634-00970-9

HAL-LEONARD CORPORATION

Prezzo: €26,99
€26,99

CONTEMPORARY ACOUSTIC GUITAR Steve Trovato CD chitarra libro tablature chords rhythms-chord embellishments-fingerpicking-blues-ragtime-new age-folk

CONTEMPORARY ACOUSTIC GUITAR. By Steve Trovato. CD TABLATURE

Contemporary Acoustic Guitar

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Eric Paschal
Composer: Steve Trovato

This book designed from elective courses taught at the famous Musicians Institute is the definitive source for playing acoustic guitar! Topics covered include: basic chords and rhythms; chord embellishments; fingerpicking patterns; blues, ragtime, new age, folk and other styles; drop D and other alternate tunings; and more! The accompanying CD includes 60 full-band tracks, and examples are written in standard notation and TAB.

Inventory #HL 00695320
ISBN: 9780793595891
UPC: 073999953206
Width: 9.0"
Length: 12.0"
48 pages


Preface Welcome to Contemporary Acoustic Guitar! This book/CD is designed to show you the essential techniques for acoustic guitar playing. While it serves as an excellent source for the beginning guitarist, it can help players of all levels widen their skills with techniques such as fingerstyle playing, Travis and bluegrass-style picking, alternate and open tunings, and new chord sounds.
The musical examples in this book are varied: some can be played with a flatpick, and others are
intended to be played fingerstyle. Some examples may be played in either fashion. Experiment and
see what feels and sounds best to you.
Most of the examples are written both in music notation and guitar tablature and can be heard on
the accompanying CD-so don't worry if you're not a great reader. The point is to get the notes
under your fingers and play! Good luck to you, and have fun!
Eric Paschal & Steve Trovato

About the Authors
Eric Paschal is originally from Fort Worth, Texas and now lives in
Santa Clarita, California. Recognized for his versatility, Eric is
comfortable in a wide range of playing and writing styles. He is
co-author of the book Rhythm Guitar-The Complete Guide (Hal
Leonard Publishing) and is featured on several other instructional
books and videos. Eric also teaches the "Contemporary Acoustic
Guitar" class at Musicians Institute, as well as several other
unique studies. His recording The View will be released in August
of this year.

Steve Trovato is currently an instructor in the Studio Jazz
Guitar Department at the University of Southern California.
He has authored over 20 instructional books, and is a regular
contributor to Guitar Player, GuitarOne, Axe, Guitar Club, and
Guitar World magazines. In addition to his teaching career, Steve
maintains a busy performing and recording schedule. He has
toured extensively in North America, Asia, and Europe, playing
alongside such players as Robben Ford, Scott Henderson, Albert
Collins, Jerry Donahue, Norman Brown, and Jeff Berlin.


TheDefinitive Source for Playing Acoustic Guitar!

• CD Includes 60 Full-Band Tracks
• Basic Chords and Rhythms
• Chord Embellishments
• Fingerpicking Patterns
• Blues, Ragtime, New Age, Folk, and Other Styles
• Drop D and Other Alternate Tunings
• Standard Notation and TAB

MUSICIANS INSTITUTE PRESS
is the official series of Southern California's
renowned music school, Musicians Institut
MI instructors, some of the finest musicians
in the world, share their vast knowledge an
experience with you no matter what your
current level.
Whether your instrument is guitar, bass,
drums, vocals, or keyboards, MI PRESS
offers the finest music curriculum for highe
learning through a variety of series:

- Essential Concepts-designed from MI core curriculum program
- Master Class-designed from MI elective courses
- Private Lessons-tackle avariety of topics "one-on-one" with MI faculty instructors
- Pocket Guide-handy reference to the basics
- Video-in-depth lessons with many of Ml's well-known instructors
- Workshops-transcribed scores of music's greatest songs, designed from Ml's performance workshop classes.


Contents
Tuning notes .

1. Getting Started
The Basics
Common Strum Patterns .
Chord Progressions with Connecting Tones .

2. Strumming Variations
Alternating Bass Notes .
Hammer-Ons and Pull-Offs .
"Boatin' up Sandy" .

3. Chord Embellishments
Sus4 Chords .
Add9 Chords .
Slash Chords .
Arpeggiated Chord Patterns .
"Cloudy" .

4. Fingerpicking
Four-String Chord Patterns .
"Haymaker's Daughter" .
"Reflections" .
"In the Meantime" .
"In the Meantime" Variation .
"Banish Misfortune" .
"Sho Nuf' Is" .

