National Guitar Workshop Method - Approved Curriculum

CHITARRA ACUSTICA BLUES LIVELLO BASE LIBRO CD TABLATURE Lezioni tecniche chitarra

Chitarra Acustica Blues 

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

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

 

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

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

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

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

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

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

 

INFORMAZIONI SU QUESTO LIBRO

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

 

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

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

 

 

TAVOLA DEI CONTENUTI

INFORMAZIONI SULL’AUTORE

INFORMAZIONI SU QUESTO LIBRO

 

CAPITOLO 1 - Si parte!

Scegliere le corde.

Le corde a vuoto.

Accordatura .

Le altezze musicali e la tastiera.

La notazione musicale standard.

Leggere l’intavolatura

Leggere i diagrammi delle scale e degli accordi.

Leggere le chart degli accordi .

Postura.

Tecnica della mano destra.

Tecnica della mano sinistra .

 

CAPITOLO 2 – La progressione blues in

12 battute 19

Il blues in 12 battute più semplice.

La progressione blues in 12 battute più semplice .

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

La forma blues in 12 battute piu’ comune.

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

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

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

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

 

CAPITOLO 3 – Ritmica e Teoria Blues

Ottavi swing .

Intervalli.

 

CAPITOLO 4 – Blues shuffle 26

Accordi su due corde.

Blues shuffle in LA.

Il blues 5, 6, b

7 in LA .

Blues shuffle in MI .

 

CAPITOLO 5 – Palm muting

Shuffle in palm mute

Palm muting in LA .

 

CAPITOLO 6 – Ancora sulla scala maggiore

 

CAPITOLO 7 – Teoria degli accordi

e armature di chiave

Triadi maggiori e minori .

Triadi diminuite ed eccedenti .

Accordi di settima.

Armonia diatonica.

Armature di chiave.

 

CAPITOLO 8 – Pattern Blues

Boogie Woogie 42

Boogie-woogie in SOL.

Boogie-woogie in MI.

 

CAPITOLO 9 – Accompagnamento blues

in strumming 44

Blues in 12 battute in DO.

Blues in 12/8

Blues con due pennate per battuta in LA.

Strumming in MI .

 

CAPITOLO 10 – Solismo blues

La scala pentatonica minore .

La scala pentatonica maggiore.

La scala blues.

Fraseggio .

 

CAPITOLO 11 – Tecniche della

mano sinistra 55

Legati ascendenti.

Legati discendenti.

Bending.

Slide.

Vibrato..

Combinare le tecniche.

 

CAPITOLO 12 – Altre ritmiche blues e pattern

per la mano destra 62

Blues in SI b

Arpeggi .

Blues arpeggiato.

Lo strumming basato su note da un sedicesimo.

Funky blues in SI

Strumming in levare.

Blues in levare in FA.

 

CAPITOLO 13 – Turnaround

 

CAPITOLO 14 – Blues basati su riff

Blues basato su riff in MI minore.

Riffin’ in FA.

Octave Blues.

Blues funky in sol minore

 

CAPITOLO 15 – Pattern trasponibili

su due corde

Shuffle in SOL

Chuck’s blues

Shuffle in MI

 

CAPITOLO 16 – Accordi con barrè

Blues in LA b

con accordi in barrè .

 

CAPITOLO 17 – Blues in otto battute

Key to the Turnpike.

Too Long Blues.

 

Capitolo 18 – Blues minore

Blues minore in LA

Blues con tre pennate per ogni battuta

Blues per B. B.

 

CAPITOLO 19 - Blues fingerstyle

Blues minore per il reverendo Gary

Blues per Missisipi John

Keep on pickin’

Blues per Lightnin’

Boogie-woogie time

APPENDICE

RIFLESSIONI CONCLUSIVE

 

 

 

 

Prezzo: €19,99
€19,99

TOTAL LATIN GUITARIST A Fun and Comprehensive of Latin Guitar Playing Doug Munro CD TABLATURE

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

LIBRO METODO DI MUSICA LATINA, CON CD. 

SPARTITI PER CHITARRA E BASSO CON : 

ACCORDI, PENTAGRAMMA, TABLATURE DELLA CHITARRA. 

BASSO SOLO IN PENTAGRAMMA.

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

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

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

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

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

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

• Bebop and Beyond (Alfred 00-0609B)

• Organ Trio Blues (Alfred 00-0758B)

Acknowledgements

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

 

About the Author

Introduction

Chapter I: Latin Accompaniment Techniques

Accompaniment Styles Without a Bass Instrument

Accompaniment Styles with a Bass Instrument

 

Chapter 2: Latin Soloing Techniques

Soloing Based on a Scale or Mode

Soloing Based on an Arpeggio

Voice Leading

 

Chapter 3: Clave

Son Clave

Rumba Clave

BossaClave

 

Chapter 4: Montuno/Guajeo

 

Chapter 5: Afro-Cuban 

Son 

Salsa 

Salsa solo

Rumba

Rumba Solo

Guaguancó

Guaguancó Solo

Cha-Cha

Cha-Cha solo

Mambo

Mambo Solo 

Songo

Songo Solo

Mozambique

Mozambique

 

Chapter 6: Brazil

Choro 

Choro Solo 

Samba 

Samba

Batucada 

Batucada Solo 

Partido Alto 

Partido A/to

Bossa Nova 

Bossa Nova Solo 

Baião .

Baião Solo .

Frevo .

Frevo Solo

 

Chapter 7: The Dominican Republic

Merengue

Merengue Solo

Bachata

Bachata Solo

 

Chapter 8: Trinidad

Calypso

Calypso Solo

Soca

Soca Solo

 

Chapter 9: Argentina

Tango

Tango Solo

 

Chapter 10: Mexico

Ranchera

Ranchera Solo

Mariachi.

Mariachi Solo

Norteño / Conjunto

Norteño Solo

Tejano

Tejano Solo

Conclusion

 

Appendix

Reading Tablature (TAB)

Scale Diagrams

Major Scale Theory

Intervals

Diatonic Harmony

Circle of 4ths/5ths

Extended Chords

Prezzo: €29,99
€29,99

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

 

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

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

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

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

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

FEATURES

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

PENTATONIC SCALE PATTERNS THAT INCORPORATE SWEEP PICKING AND STRING SKIPPING.

