OUT OF PRINT / LAST COPY

NEIL YOUNG, LIVING WITH WAR. Guitar TAB Edition TABLATURE

NEIL YOUNG, LIVING WITH WAR. TAB.

CATEGORY: Guitar Personality
VERSION: Guitar TAB Edition
FORMAT: Book

Alfred is pleased to present the album-matching folio for Neil Young's CD, Living With War. Written and recorded in three days, Living With War is Neil Young's second album release in seven months. When announcing the release of the record, Young issued a statement on his website saying "I think it is a metal version of Phil Ochs and Bob Dylan Metal folk protest?" The album is described as "electric" Neil Young, expressing his opposition to the leadership of George W. Bush and the current war in Iraq. This book provides authentic guitar TAB for all the songs on the record.

Includes the Following Selection:
Title :

AFTER THE GARDEN
AMERICA THE BEAUTIFUL
FAMILIES
FLAGS OF FREEDOM
LET'S IMPEACH THE PRESIDENT
LIVING WITH WAR
LOOKIN' FOR A LEADER
ROGER AND OUT
SHOCK AND AWE
THE RESTLESS CONSUMER

Price: €99,95
€99,95

BLACK LABEL SOCIETY SHOT TO HELL ZAKK WYLDE GUITAR TABLATURE LIBRO CHITARRA Play It Like It Is

BLACK LABEL SOCIETY, SHOT TO HELL. TAB.

Series: Play It Like It Is
Softcover - TAB
Artist: Black Label Society
Exact transcriptions with tab for all 13 tunes off the Roadrunner Records debut from Zakk Wylde and company, Includes an intro on Zakk.

Black Mass Reverends
Blacked Out World
Blood Is Thicker Than Water
Concrete Jungle
Devil's Dime
Faith Is Blind
Give Yourself To Me
Hell Is High
The Last Goodbye
Lead Me To Your Door
New Religion
Nothing's The Same
Sick Of It All