5. The Blues
"Shallow River Blues" .
"Keystone" .
"Wildcard Poker" .

6. Ragtime Guitar
"Buffalo Junction" .
"Cow Tippin', Hog Stompin"' .
"Cannonball Rag" .

7. Drop D Tuning
Three-Note Chords and a Low Bass .
"Daisies for Janet" .
"Pen and Quill" .

8. Double Stops
Combining with other Techniques .
"Strawberry Hill" .
"Falstaff" .

9. Alternate Tunings
"For Pat" .
"Morning" .
Other Common Alternate Tunings

10. Integrating Techniques
"Aberdeen" .
"Rainy Double Sunday" .
About the Authors

Prezzo: €18,99
€18,99

PROGRESSIVE TAPPING LICKS 75 EXTREME GUITAR TAPPING IDEAS Musicians Institute Belkadi LIBRO

PROGRESSIVE TAPPING LICKS, 75 EXTREME GUITAR TAPPING IDEAS, MUSICIANS INSTITUTE. PRIVATE LESSONS. Jean Marc Belkadi. BOOK WITH CD & GUITAR TABLATURE

LIBRO METODO DI MUSICA ROCK, CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA TAPPING, STUDIO, MANUALE, 

 

Lessons and Tab for 75 Extreme Guitar Tapping Ideas
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Author: Jean Marc Belkadi

Tackle tapping one-on-one in this Private Lesson with MI instructor Jean Marc Belkadi! He covers: blues and classic tapping licks; scalar tapping licks; triads and arpeggios; advanced tapping licks; string skipping, multi-finger tapping, tapped bends, pedal points, open strings and other devices; and so much more. The book is in standard notation and tab, and the accompanying CD contains 75 demo tracks for listening. Each example is played at full tempo, and most are repeated at half speed. 40 pages.

 

Introduction

Though the birth of tapping is largely associated with the eighties decade, players had begun experimenting with it as early as the mid-to-Iate seventies. Namely among them are session whiz Larry Carlton and the inimitable Jeff Beck. It was only a matter of time before someone would truly exploit the technique and harness the potential it possessed. Eddie Van Halen almost singlehandedly
introduced the technique to the guitar world with the release of Van Hafen near the turn of the decade. Rock guitar players everywhere jumped on the bandwagon, and within a few years a new breed of tappers emerged with their own style. Players such as Greg Howe, Steve Lynch, Reb Beach, and Jennifer Batten twisted and reinvented the technique, achieving unprecedented results. More recently in the nineties, fusion and contemporary guitarists Stanley Jordan and T.J. Helmerich took it to the next level, in many instances getting rid of the pick all together.
The objective of this book is to provide some different ways of using the tapping technique. The licks presented here draw from the styles of all the above-mentioned masters. Therefore, a great variety of techniques will be covered. It is hoped that you'll find many ideas in this book that you'll be able to incorporate into your own playing. Good luck and enjoy.

About the Audio
Throughout this book, the numbers below the audio symbols ~ indicate the CD track number where
each example will be found on the accompanying CD.
Each example is played at full tempo, and most are repeated at half speed. In addition, short introductory phrases (which are not transcribed in the examples) are sometimes included to provide a better sense of context and to maintain an improvisational feel.

- Blues and Classic Tapping Licks
- Scalar Tapping Licks
- Triads and Arpeggios
- Advanced Tapping Licks
String Skipping, Multi-Finger Tapping, Tapped Bends, Pedal Points, Open Strings, and Other Devices

Standard Notation and Tablature

The accompanying CD contains 75 demonstration tracks for listening. Each example is played at full tempo, and most are repeated at half speed.


MUSICIANS INSTITUTE PRESS
is the official series of Southern California's
renowned music school, Musicians Institut
MI instructors, some of the finest musicians
in the world, share their vast knowledge an
experience with you no matter what your
current level.
Whether your instrument is guitar, bass,
drums, vocals, or keyboards, MI PRESS
offers the finest music curriculum for highe
learning through avariety of series:

Essential Concepts – designed from MI core curriculum programs

Master Class-designed from MI
elective courses

Private Lessons - tackle a variety of topics "one-on-one" with MI faculty instructors

Video-in-depth lessons with many of Ml's well-known instructors


Table Contents
Introduction .
About the Audio .

CHAPTER 1 - Blues and Classic Tapping Licks .
CHAPTER 2 - Scalar Tapping Licks
CHAPTER 3 -Triads and Arpeggios
CHAPTER 4 - Advanced Tapping Techniques
Acknowledgments
About the Author  

Prezzo: €21,99
€21,99
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