EXTENDED INTERVAL FINGERINGS

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

EXAMPLES IN TAB AND STANDARD MUSIC NOTATION.

 

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

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

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

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

 

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

Prezzo: €21,99
€21,99

TOTAL FUNK BASSIST A Fun and Comprehensive Overview of Funk Bass Playing CD TABLATURE TECNICA METODO

TOTAL FUNK BASSIST. A Fun and Comprehensive Overview of Funk Bass Playing. SHEET MUSIC METHOD BOOK WITH CD & BASS TABLATURE. 

LIBRO METODO PER BASSO DI MUSICA FUNK CON CD. 

SPARTITI PER BASSO CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

MANUALE, TECNICA, 

By David Overthrow
Category: Bass Guitar Method or Supplement
Format: Book & CD

The Total Funk Bassist is a unique and exciting journey through the diverse world of funk bass. At the heart of great funk playing is rhythm, and this book helps you fully understand that concept. Included are exercises and examples that will help you solidify your command of sixteenth notes, syncopation, and other funky rhythmic concepts. You'll also learn the two essential funk bass techniques -fingerstyle and slap & pop- as well as other advanced techniques. A CD demonstrating the examples in the book is included.

Welcome, fellow funksters. Funk is one of the most exciting genres of music to play on the bass. The foundation of all funk music is the groove, and the groove is laid down primarily by the bassist and the drummer. Funk is not a cerebral music, but rather, a genre that compels you to move your hips, tap your feet, bob your head, and get up and get down. There are several artists who were instrumental in the development of funk music. The "Godfather of Soul," James Brown, was a major force in soul and R&B throughout the 1950s and '60s, and those two genres would later evolve into what is now known as funk. In the early I970s, two groups were responsible for the birth of funk as its own genre: Parliament-Funkadelic and Graham Central Station. Funk music has evolved over the years and has spawned a new generation of funk bassists. Along with the music, bass technique has evolved as well. The slap & pop style introduced by Larry Graham has developed over the years, and bassists continue adding to the technique. Funk has fused with other genres, and its influence can be seen in rock, reggae, jazz, and other styles. From Larry Graham, Bootsy Collins, Flea, and Stanley Clarke to the wizardry of Marcus Miller and Victor Wooten, the slap & pop style has become an integral part of funk bass playing.

Even though slap & pop has become so essential to funk, many classic funk tunes featured the fingerstyle funk technique. Two of the funkiest bassists of all time used this technique exclusively: Jaco Pastorius and Rocco Prestia. Jaco and Rocco are responsible for some of the funkiest bass grooves ever recorded, without ever slapping or popping a note! This book discusses the various techniques used in funk bass playing, including fingerstyle funk, muting, slap & pop, hammer-ons, pull-offs, popped double stops, double thumping, and double popping. There are hundreds of funk bass grooves at a variety of playing levels. Each chapter progresses in a concise, logical manner, taking you from beginning fingerstyle and slap & pop bass all the way to advanced techniques like double popping and double thumping. To get the most out of this book, you should have some experience reading standard music notation or TAB and be comfortable with basic playing technique. However, for beginners and those of you who would like a refresher, a review of these concepts can be found starting on page 6. The goal of this book is to teach you how to lock into the funk groove (otherwise known as playing "in the pocket"). And ifyou can get people moving while playing some great funk bass grooves, that's cool too. Enjoy!

A compact disc is available with this book. Using the disc will help make learning more enjoyable and the information more meaningful. Listening to the CD will help you correctly interpret the rhythms and feel of each example. The symbol to the left appears next to each song or example that is performed on the CD. Example numbers are above the symbol. The track number corresponds directly to the song or example you want to hear. In some cases, there is more than one example per track; this is reflected in the track numbers (for example: Track 2.1, Track 2.2, Track 2.3, etc.). Track I will help you tune to this CD. 

 

 

Contents:

About the Author

Introduction

 

Chapter I: Getting Started

Strings on the Bass

Tuning

Standard Music Notation

Bass Tablature (TAB) II

Chord Symbols I I

Basic Technique

 

Chapter 2: Funk

What Is Funk?

Sixteenth-Note Rhythm Studies

Syncopation

Muting

More Syncopation

A Note About Articulation

 

Chapter 3: Scales, Intervals, and Modes

The Major Scale

Intervals

Modes of the Major Scale

The Natural Minor Scale

The Harmonic Minor Scale

The Melodic Minor Scale

The Major Pentatonic Scale

The Minor Pentatonic Scale

The Blues Scale

 

Chapter 4: Chords

Triads

7th Chords

Chord Symbols

Major Scale Diatonic Harmony

Minor Scale Diatonic Harmony

 

Chapter 5: Starter Fingerstyle Funk Grooves .

Using the Root

Back to My Roots

Using Roots and Octaves

Funk with Roots and Octaves

Using Roots, 5ths. and Octaves

One-Five-Eight-Go

Adding 3rds and 7ths

Funky Chord Tones

 

Chapter 6: Intermediate Fingerstyle

Funk Grooves

Using the Mixolydian Mode

Funky Mix

Using the Dorian Mode

Dorian Funk

Using the Minor Pentatonic Scale

Funk in A Minor Way

Using the Major Pentatonic Scale

 

 

Chapter 7: Advanced Fingerstyle

Funk Grooves

Using Chromatic Tones

Chromatic Funk

Funky Two-Chord

 

Chapter 8: The Slap & Pop Style

The Slap Technique

The Pop Technique

Slapping the 3rd String

The Hammer-On

The Pull-Off

Popped Double Stops

Double Popping

Double Thumping

Muted Hammer-Ons

 

Chapter 9: Starter Slap & Pop Funk Grooves

Using the Root

Dominant 7th Grooves

Minor 7th Grooves

Mixolydian and Dorian Grooves

 

Chapter 10: Intermediate Slap & Pop

Funk Grooves

Using Chord Tones

Using the Dorian Mode

Using Chromatic Tones

Using Hammer-Ons and Pull-Offs

Hammer It Home

 

Chapter 11: Advanced Slap & Pop

Funk Grooves

Double Thumping Grooves

Double Thumping Grooves with

Popped Double Stops

More Advanced Grooves

Light Touch, Heavy Groove

 