Price: €99,99
€99,99

ZAKK WYLDE BLACK LABEL SOCIETY MAFIA Play It Like It Is TABLATURE SPARTITI LIBRO CHITARRA ACCORDI

BLACK LABEL SOCIETY, MAFIA. TABLATURE

THIS BOOK WAS APPROVED BY ZAKK WYLDE

Zakk Wylde went from being an unknown local musician to metal
god Ozzy Osbourne's lead axe-slinger. Along the way, he managed to
start Black Label Society, one of the most hard-rocking bands to ever
blast out of a set of speakers. BLS's seventh release, Mafia, is the ultimate and
finest testament to Wylde's musical virtuosity.
Wylde's tale begins at the age of eight when he quit his regimented piano
lessons. Playing "Mary Had a Little Lamb" over and over just didn't suit him.
Instead of nursery rhymes, he sat down and taught Ilimself Elton John's
"Crocodile Rock." As he entered high school, the kid who wanted only to play
linebacker on the football team realized he was too small for the position. Zakk
Wylde, unlike many his age, took his lemon and made a shit-load of lemonade.
"I was at my coach's house one day and saw a Les Paul on the wall. My
coach's son picked it up and began playing," Wylde explains. "It was mind-blowing
to see someone do it in front of me. I was like, 'Holy Christ!' I went home
and practiced ten to twelve hours a day from the minute I got home from school
to the minute I went to bed."
Fortunately for all lovers of rock, the little guy from New Jersey never
stopped playing the thing. Upon graduating, Wylde saved up enough money to
buy a Gibson Les Paul Custom (this guitar now resides in the Rock 'n' Roll Hall
of Fame) and began gigging around New Jersey.
Screenwriters, pay attention: Wylde was shredding up a club one night in
986 with his band Stone Henge, when a rock photographer offered to pass
along a tape of him to Ozzy Osbourne and his manager-wife Sharon. Osbourne
had recently lost his lead guitarist, Randy Rhoads, in a plane crash.
"I thought, this guy's out of his mind," Zakk says boisterously of the photographer'
s offer. "But I was working at a gas station, so what did I have to lose? I
was a huge Black Sabbath, Randy Rhoads, and Ozzy fan, so I sent them a tape
demoing a couple of solos," Zakk recounts with a huge grin. "Next thing I know,
get a call from Sharon at my mom and dad's house and was flown out to
England and began writing with Ozzy! I was nineteen! It was fuckin' nuts, man!"
zakk went on to co-write some of Ozzy's bestselling and multi-platinum
albums, including No Rest for the Wicked, No More Tears, and Ozzmosis. He
oured all around the world with Ozzy, playing his signature bull's eye Les Paul in
ont of huge crowds, and became a ferociously praised and accomplished
musician, as well as one of the most widely known guitarists in the metal kingdom.
In 2003 Guitar Player magazine voted Zakk one of the Greatest Guitarists
ever. The hard-living axe-wielder has also won Guitar World's MVP award
numerous times and was recently voted by the magazine's readers the biggest
"contemporary e Icon" alive.
in the 1994 Zakk formed the southern-friend band Pride & Glory. The kick-ass
power-trio released a self-titled album before hanging it up. Four years later Zakk
released his first and only solo album, Book of Shadows. The album was a
glimpse of what was soon to come: Black Label Society.
BLS (as they are also known) is how Zakk gets his rocks off when he's not
roaming around the globe with Ozzy.The band, as Zakk likes to say, is "pure
fuckin' brewtality!" and he's not kidding. Black Label is rowdy, aggressive, headbanging
metal in its finest and most true form. After five studio releases, one
live album, and one DVD, BLS has sold in excess of a million records. As a
result, branches of fans have formed all over the world (known as Black Label
Chapters); they exist solely to get together and rock out with the Society! "The
chapters are a bunch of buddies hooking up together and hanging out. It's like
two Yankees fans running into each other in Seattle. They'll slap each other on
the back and say, 'I'm Joe. Wanna get a drink?'" Wylde proudly explains. To all
the BLS chapter members out there, Wylde has one message: "Stay strong,
brothers, and keep on bleeding Black fuckin' Label!"
Mafia, Black Label's seventh album, is a celebration of all things BLS. "Mafia
is my family, my band, and the fans. But remember," Wylde warns, "you don't
want to fuck with the Mafia, man." "I look around," he adds "and BLS is growing
like one beautiful family." The self-produced Mafia contains songs such as
the head-bashing, balls-to-the-wall "Fire It Up." The song is a hellraiser, yet
catchy like nothing BLS has ever laid down before. "I just knocked that one right
out," Zakk proudly boasts. "I don't think it will be getting on Nickelodeon, but it's
so fuckin' fun to play, man."
From there we get to the album's first single, "Suicide Messiah," a tour de
force of fist-throwing swagger coupled with an extra dose of "Black Label brewtality"
thrown in to get the heads banging and the house stomping. Of the single
Billboard wrote, "The first growls recall Sabbath classics 'Iron Man' and
'Paranoid,' but then Wylde gets down to business, producing a thick menacing
dirge as he saws away on his axe." Then we have "In This River," a melancholy
and beautiful ballad written before tragedy struck, but is now a heartfelt tribute
to Wylde's fallen friend and musical brother, Dimebag Darrell. The song finds
Zakk on the piano he long ago taught himself to play, grieving the loss of his
closest friend. "It's Dime's song now. It didn't start out that way, but it's his ballad
now," the slinger musters up.
Mafia offers up eleven other spoonfuls of menacing metal, but, alas, only
leaves you craving more. Metal Edge's review proclaims: "For any self-respecting
metal fans out there who've yet to bear witness to the Black Label, consider
Mafia your initiation. Pay your respects and join the family-you're long overdue,
and it just doesn't get any better than this."
"With Black Label we all hang out and enjoy each other's company," Zakk
explains. "The only requirement to be in BLS is you can't be an asshole and you
got to be able to play your goddamn instrument." The man who owns some
seventy guitars takes that last rule very much to heart. "When I wake up I look
forward to playing and practicing. I still practice every day, whether it's for a
couple of hours or forty-five minutes. It's like I always say: You'll always be
forty-five minutes better than you were the day before." He goes on, "The sky's
the limit; it's endless, man. You got to stay hungry and keep trying hard. And
you never disrespect the warriors who came before you," Zakk announces at his
most humble.
Mafia finds Wylde joined by Nick Catanese (guitars), Craig Nunemacher
(drums), and James Lomenzo (bass). "I love these guys," he states. "We all
hang out on the road. I could never be in a band if I didn't like somebody. Life's
just too goddamned short for that shit," he adds.
In addition to BLS's five studio albums and their one slamming live album,
the band star in Boozed, Broozed, and Broken-Boned, their dynamic live DVD.
Rollingstone.com, on the show, wrote: "There are a lot of reasons to give one's
liver a serious workout. .. apparently three thousand Zakk Wylde fans share our
opinion, as evidenced by their spectacular performance."
Besides being a bona fide rock 'n' roll institution of his own, Zakk Wylde can
also list "movie star" on his resume. Wylde starred in 2001's Rock Star, featuring
Mark Wahlberg and Jennifer Aniston. Naturally, Wylde played the lead guitarist
in Wahlberg's band, Steel Dragon. Black Label guitarist Nick Catanese also
appeared in Rock Star as the guitar player in Steel Dragon's rival band, Blood Pollution.
What many do not know about the man known for his awesome finger-work
on the fretboard and explosive personality is that he is a devoted family man.
"Rock 'n' roll, are you fucking kidding me?" Wylde questions. "I'm the AI Bundy
of rock 'n' roll-I'm married with children. But hey," he adds, "I just want to play
some music, whip some fucking ass, drink a little beer, and hang out with the
family. That's all I need."
When asked about Mafia, Zakk Wylde is bound to crack a joke. "If you dig
the Carpenters, you're gonna like Mafia," he smiles. "No seriously," he says
gravely, "buy this album 'cause my kids need to eat and I got a humongous beer
tab to payoff. Please pay this beer tab off for me!" Wylde blurts out doubled
over in a raucous laughter.
 