Chapter 12: Classic (and Soon to Be Classic)

Funk Bass Grooves

In the Style of "Brick House" by The Commodores

In the Style of "Shakey Ground" by The Temptations I

In the Style of "Superstition" by Stevie Wonder I

In the Style of "Higher Ground" by Stevie Wonder I

In the Style of "I Wish" by Stevie Wonder I

In the Style of "Super Freak" by Rick james

In the Style of "Cold Sweat" by james Brown

In the Style of "The Chicken" by jaco Pastorius

In the Style of "Pick Up the Pieces" by The Average White Band

In the Style of "Chameleon" by Herbie Hancock

In the Style of "Cissy Strut" by The Meters

In the Style of "Sing a Simple Song" by The Meters

In the Style of "It's Your Thing" by The Isley Brothers

In the Style of "Express Yourself" by Charles Wright & The Watts 103rd Street Rhythm Band

In the Style of "Play That Funky Music" by Wild Cherry

In the Style of "Low Rider" by War

In the Style of "Thank You (Falettinme Be Mice Elf Agin)" by Sly & the Family Stone

In the Style of "Slide" by Slave

In the Style of "Doing It to Death" by James Brown

In the Style of "Fire" by The Ohio Players

In the Style of "What Is Hip?" by Tower of Power

In the Style of "For the Love of Money" by The O'Jays

In the Style of "Aeroplane" by The Red Hot Chili Peppers

In the Style of "Come On, Come Over" by jaco Pastorius

In the Style of "Power of Soul" by Marcus Miller

In the Style of "Lopsy Lu" by Stanley Clarke

In the Style of "Sex in a Pan" by Bela Fleck and The Flecktones

In the Style of "Sinister Minister" by Bela Fleck and The Flecktones

 

Conclusion 

Prezzo: €29,99
€29,99

JAMAICA GUITAR ATLAS CD TABLATURE reggae-bob marley-ska-calypso-palm mute-libro chitarra

JAMAICA, GUITAR ATLAS. LIBRO CD E TABLATURE

LIBRO METODO DI MUSICA REGGAE, SKA, CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE . 

Your passport to a new world of music
By Raleigh Green

SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Jamaican music is loved throughout the world for its laid-back feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles, from reggae rhythms in the songs of popular bands like The Police, to ska beats in the music of groups such as The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-inspired style popular in the 1950s) to modern styles like dub (an electronic form of reggae). You’ll learn about the spiritual influence of the Rastafarian religion and explore the work of numerous Jamaican musicians, including Lord Flea, Count Lasher, The Maytals, The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin, and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.

The CD demonstrates all the examples and compositions featured in the book.

Guitar Atlas Jamaica. (Your passport to a new world of music). By Raleigh Green. For Guitar. Guitar Method or Supplement; Method/Instruction. National Guitar Workshop: Guitar Atlas. Multicultural; World. Book & CD. Published by Alfred Music Publishing (AP.33486). ISBN 0739062816. Multicultural; World.

 

Guitar Atlas:jamaica is an introduction to the rich musical tradition of
jamaica. From a guitarist's perspective, there is much to love in jamaican
music, especially the guitar-centric styles of mento, ska, rocksteady, and
reggae. In this book, the most important jamaican musicians, guitarists, styles,
and techniques are demonstrated through numerous musical examples. Most of these
examples are meant to be played with a pick, although there is some fingerpicking as
well. You will get the most from this book if you have experience reading standard
music notation and/or TAB, as well as some experience with common open chords,
barre chords, and basic guitar technique. The Notation Guide on page 3 should help
you with any unfamiliar notation. Welcome to Guitar Atlas: jamaica, and let's begin our journey!

Jamaican music is loved throughout the world for its laidback feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles-from reggae rhythms in the songs of popular bands like The Police to ska beats in the music of groups like The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-like style popular in the 1950s) to modern styles like dub (an electronic form of reggae).You'll learn about the spiritual influence of the Rastafari religion and explore the work of numerous Jamaican musicians, including Lord Flea,Count Lasher,The Maytals,The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin,and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.
The CD demonstrates all the examples and compositions featured in the book.


JAMAICAN HISTORY
The island of jamaica is located in the Caribbean Sea. It is situated 90 miles south of
Cuba and is a part of the Greater Antilles, a group of islands that also incluJe~ Puerto
Rico and Hispaniola. With a tumultuous history of slavery, war, poverty, and natural
disasters, jamaica is a true melting pot of mixed ethnicities. jamaica is smaller than the
state of Connecticut, however, the global impact that this Caribbean island has had on
the rest of the world is enormous.
When Christopher Columbus first arrived to jamaica in 1494, the native Arawak people
(also known as Taino Indians) had already been there since 650 A.D. Sadly, soon after
Spain's occupation of the country began in 1509, the indigenous population was wiped
out by slavery, disease, and war. By 1655, Britain seized jamaica and soon, through
intense colonization and a booming slave trade, Jamaica became the largest producer
of sugar in the world. After many uprisings, slavery was abolished in 1838. In 1872,
Kingston became the capitol, and in 1962, jamaica became an independent nation.

JAMAICAN MUSIC OVERVIEW
In the early 19th century, when the percussive musical traditions brought over by West
Mrican slaves mixed with the music of the European quadrille (a precursor to the square
dance), the jamaican folk music style called mento was born. Mento was jamaica's most
popular music throughout the 1930s and 1940s; however, during this period, American
jazz also became immensely popular in jamaica. By the 1950s, mento was still alive,
but American R&B had largely taken hold of the jamaican popular music scene. In
the 1960s, all of these various influences came together to create a unique jamaican
musical style called ska.
The quick tempo of ska was a reflection of the upbeat mood in jamaica after gaining
independence in 1962. jamaicans soon observed, however, that serious social problems
remained, and in 1966, the music changed with the mood. A new style called rocksteady
emerged, replacing the upbeat pace of ska with a much slower feel. A short-lived
movement, rocksteady was only around for two years when jamaica's most famous
musical style, reggae,was born. From the late 1960s to the mid-1980s, reggae became
a worldwide sensation. During this time period, the Rastafari (those belonging to
the religious and cultural Rastafari movement covered on page 33) garnered a strong
association with reggae due to the international fame of Bob Marley and others. English
bands like The Clash and The Police started to incorporate reggae sounds into their own
music. By the latter half of the 20th century, a wide array of reggae subgenres developed,
including dancehall, toasting, dub, raggamuffin, reggaeton, 2-tone, and lovers rock, just to
name a few. Despite being a small island, jamaica and its varied musical traditions have
greatly inspired and influenced musicians and music lovers throughout the world.


A compact disc is included with this book. Using it with the book can make learning Track easier and more enjoyable. The symbol 1 shown at the left appears next to every example that is on the CD. Use the CD to help ensure that you're capturing the feel of the examples and interpreting the rhythms correctly. The track number below the symbol corresponds directly to the example you want to hear. Track 1 will help you tune to this CD. Enjoy!

Raleigh Green, based in the Boston area, is known for his versatility
as a guitarist and his expertise as a music educator. Proficient in
many styles of music, Raleigh is the author of The Versatile Guitarist
(Alfred/National Guitar Workshop #28243). He teaches guitar at
Phillips Academy in Andover, Massachusetts and is a long-time
instructor for the National Guitar Workshop and DayJams. Raleigh
teaches online guitar lessons at WorkshopLive.com and is endorsed
by D'Addario strings. After receiving a B.F.A. from the University
of Missouri with a concentration in art and computer-aided
multimedia, Raleigh attended the Berklee College of Music where
he graduated summa cum laude and was awarded both the Quincy
Jones Award and the Professional Music Achievement Award.
Raleigh lives in Medford, Massachusetts with his wife, Laura, their
son Cole, and an Australian cattle dog named Max.

ACKNOWLEDGEMENTS
Very special thanks to Laura and Cole, Ken and Linda Green, the Breretons, and all of my friends, students, and colleagues at Phillips Andover Academy; David, Barbara, and Jesse Smolover; Burgess Speed, and everyone else in the Workshop family. Also thanks to Kevin "K-Don" Michaels, Wayne Marshall, and Carl Johnson for research assistance; D'Addario & Co.; and Pete Sweeney and Matthew Liston for playing great music on the CD.
This book is dedicated to Cole Leven Brereton-Green.


NOTATION GUIDE
H = Hammer-on.
P = Pull-off.
SL = Ascending slide.
= Descending slide.
P.M. = Palm Mute.
= Fermata. Pause, or hold note longer than its indicated duration.
> = Accent. Emphasize the note or chord.

1,2,3,4,0 = The left-hand fingers starting with the index finger;
0= open string. Thelen-hand fingers are indicated under the TAB.
rit. = Abbreviation for ritardando. Become gradually slower.
Swing 8ths = Eighth notes written like straight eighth notes, but played with a long-short rhythm that produces the shuffie feel.When Swing Bths appears at the beginning of a piece, eighth notes are played like triplets with the first two eighth notes tieden =.en).
= 185 = Tempo marking. In this case, there are 185 quarter nores, or beats, per minute. (If you have a metronome, set it to 185.
4x = Play four times.
D.S. al Fine = Dal Segno al Fine. Go back to the symbol .. and play to the Fine, which is the end of the piece.

= Staccato. Make note shorter than its indicated duration.
= Chuck. Muted, percussive, unpitched nore.
p, i, m, a = The right-hand fingers starting with the thumb.

= Repeat signs. Repeat music between the two symbols When only the end repeat sign is present, repeat music from the beginning.

ABOUT THE AUTHOR
Acknowledgements
otation Guide

INTRODUCTI0N
Jamaican History
Jamaican Music Overview .

CHAPTER I-Mento
History of Mento
Mento Strumming
Lord of the Fleas
Mento Mama
Men to Lead Melodies
Facing Forward
Check YtJurPockets
Papaya Paradise
Mento-Calypso
Color Me Calypso

CHAPTER 2-Ska
The Beginnings of Ska
Jamaican Lady
The Skank
Straight Ahead
Fountain ofYtJuth
Ska Horn Lines
Strum It Up
Tie the Knot
The Skatalites
Skanks for the Memories

CHAPTER 3-Rocksteady
History of Rocksteady
Slow It Down
Rude Boyfriend
Slow Skank
Keep It Muted
Chill Out Rude Boy
Steady Sixteenths
Stay Steady
Alphabet Soup

CHAPTER 4-Reggae
Early Reggae
Jamaican Peach
Roll with the Punches
All Aboard
The Rastafari Movement and Roots Reggae
The "Bubble"
Never Forget
African Riddim
Reggae Rhythm Embellishment
Back Alley Dreadlock
Dub-Style Effects
The Question

CHAPTER 5-Bob Marley
In the Style of "Stir It Up"
Natty Dreadlock
In the Style of "Rasta Man Chant" .
Nyabinghi Beat
In the Style of "I Shot the Sheriff" .
Dread Man "Walking
In the Style of "Exodus"
On the Run
In the Style of "Redemption Song" .
Rasta Farewell

CHAPTER 6-Ernest Ranglin .
The Journey Begins .
Conclusion
 

Prezzo: €21,99
€21,99

GUITAR ATLAS ITALY CD TABLATURE LIBRO SPARTITI CHITARRA TARANTELLA-TU SCENTI DALLE STELLE

GUITAR ATLAS, ITALY. BOOK WITH CD & TABLATURE

LIBRO DI MUSICA TRADIZIONALE ITALIANA, CON CD, 

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Instructional book and examples CD for guitar.

Series: National Guitar Workshop Book,
Approved Curriculum.
With standard guitar notation, guitar tablature and instructional text. Instructional and Method.

The music of Italy is known for its lively rhythms and emotional melodies. This rich tradition of Italian music has been under-represented in the "world music" genre - until now! Each chapter in this book focuses on a particular region of Italy. Readers learn the history, cultural influences, and instruments of each area. While some of the songs featured were originally performed on instruments such as flute, mandolin, or bagpipes, they appear as guitar arrangements for the first time here. The book covers both fingerstyle and pick playing, and explores special techniques such as grace notes, hammer-ons, pull-offs, and tremolo, to help guitarists pick up all the nuances of style. Tips for playing accompaniments to Italian songs are included, and some of the tunes feature a second guitar part perfect for duets! With this wealth of material, everyone from beginners to advanced players can learn to master this culturally rich music. Compositions are written in both standard music notation and TAB. A CD demonstrating all the examples and compositions featured in the book is included. 47 pages. 