Series: Play It Like It Is
Artist: Black Label Society
Matching folio to the 2005 release from Zakk Wylde's latest band, with 15 cuts:

Been A Long Time
Death March
Dirt On The Grave
Dr. Octavia
Electric Hellfire
Fire It Up
Forever Down
I Never Dreamed
In This River
Say What You Will
Spread Your Wings
Suicide Messiah
Too Tough To Die
What's In You
You Must Be Blind

80 pages

Price: €99,99
€99,99

LEE ROTH DAVID BEST OF Guitar Signature Licks CD TABLATURE VAN HALEN-JASON BECKER-STEVE VAI

LEE ROTH DAVID, BEST OF. A Step-By-Step Breakdown of the Styles and Techniques of the Guitarists of David Lee Roth. Signature Licks Guitar. CD TABLATURE

Discography
Recording
About the Author
EDDIE VAN HALEN
STEVE VAI
JASON BECKER

TUNING

Ain't Talkin' 'Bout Love - VAN HALEN
And The Cradle Will Rock - VAN HALEN
Beautiful Girls - VAN HALEN
Goin' Crazy - STEVE VAI
Hang 'Em High - VAN HALEN
Hot For Teacher - VAN HALEN
Jump - VAN HALEN
Just Like Paradise - STEVE VAI
A Lil' Ain't Enough - JASON BECKER
Mean Street - VAN HALEN
Panama - VAN HALEN
Runnin' With The Devil - VAN HALEN
Skyscraper - STEVE VAI
Unchained - VAN HALEN
Yankee Rose - STEVE VAI

Best of David Lee Roth
A Step-By-Step Breakdown of the Styles and Techniques of the Guitarists of David Lee Roth
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: David Lee Roth
Arranger: Joe Charupakorn

Learn to play the blazing licks and solos as performed by David Lee Roth's renowned guitarists, including Eddie Van Halen, Steve Vai, and Jason Becker. Songs include: Ain't Talkin' 'bout Love - Beautiful Girls - Goin' Crazy - Hot for Teacher - Jump - Panama - Runnin' with the Devil - Yankee Rose - and 7 more. Includes an introduction.

Inventory #HL 00695843
ISBN: 9780634079719
UPC: 073999958430
Width: 9.0"
Length: 12.0"
112 pages

 

INTRODUCTION

Worshipped by his legions of fans and despised by ex-band members, David Lee
Roth embodies everything that defines the rock star. Sure, he can sing; that's a given.
What makes him "Diamond Dave," however, is that he's incredibly charismatic, vainglorious
beyond belief, has tremendous stage presence, and is a self-promoting, marketing
genius. These are the magic ingredients that separate the extraordinary from the merely
pedestrian. Guitarist Steve Vai characterized Dave as "hysteria personified." Dave craves
the spotlight and, over the course of his career, has created a larger-than-life public persona.
For instance, as Dave was very "giving" of himself, he attempted to get paternity
insurance should he get hit up for child-support payments down the line. Dave can't seem
to separate his public image from his personal life. He's Diamond Dave 24/7, and this
intensity is what makes him the incredible entertainer that he is.
David Lee Roth was born on October 10, 1954, in Bloomington, Indiana, into an
upper-middle-class family (Dave's father was an ophthalmologist). As a child, he was
extremely hyperactive, and by age six he started seeing a shrink regularly. At around the
same time, the Roths moved east to Massachusetts, and Dave, being both a Jew and the
new kid on the block, was quickly ostracized. This alienation led to an inner-rage that still
drives Roth to this day. In his autobiography, Crazy From the Heat, he recalled, "Every
step I took on that stage was smashing some Jew-hating, lousy punk ever deeper into the
deck. Every step." As a loner, he found solace in reading and was particularly affected by
two magazines: Mad and Playboy. These magazines shaped the course of his development.
Another pivotal element in Roth's development was his uncle Manny's club, Cafe
Wha?, in New York City's Greenwich Village. As a kid, Roth hung out there fairly often and
was exposed to every facet of society. This eye-opening experience led to an appreciation
of cultural differences and played a strong part in cultivating Roth's flamboyant persona.
Eventually, the Roths settled in Pasadena, California. As a teen, Dave sang in the
Red Ball Jets (named after a sneaker), an R&B-influenced outfit that played the backyardparty
circuit. It was at a party that Dave first heard Eddie Van Halen, who was then guitarist
and singer for Mammoth, wailin' away on some Black Sabbath covers. Dave was
blown away-"What he does with his hands I wanna do with my feet, with my voice." Roth
would later join Mammoth, and after a simple yet brilliant renaming, Van Halen was born.
Van Halen developed a huge following and conquered the local scene by packing
every gig. It was soon time for greener pastures, and in 1974 Van Halen headed to
Hollywood. It was in Tinseltown that things started to happen. The band secured a residency
at Gazarri's and made its presence known. The next turning point was playing the
Golden West Ballroom with UFO. Prior to this gig, Van Halen's set contained a mixture of
covers and originals; this was the band's first all-original set. The band wowed the audience,
and the generated buzz paved the way for gigs at the Whisky-a-Go-Go and the
Starwood-two essential places for aspiring rock bands to play. It was at the Starwood
that KISS bass player and entrepreneur Gene Simmons heard Van Halen. He immediately
saw the potential and proposed a deal whereby he would produce the band's demo and
shop it to the major labels. If no one bit, the band was free to walk. Van Halen jumped at
the offer, and Simmons flew the band to New York to record. Shockingly, not a single
record label expressed any interest. In hindsight, David Lee Roth suspected that
Simmons was surreptitiously trying to poach Eddie Van Halen.
It was later, in the hands of their first manager, Marshall Berle (actor Vincent
Berle's nephew), that the pieces would come together. He managed to get Warner
Brothers president Mo Ostin and producer Ted Templeman to a Van Halen show at the
Starwood. The band was signed immediately, and on February 10, 1978, Van Halen was
released.