Contents:
About the Author
About this Book
Chapter 1 - Introduction to Traditional Italian Music
Northern Italy
Central Italy
Southern Italy
Sicily and Sardinia
Traditional Italian Folk Instruments
Chapter 2 - Northern Music
La Rcciola (The Curly Haired Girl)
La Ricciola (The Curly Haired Girl): Melody
La Ricciola (The Curly Haired Girl): Harmony
Sui Nostri Monti (On Our Mountains)
Polka
Lipa Ma Marica (My Beautiful Maria)
Chapter 3 - Central Music
Scura Maie
Saltarello in A: Pick Style
Saltarello in A: Fingerstyle
Saltarello in G
Cade l'unliva (The Olive Falls)
Chapter 4 - Southern Music
Tu Scendi Dalle Stelle (You Came Down from the Stars)
U Pulice (The Flea)
Tarantella in D
Bagpipe Piece from Calabria
Chapter 5 - Sicilian and Sardinian Music
Frascalittata
Tarantella in G
Conca D'Oro (Valley of Gold)
Ballo Tondo (Round Dance)
Chapter 6 - Popular Italian Standards
Bella Ciao
Tarantella in A Minor
Appendix 1 - Alternate Tuning Guide
Appendix 2 - Accompaniment Style
Final Thoughts

Prezzo: €23,99
€23,99

SHRED IS NOT DEAD, TERRY SYREK. DVD TABLATURE

SHRED IS NOT DEAD, WITH TERRY SYREK. Un'ora di splettrante sminuzzamento. DVD TABLATURE

Shred Is Not Dead

Concepts and Techniques for the Aspiring Rock Lead Guitar Virtuoso

By Terry Syrek
Item: 00-21936
UPC: 038081205199
ISBN 10: 0739030191
ISBN 13: 9780739030196
Category: Guitar Method or Supplement
Format: Book & DVD
DVD format: Region 0 for use in all regions. 
Instrument: Guitar

Master shredder Terry Syrek makes it easy to become a rock lead-guitar virtuoso. Discover monster chop-building exercises and the secret to mind-bending, super-fast, sweep-picking licks. Plus, make creative use of the pentatonic scale and other scales you wouldn't necessarily think of using. 48 pages. DVD running time: 60 minutes. 

This booklet will help prepare you to get the most out of your video.
It will introduce the guitar fingerboard, the basics of reading standard
music notation, guitar tablature, chord diagrams and guitar neck
diagrams.  All of us at the National Guitar Workshop and Alfred wish
you lots of fun and fulfillment as you learn to play guitar.
 
The Guitar Fingerboard
Half Steps and Whole Steps
Our first order of business is to understand how the guitar fingerboard
works and to learn how to find or name all of these notes on the neck.
This is easy if we know about half steps and whole steps.
A half step is the distance from one fret to the next on the guitar.  For
instance, the distance from the 1st fret to the 2nd is one half step.  This
is the smallest interval (distance between two notes).  Two half steps equal
one whole step, which is a distance of two frets on the guitar.  For
example, the distance from the 1st fret to the 3rd fret is a whole step.
The arrangement of whole steps and half steps in the musical alphabet
is as follows:
Here is where all of the notes in the musical alphabet—the natural notes—
are found on the guitar.
A B  C D E  F  G A
W H  W W H  W W
 
W= Whole step
H= Half step
 
G A  B C  D  E
C D  E F  G  A
A B C D E
Whole Step
Half Step
1 2 3 4 5 6 7 8 9 10 11 12
1st string
6th string
Open Frets
Strings2 3
& w
G
G line
Treble clef
Staff
Note
 
You have probably noticed the blank, unnamed frets on the fingerboard in
the diagram on page 1.  These are filled with sharp and flat notes, also
called accidentals or chromatic tones.  When a sharp 

 is placed in front of
a note, the note is raised one half step (one fret).  For example, F

 is one
fret higher than F.  When a flat  is placed in front of a note, the note is
lowered one half step (one fret).  For example, G
 is one fret lower than
G.  Notice that F

 and G
 fall on the same fret.  Two notes which sound
the same (played on the same fret) but have different letter names are
termed enharmonic equivalents.  Every sharped or flatted note has an
enharmonic equivalent.
Notes
Music is written by placing notes on a staff.
Notes appear in various ways.
Music Notation: Pitch
 
The Staff and Clef
The staff, which is read from left to right,
has five lines and four spaces.  At the
beginning of the staff is a clef.  The clef
dictates what pitch (exact degree of
highness or lowness) corresponds to a
particular line or space on the staff.  Guitar
music is written in treble clef , which is sometimes called the G clef.
The ending curl of the clef circles the G line on the staff.
Here are the notes on the staff using the G clef:
Ledger Lines
The higher a note appears on the staff, the higher it sounds.  When a note
is too high or too low to be written on the staff, ledger lines are used.
Guitar music actually sounds one octave lower than it is written.  We
write music an octave (12 half steps) higher than it sounds strictly for
reasons of convenience and easy reading.
Music Notation: Time
Measures and Bar Lines
The staff is divided by vertical lines called bar lines.  The space between
two bar lines is called a measure.  Measures divide music into groups of
beats.  A beat is an equal division of time.  Beats are the basic pulse behind
music.  A double bar marks the end of a section or example.
 