Eddie Van Halen is the king of modern rock guitar, considered by many to be the
greatest rock guitarist ever. He was born Edward Loedwijk Van Halen on January 26,
1957, in Nijmegen, just outside of Amsterdam, Holland, to a Dutch father, Jan, and an
Indonesian mother, Eugenia. In the early '60s, the Van Halens immigrated to sunny
Pasadena, California, with only $25 and a piano (Alex Van Halen claims that both he and
Eddie played piano on the boat to pay for their passage). It was in their early childhood
that the seeds for Van Halen, the band, were planted. Their father was a professional
musician and made both of the boys take piano lessons (later on down the line, Jan would
play clarinet on "Big Bad Bill (Is Sweet William Now)" from Van Halen's fifth album, Diver
Down). Eddie, in particular, was highly accomplished at the piano and placed first several
times at annual piano tournaments.
During their first few school years, Eddie and Alex, because of their language barrier,
kept mainly to themselves and developed a life-long, impenetrable bond. While still in
grade school, they formed their first band called the Broken Combs; Eddie played piano,
Alex played sax, and they wrote well-titled pieces such as "Boogie Booger" and "Rumpus."
At around age twelve, Eddie heard "Wipe Out" and bought a $125 St. George drum set,
while Alex picked up a flamenco guitar. To pay for the drum set, Eddie took on a paper
route. As Eddie rode around the neighborhood delivering newspapers, Alex banged away
on Eddie's set. Alex got pretty good at the drums so they decided to swap instruments.
Eddie subsequently bought a cheapo four-pickup Teisco Del Ray guitar from Sears. The
high school years saw the Van Halen brothers in various bands. First came The Trojan
Rubber Company and then Genesis, which was renamed Mammoth after the guys found
out about the pre-existence of English prog-rockers, Genesis. In Mammoth, Eddie handled
not only the guitar duties but the lead vocals as well.
The Van Halen brothers first met David Lee Roth when Mammoth went up against
Roth's band at the time, the Red Ball Jets, in a battle of the bands at Hamilton Park in
Pasadena. Mammoth would later wind up renting Roth's PA for gigs because they didn't
own one. Eventually, Eddie stepped down from the lead vocal role and, in a sheer bit of
brilliant opportunism, offered Roth the gig. Roth accepted, and the band gained a charismatic
lead singer, plus free use of his PA.The band was then renamed Van Halen.
Michael Sobolewski (a.k.a. Michael Anthony) lucked his way into the Van Halen
gig. At a Pasadena High School concert, both Van Halen and Snake, Anthony's band at
the time, were on the bill. The PA broke down, and Van Halen was out of luck. Anthony
stepped in and offered the use of his PA.Van Halen used it and was not only won over by
Anthony's generosity but also impressed by his bass playing. Shortly thereafter, original
bassist Mark Stone got the boot, and Michael Anthony became a core member.
In late 1983, everything came together for Eddie and the band. At the request of
music impresario Quincy Jones, Eddie played a killer guitar solo (for free) on Michael
Jackson's pop mega-hit "Beat It" from Jackson's album Thriller. This album was #1 on the
Billboard charts for 37 weeks and, ultimately, became the best-selling album of all time.
At around the same time, Van Halen's 1984 album, an absolute masterpiece with three
heavily rotated MTV videos, went from Gold to Platinum to Multi-platinum to, ultimately,
Diamond status (ten million copies sold). The band was on top of the world. Then, suddenly,
on April 1, 1985 (April Fool's Day), Roth pulled the plug and walked away from Van
Halen to pursue a solo career. Van Halen had recorded six albums with David Lee Roth
and become the most important rock band of the '80s, achieving legendary status; however,
at the height of their career, the party was over.
David Lee Roth pursued a solo career and Van Halen enlisted Sammy "Red
Rocker" Hagar-who Eddie got in touch with through a mutual acquaintance, their
mechanic, Claudio-to continue the Van Halen legacy. After five albums, including a live
album, Live: Right Here, Right Now, Hagar and Van Halen parted ways; their split was...

Price: €49,99
€49,99

DOORS Guitar Play-Along Volume 65 CD TABLATURE SPARTITI CHITARRA LIBRO BASI HAL LEONARD

DOORS, Guitar Play-Along Volume 65. CD TAB.