Time signature
One measure or bar
Bar lines
Double bar
E F G A B C A B C D E
Ledger lines
Ledger lines
Note heads
Stems Flag Beams
& w w w w w w w w w
D G A  B  C  D  E  F
F G A  B C  D  E
Whole Step
Half Step
Enharmonic 
Equivalents
1 2 3 4 5 6 7 8 9 10 11 12
1st string
6th string
Open Frets
Strings4 5
Half Rests = 2 beats
Quarter Rests = 1 beat
Eighth Rests
Sixteenth Rests
= ½ beat
= ¼ beat
Whole Rest  = 4 beats
Ties
When notes are tied, the second note is not
struck.  Rather, its value is added to that of the
first note.  So, a half note tied to a quarter note
equals three beats.
Notice the numbers under
the staff in these examples.
They indicate how to count.
Both of these examples are
in  time, so we count four
beats in each measure.
When there are eighth
notes, which are only half a
beat, we count “&” (“and”)
to show the division of the
beats into two parts.  When
a counting number is in
parentheses, a note is being
held rather than struck.
Ties are a convenient way to notate notes that begin off the beat (on
an “&”).
Half Notes = 2 beats
h h
Quarter Notes = 1 beat
q q q q
Eighth Notes
Sixteenth Notes
= ½ beat
= ¼ beat
Whole Note = 4 beats
Note Values
As you know, the location of a note relative to the staff tells us its
pitch (how high or how low it is).  The duration, or value, is indicated
by its shape.
 
Time Signatures
Every piece of music has a pair of numbers at the beginning, called
time signatures, that tell us how to count time.  The top number
represents the number of beats per measure.  The bottom number
represents the type of note receiving one count.
 
Dots
A dot increases the length of
a note by one half of its
original value.  For instance, a
half note equals two beats.
Half of its value is one beat (a quarter note).  So, a dotted half note
equals three beats (2 + 1 = 3).  A dotted half note is equal to a half
note tied to a quarter note.
Dotted notes are especially
important when the time
signature is  , because the
longest note value that will fit in a measure is a dotted half note.
Also, dotted notes are very important in  time, because not only is
a dotted half note the longest possible note value, but a dotted
quarter note is exactly half of a measure (counted 1 & a 2 & a).
In some cases, consecutive eighth notes are beamed together.
Sometimes a 
 is written in place of  time.  is often called
common time.
= Four beats per measure
= A quarter note      equals one beat

= Three beats per measure
= A quarter note      equals one beat

= Six beats per measure
= An eighth note      equals one beat

Rest Values
Every note value has a corresponding rest.  A rest indicates silence.  A
whole rest indicates four beats of silence, a half rest is two beats of
silence, etc.6 7
Beaming
Notes that are less than one beat in duration are often beamed
together.  Notice the couting numbers: since there are four sixteenth
notes in a beat, they are counted “1 e & a, 2 e & a,” etc.
Rhythmic Notation
Rhythmic notation is common in guitar music.  It is a system of slash
marks with stems and beams that notate specific rhythms without
specific pitches.  Rhythmic notation is usually used to show a rhythm
guitar part.
 
TAB
Tablature is a system of notation that graphically represents the strings
and frets of the guitar fingerboard.  Each note is indicated by placing a
number, which indicates the fret to play, on the appropriate string.
Reading TAB, Scale and Chord Diagrams
Scale Diagrams
The top line of a scale diagram represents the 1st (highest) string of
the guitar, and the bottom line the 6th.  The vertical lines represent
frets, which are numbered.
Chord Diagrams
Chord diagrams are similar to scale diagrams, except they are oriented
vertically instead of horizontally.  Vertical lines represent strings, and
horizontal lines represent frets.
Beamed sixteenth notes Beamed quarter notes
 
Chord name
Play open string
Indicates a
barre chord
Fingered
notes
5 4  3  2  1 Strings
Left-hand
fingering
Fret numbers
Mute or don’t play this string
 
T
A
B
 
4th string, 5th fret
Open G chord
1st string, 10th fret
2nd string, 10th fret
String
numbers
Count:
Whole note (4 beats)
Half notes (2 beats)
Quarter notes (1 beat)
2 3 4  2  4 1 2  3 4
Eighth notes (½ beat)
1 &  2 &  3 &  4 &
Frets Left hand fingering
Root
6th string
Fret numbers
Scale tones
7 8 9 10
1st string
Roman Numerals
Here is a review of Roman numerals and their Arabic equivalents.
I or i................1
II or ii.............2
III or iii...........3
IV or iv..........4
V or v.............5
VI or vi...........6
VII or vii........7
VIII or viii.....8
IX or ix...........9
X or x...........10
XI or xi.........11
XII or xii.......12
XIII or xiii....13
XIV or xiv....14
XV or xv.......15
XVI or xvi....16
XVII or xvii..17
XVIII or xviii..188
Some Terms and Signs
Repeat.  Return to the beginning or the nearest        and
play again.
Half Step.  A distance of one fret on the guitar.
Whole Step.  Equals two half steps, distance of two frets on
the guitar.
Flat.  Lower the note one half step (one fret).
Sharp.  Raise the note one half step (one fret).
Natural.  Cancels a sharp or flat.
Prezzo: €25,99
€25,99

FRETBOARD KNOWLEDGE FOR CONTEMPORARY GUITARIST LIBRO CHITARRA TABLATURE INTERVALLI

FRETBOARD KNOWLEDGE FOR CONTEMPORARY GUITARIST. TABLATURE

LIBRO DI MUSICA. METODO DI ARMONIA PER CHITARRA. SPARTITI, ACCORDI, PENTAGRAMMA, DISEGNO DELLA TASTIERA CON GLI INTERVALLI, TABLATURE. 

By Vivian Clement
Category: Guitar Method or Supplement
Format: Book
Instrument: Guitar

Become a master of the entire guitar fretboard by learning simple pattern recognition techniques. Vivian Clement puts hundreds of scales, modes and chords at your fingertips, along with some new tricks for easy transposing.

Description
Fretboard Knowledge For The Contemporary Guitarist will help every learning guitarist to master the entire fretboard.
Learn simple pattern recognition techniques.
 

Prezzo: €19,99
€19,99

Basso Elettrico Livello Intermedio Overthrow LIBRO CD TABLATURE GROOVE-MISOLIDIO-SLAP-&-POP

COMPLETE ELECTRIC BASS METHOD, INTERMEDIATE. Overthrow. LIBRO CON CD E TABLATURE
Basso Elettrico Livello Intermedio 

LIBRO METODO PER BASSO, CON CD.

SPARTITI CON: ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA, 

IN ITALIANO.