Series: Guitar Play-Along
Medium: Softcover with CD

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch! 8 songs, including: Break on Through to the Other Side -Hello, I Love You (Won't You Tell Me Your Name?) -L.A. Woman - Light My Fire -Love Me Two Times -People Are Strange - Riders on the Storm -Roadhouse Blues.

Price: €39,99
€39,99

VELVET REVOLVER LIBERTAD Guitar Recorded Version TABLATURE SLASH CHITARRA LIBRO SPARTITI

VELVET REVOLVER, LIBERTAD. TAB.

Series: Guitar Recorded Version TAB

Matching folio to the second release from this superstar band, featuring members of Guns n' Roses and Scott Weiland from Stone Temple Pilots. 13 songs, including:
PARENTAL ADVISORY: EXPLICIT LYRICS

American Man
Can't Get It Out Of My Head
Don't Drop That Dime
For A Brother
Get Out The Door
Gravedancer
Just Sixteen
The Last Fight
Let It Roll
Mary Mary
Pills, Demons & Etc.
She Builds Quick Machines
She Mine
Spay

128 pages

Price: €39,99
€39,99

GILMOUR DAVID ON AN ISLAND GUITAR TABLATURE SPARTITI CHITARRA LIBRO PINK FLOYD CROSBY NASH

 

GILMOUR DAVID, ON AN ISLAND. TABLATURE

Description

On An Island represents Gilmour's first studio recordings since Pink Floyd's 1994 multi-platinum The Division Bell. The album is rich in experimentation, atmospherics and breath-taking songwriting from one of the world's greatest singer/guitarists. With contributions from Graham Nash, Jools Holland, Phil Manzanera and BJ Cole, On An Islandoverflows with stunning musical performances, reflecting the album's roots in the critically acclaimed 2002 London Festival Hall concerts.

All ten songs have been accurately transcribed here in Guitar Tab.

All 10 songs from the critically acclaimed 2006 solo album from the guitarist and vocalist from Pink Floyd. Includes notes and tab for, plus a full-color, lyrics-only section up front.

 

The Blue

Castellorizon

On An Island

A Pocketful Of Stones

Red Sky At Night

Smile

Take A Breath

Then I Close My Eyes

This Heaven

Where We Start

 

88 pages

Price: €239,99
€239,99

SHEETS OF SOUND FOR GUITAR Jack A. Zucker TABLATURE book CHITARRA LIBRO SPARTITI

SHEETS OF SOUND FOR GUITAR, Jack A. Zucker. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

Sheets of Sound for Guitar is a set of books based on my musical philosophy. This involves approaching the instrument in a new and different way. These methods are not based on any type of picking method and are not technique books. Instead, they are centered around the concept of playing the music you hear rather than playing the familiar patterns that fall under your fingers. This approach is based on years of study with folks such as Pat Martino, Dennis Sandole, Howard Roberts, Joe Pass, Barney Kessel, Andrew White, Larry Woolridge, Randall Dollahan, Stan Samole, Mark Copeland, etc., and fusing that knowledge with the technical freedom of cats like Allen Holdsworth, Joe Satriani, Eric Johnson, Frank Gambale and others.


Product Description:
Develop Extreme Chops for guitar. Applicable for all types of music from Shred to Classical to Jazz to Bluegrass to Chickin' Pickin'. This method is endorsed and utilized by some of the best guitarists in the world. There is NO better method for developing chops and efficiency on the instrument.
-Tab and standard notation
-Amazing Chops (works for Fusion, Metal, Jazz, etc)
-Amazing blues scale applications
-Sweep Picking to die for
-Pick & Finger rolls
-Incredible Arpeggios
-Pentatonic Madness
-4th and 5th chords and arpeggios
-Odd Meter Phrasing
-The most comprehensive Chord Sub methodology
-Diminished lines like you've never seen before
-Endorsed and used some of the best guitarists in the world