David Overthrow suona e insegna il basso da oltre 20 anni. Ha studiato al Berklee College of Music, ottenendo una Laurea in Musica all’Università del Western Connecticut State.
Dave è stato anche membro della facoltà di basso al National Guitar Summer Workshop per 10 anni, dal
suo esordio nel 1984 al 1994. Al momento è Direttore Musicale e Responsabile Capo degli studi sul
Jazz presso la Canterbury School di New Millford, nel Connecticut. Dave si esibisce regolarmente dal vivo
a New York City e nel Connecticut. Oltre ad essere apparso in diversi CD, in stili che variano dal funk al
rock al reggae, Dave produce anche con il suo gruppo, gli Hippocket.

L’AUTORE .

INTRODUZIONE .

CAPITOLO 1 - Ripasso 
Come Leggere la Musica .
Crome Swingate .
Ritmi in Sedicesimi .
La Scala Maggiore .
Armature di Chiave .
Gli Intervalli .
Le Triadi .
Armonia Diatonica /Le triadi .
Accordi di 7ª .
Armonia Diatonica—Accordi di 7ª .
La Sincope .
Note Stoppate/Il Muting .

CAPITOLO 2 - La Scala Pentatonica Maggiore 
Diteggiature della Scala Pentatonica Maggiore.
I Modi della Pentatonica Maggiore/Le 5 Posizioni della Scala .
Linee di Basso con le Pentatoniche Maggiori .
Dave’s Tune .
Aggiungere la 7 .
Pentatonica Maggiore e il Blues di Dodici Misure .
Major Blues .

CAPITOLO 3-La Scala Pentatonica Minore .
Diteggiature della Scala Pentatonica Minore .
I Modi della Pentatonica Minore / Le Cinque Posizioni della Scala .
Linee di Basso Rock con la Pentatonica Minore .
Altre Linee di Basso .
Groove Funk con le Pentatoniche Minori .

CAPITOLO 4 - La Scala Blues .
Diteggiature della Scala Blues .
Accordi di 5ª .
Gimme 5 .
Play It Straight.
Groove con Crome Swingate nella Scala Blues .
Swing It .
Good Things Come in Threes .
Groove usando la 3ª Maggiore/Minore .
Major Minor Boogie .
Color Me Blues .

CAPITOLO 5—I Modi della Scala Maggiore.
Pensiero Relativo .
Pensiero Parallelo .
I Quattro Tetracordi Modali .
Combinare i Tetracordi per Creare i Modi .
Diteggiature su Due Ottave in Modo Ionico .
Dorico .
Misolidio .
Indice

CAPITOLO 6 - Slap & Pop .
Notazione Slap & Pop .
Tecniche Slap & Pop .
Lo Slap .
Esercizi sullo Slap .
Linee di Basso Slap sulla 3ª e 4ª Corda .
Il Pop .
L’Hammer-on .
Linee di Basso Usando L’Hammer-on .
Note Stoppate - Il Muting .
Il Pull-off .
Linee di Basso Slap & Pop .

CAPITOLO 7-Linee di Walking Bass-Introduz. al Jazz ..
Progressioni Jazz-Blues .
Toniche e 5e. 

 Diggin’ the Roots and 5ths .
 Blues for Charlie .
       Twelve Bars of 3rds and 7ths .
       Mo Better 3rds and 7ths .
Note di Passaggio .
Just Passing Through .
Passing Play .
Indice
Note di Passaggio Cromatiche .
Short Steps.
The Walking Man .
Attività Ritmica .
Get Your Activity Together .
Walk That Way .
Note di Approccio .
Approaching Greatness .
The Cool Approach to Walking .
Conclusione .

CAPITOLO 8 — Le Scale Minori 
Minore Relativa — Minore Naturale .
Minore Armonica .
Minore Melodica .
COSA C’È DOPO 
DISCOGRAFIA 
Blues .
Funk .
Altri Musicisti da Ascoltare .

 

Con ogni libro di questa serie è allegato un CD. Il suo utilizzo renderà 

l’apprendimento più divertente e le informazioni ricevute più ricche di signifi -
cato. Ciascun CD contiene un’intera sezione ritmica nella maggior parte degli
esempi. È molto importante suonare il più possibile con il CD. Hanno suonato
grandi musicisti, potete suonare con loro senza uscire di casa! Il CD aiuta a
suonare le note giuste, i ritmi e i feel di ciascun esempio. I numeri di traccia
sotto ai simboli corrispondono all’esempio che si vuole ascoltare. La traccia 1
serve per accordarsi. Buon divertimento!!! 

Prezzo: €20,99
€20,99

RHYTHM GUITAR ENCYCLOPEDIA BOOK & 2 CD JODY FISHER CHITARRA TABLATURE LIBRO METODO

RHYTHM GUITAR ENCYCLOPEDIA, Jody Fisher.

LIBRO DI MUSICA, CON 2 CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

 

Ritmi intorno al mondo. Africa: Sikyi-Ashanti, adowa-Ashanti, akom-Ashanti, gahu-Ewe. Blues: shuffles, pinky patterns, slow (down home), dodici ottavi, feels. Country, Disco, folk: fingerstyle. Funk, Jazz: swing, four-bar phrases, jazzwaltz. Ballads, Dixie, Latin: afoxe-brazil, afro-cuban, baion-brazil, beguine, bolero, bossa-nova a 4, 5, 6, 7 quarti, calypso-Trinidad, Cataret-Brazil, cha cha-Cuba, charanga-Pachanga, choro-Rio, comparsa-Cuba, Conga-Cuba, Frevo-Brazil, guaguanco-Cuba, guajira-Cuba, Guaracha, joropa, Mabo-cuba, maracatu-Brazil, marcha-brazil, merengue-Haiti, montuno, mozanbique-Cuba, pasa doble, reggae-Jamaica, rhumba-Cuba, samba-Brazil, samba cruzado, samba marcha, samba de partido alta, samba in tre, sette quarti, songo-Cuba, spanish tango, tango. Rock. Bunny hop, charleston, greek, hora, Irish jig, Polka, can-can, reel, sher, turkish, two step, straightwaltz, viennese waltz, 5, 7, 15, 11, quarti. Più di 450 ritmi, il tempo, gli accenti, i cambi imprevedibili. Con questo libro migliorerete la vostra precisione ritmica. CD 2 TABLATURE

Rhythm Guitar Encyclopedia Music by Jody Fisher
CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs

Includes over 450 rhythms in every musical style including rock, blues, jazz, folk, alternative, country and more. Examples are shown in an easy-to-read rhythmic notation, standard music notation and TAB. Fingerstyle accompaniment patterns are included. The CDs offer performances of examples.

introduction

Most guitarists want to become great improvisers. The image of the wailing guitar player, lost in the
moment, searching for the means te express him or herself is weil known - almost stereotypical. The
truth of the matter is that without great rhythmic backup the soloist has nothing to work with. To
a large extent, the success of a solo has a lot to do with how the rhythm section and the lead player interact.
Originally, the guitar (in non-c1assical circles) was strictly a rhythm instrument. The pulse provided
by the guitarist was the glue that held the rhythm section together. It was, and is, used to provide a
harmonie and rhythmic background for vocals as weil. With the advent of pickups and amplifiers,guitar
players were able te step out front and solo just like the other members of the band. This provided a
more balanced role for guitarists. Somehow, through the years, "rhythm playing" has taken a backseat
te soloing. As a result, many guitarists today are not hip to the benefits of becoming a great rhythm
player. This book is designed help remedy this.
This is a multipurpose book. There are several ways it can be helpful:
• First, it can be used as a reference source. You come home from the gig, embarrassed because
you didn 't know how to play an authemic Bossa Nova pattern, and look it up. Maybe
you had to play some Reggae or a Viennese Waltz. Perhaps you are a jazz player who has
limited rock rhythm chops, or a rocker who needs more funk ideas. Do you freelance, play
in a wide variety of styles? Inside you will find everything from Afro-Cuban rhythms to the
Bunny Hop!
• Second, if you are a songwriter, you should find plemy of material here to inspire new ideas
and help you break out of your old rhythmic habits.
• Third, working your way through each page is a great way to practice reading rhythmic notation.
If you are comfortable reading most of the rhythms here, you are probably ready to
handle anything you find in the professional world.
• Fourth, arrangers will find these ideas helpful for coming up with new ways te treat old,
worn-out material.
Becoming a knowledgeable rhythm guitarist will help you become a better improviser as weil. You will
become more musical in your approach and more in control of your ideas from a rhythmic perspective.
No book can say it ail or Iist every example of every style. This book surveys many styles, but be assured
that you could spend your life studying any one in depth. However you use this book, it is my
hope that you will create good music and find self-expression.
Thanks to my family,julie,josh, Shauna andTom,jennifer, Mom, Dad,jack and Yvonne Abels, Noah,
Maggie,jasper and ail of my teachers and friends for having supported my musical endeavors through
the years. Thanks to David Smolover and Nat Gunod for their friendship and for providing so many
opportunities te further my career - l've learned a lot.

The Author
Jody Fisher has worked professionally in virtually all styles of music during his career, from straight ahead and contemporary jazz to rock and roll, country, pop and show tunes. In the field of education, he taught Guitar and Jazz Studies at the University of Redlands in Southern California for eight years and at the Idyllwild School of Music and the Arts (ISOMATA) for two years. An active performer in the Southern California area, he still maintains a private teaching practice, and is an associate director of the National Guitar Summer Workshop's California, Nashville and Connecticut campuses. Jody Fisher is also the author of The Guitar Mode Encyclopedia, The Guitar Chord and Scale Finder. Jazz Guitar Christmas and The Complete Jazz Guitar Method. all published by the National Guitar Workshop and Alfred.

 

Content

ABOUT THE AUTHOR 
INTRODUCTION 

HOW TO USE THIS BOOK 
Tempo 
Downstrokes and Upstrokes 
Accents 
Chords and Practice 
Technique 
Using a Pick 
Fingerstyle 
 
AFRICAN 
Sikyi-Ashanti
Adowa-Ashanti
Akom-Ashanti 
Gahu-Ewe 
 
BLUES 
Shuffles 
Pinky Patterns 
Slow (Down Home) 
 
COUNTRY 
Country 
 
DISCO 
Disco 
 
FOLK 
Folk 
Fingerstyle 
 
FUNK 
Funk 
 
JAZZ  
Swing 
Four-Bar Phrases 
Jazz Waltz 
 
BALLADS 
Ballads 
 
DIXIE 
Dixie 
 
LATIN
Afoxe - Brazil 
Afro-Cuban 
Afro-Cuban 
Balon - Brazil 
Beguine 
Bolero
Bossa Nova - Brazil 
Bossa Nova 5/4 
Bossa Nova 6/4 
Bossa Nova 7/4
Calypso - Trinidad 
Cataret - Brazil
Cha Cha - Cuba .
Charanga (Pachanga) 
Choro - Rio 
Comparsa - Cuba 
Conga - Cuba 
Frevo - Brazil 
Guaguanco - Cuba 
Guajira - Cuba .
Guaracha .
Jaropa .
Mambo - Cuba .
Maracatu - Brazil. .
Marcha - Brazil .
Merengue - Haiti .
Mozambique - Cuba 
Pasa Doble 
Reggae - Jamaica 
Rhumba - Cuba 
Samba - Brazil 
Samba Cruzado - Brazil.. 
Samba Marcha - Brazil 
Samba de Partido Alto - Brazil 
Samba 2 Brazil. 
Samba 1 Brazil. 
Spanish Tango 
Songo - Cuba 
Tango - Argentina 

ROCK/POP
Rock 

MISCELLANEOUS
Bunny Hop .
Charleston .
Greek .
Hora .
Irish jig .
Polka .
Can-Can .
Reel .
Sher 
Turkish ,
Two Step ,
Straight Waltz '
Viennese Waltz .
Odd Time 5/4
OddTime - 7/4 
OddTime - 15/4
OddTime - 15/8
OddTime - 11/4
OddTime - 11/8.
 
There are two compact discs available for this book. Many of the examples in the book are performed on them. These CDs can make learning with this book easier and more enjoyable. Vou can use them to check your interpretations of the written rhythms and to make sure you are capturing the "feel" of each rhythm. One of these symbols will appear next to most section headings. The number in the upper left hand corner indicates the disk number. The track
numbers below the symbols correspond to the group of rhythms under that heading. In many cases, you will find additional examples in the book that are not included on the CD. These are in sections labeled "More ..." and are
provided for your further reference. Disk l, Track 1will help you tune to the CD. Have fun!
Prezzo: €29,99
€29,99
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