296 PAGES.


Contents:
Chapter 1 - Linear Scales
Exercise 1.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Major Scale and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Exercise 1.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Melodic Minor and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Exercise 1.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Harmonic Minor and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Exercise 1.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Harmonic Major and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Exercise 1.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Diminished scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Exercise 1.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Whole tone scale, swept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Exercise 1.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Diatonic Sweep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Exercise 1.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Diatonic Banjo Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Exercise 1.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Diatonic Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Exercise 1.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Diatonic Scale Fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Exercise 1.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Diatonic Scale Fragments, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Exercise 1.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Diatonic Scale Fragments, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Exercise 1.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Diatonic Scale Sweeps, Var. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Exercise 1.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
One, Two, Three, Five, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Exercise 1.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
One, Three, Five, Diatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Exercise 1.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Five, Three, One, Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Exercise 1.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Diatonic Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Exercise 1.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Coltrane triad with chromatic approach note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 2 - Pentatonic Scales
Exercise 2.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Basic Pentatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Exercise 2.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Pentatonic scale fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Table of Contents
Exercise 2.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Pentatonic Sequencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Exercise 2.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Pentatonic Sequencing, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Exercise 2.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Pentatonic, Long Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Alternate fingerings for practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Exercise 2.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Pentatonic Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Pentatonic Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Exercise 2.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Pentatonic 7b9 (5th mode of Harmonic Major) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Exercise 2.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Pentatonic Minor 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Exercise 2.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Pentatonic 9sus, Synthetic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Exercise 2.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Pentatonic Maj7#5 (3rd Mode of Melodic Minor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Exercise 2.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Pentatonic Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Exercise 2.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Blues Scale, Long Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Exercise 2.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Pentatonic Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Chapter 3 - Arpeggios
Exercise 3.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Diatonic Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Exercise 3.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Diatonic Triads, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Exercise 3.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Triads, 2nd Inversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Exercise 3.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Triads, 2nd Inversion, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Exercise 3.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
13th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Exercise 3.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Exercise 3.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
7th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Exercise 3.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Diatonic 7th Chord Arpeggios, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Exercise 3.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
7th Chord Arpeggio Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Exercise 3.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
9th Chord Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Exercise 3.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
11th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Exercise 3.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2 Octave 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Exercise 3.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
2 Octave 9th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Exercise 3.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
9th Chord, Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Exercise 3.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
2 Octave 13 chord arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Exercise 3.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
2 Octave 9th Chord Arpeggio, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Exercise 3.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Diatonic Sus Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Exercise 3.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
13th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Exercise 3.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Quadratonic Scale and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Exercise 3.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Dual 7th Arpeggios (built on root and 6th) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Exercise 3.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Diatonic Sus Triads Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Exercise 3.22.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Diatonic, dual arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Chapter 4 - Fourth-based Intervallic Models
Exercise 4.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
4th Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Exercise 4.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Exercise 4.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Diatonic 4th Diads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Exercise 4.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Two Octave, 4th Arpeggio Inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Exercise 4.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Perfect 4th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Exercise 4.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Diatonic 4th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Exercise 4.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
4th Quadrads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
4th Quadrad Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Exercise 4.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Diatonic 4th Arpeggio, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Exercise 4.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Diatonic 4th Arpeggio Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Exercise 4.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Diatonic 4th Arpeggio, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Exercise 4.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Diatonic 4th Arpeggio, Var. 3, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Exercise 4.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
2 Octave Diatonic 4th Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Exercise 4.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Diatonic G Major, 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Exercise 4.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
1st Inversion 4th Arpeggios, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Exercise 4.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Diatonic 4th and 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
Exercise 4.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
2 Octave Diatonic 4th and 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Exercise 4.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Exercise 4.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Exercise 4.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
9th Chord Arpeggios (Combined with 2nd Inversion 4th Triad) . . . . . . . . . . . . . . . . . . . . . . .168
Exercise 4.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
2 Octave Diatonic 4th Arpeggio, 2nd Inversion, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Exercise 4.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Diatonic 4th Arpeggio / Double Stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Exercise 4.22.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Diatonic 4th Septuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Chapter 5 - Fifth-based Intervallic Models
Exercise 5.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
5th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Exercise 5.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Diatonic 5th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Exercise 5.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Diatonic 5th pairs, Cross-String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Exercise 5.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Diatonic 5ths Diads, Cross-String in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Exercise 5.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Diatonic 5ths, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Exercise 5.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Perfect 5th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Exercise 5.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Diatonic 5th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Exercise 5.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Diatonic 5ths Quartlets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Exercise 5.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Diatonic 5th Quartlets, Cross-String in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Exercise 5.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Diatonic 5th Arpeggio and Diatonic tertiary Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Exercise 5.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Diatonic 5th and 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Exercise 5.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Dual 5th / 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Exercise 5.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Diatonic 5th Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Chapter 6 - Miscellaneous Lines and Etudes
Exercise 6.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Picking Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Exercise 6.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Pat Martino Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Exercise 6.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Pat Metheny Muted Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Exercise 6.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Wes Montgomery Horizontal Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Exercise 6.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
George Benson Diatonic Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Exercise 6.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
George Benson Blues Scale Fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Exercise 6.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Miscellaneous Dominant 7th Chord Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Exercise 6.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
7th Mode, Harmonic Minor Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Exercise 6.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
4th Mode Major Hexatonic Scale, no 7th . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
Exercise 6.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
3rd Mode, Melodic Minor Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Exercise 6.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Mode 4 Harmonic Major (Melodic Minor #4), Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . 226
Exercise 6.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Seven Steps to Pat Metheny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Exercise 6.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Seven Steps to Pat Martino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231
Exercise 6.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
TraneThang Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Exercise 6.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Rhythm Method Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Exercise 6.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Chromatic scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Exercise 6.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Chromatic scale, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Chromatic Scale, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Chapter 7 - Diminished Models
Exercise 7.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Linear Diminished Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Exercise 7.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Linear Diminished Pattern, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Exercise 7.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Linear 7th #9 Diminished Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246
Exercise 7.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
7th #9 Diminished Quadruplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Exercise 7.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Linear Diminished 4th, Maj7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Exercise 7.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
4th Maj7 Diminished Quadruplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Exercise 7.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Linear Diminished Septuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Exercise 7.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Diminished Septuplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Exercise 7.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Linear Diminished Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254
Exercise 7.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Diminished #9 and 2nd Inversion Major Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Exercise 7.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
7#9 Triads, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Exercise 7.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Linear Diminished Quintuplets, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Exercise 7.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Linear Diminished Septuplet, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264

Chapter 8 - Appendix
Scale Analysis tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Introduction to Dodecaphonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

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THE HISTORY OF MARSHALL the illustrated story of "the sound of rock" Michael Doyle 256 pagine BOOK

THE HISTORY OF MARSHALL, the illustrated story of "the sound of rock". Michael Doyle. 256 pagine.

Series: Book
Publisher: Hal Leonard
Medium: Softcover
Author: Michael Doyle

Marshall amps have defined the sound of rock for a generation, boasting such notable users as Jimi Hendrix, Eric Clapton, Jeff Beck, Ritchie Blackmore and Jimmy Page. This book explores the British company responsible for that sweet overdrive sound " the company that originated the amp "stack" " tracing the impressive lineage of its valve ("tube" to us Yanks!) guitar amps. Doyle is the acknowledged authority on the subject, and here he combines detailed chronologies of the various model and serial numbers, straightforward explanations of their features and construction, and aesthetic evaluations of the results. The book is dotted with the names of rock luminaries and peppered with photos " well over 100 black-and-white ones, plus a 32-page color section and a 32-page full-color appendix that reproduces all of the Marshall catalogues of the sixties. 256 pages

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ACOUSTIC FAVORITES Guitar Play-Along Volume 69 CD TABLATURE Mrs. Robinson SIMON & GARFUNKEL

ACOUSTIC FAVORITES, Guitar Play-Along Volume 69. CD TAB.

Series: Guitar Play-Along
Softcover with CD - TAB
The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch! 8 songs, 64 pages.

Against The Wind
Band On The Run
Free Fallin'
Have You Ever Seen The Rain?
Love The One You're With
Maggie May
Melissa
Mrs. Robinson

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