ROCK GUITAR SECRETS. PETER FISCHER. Il libro metodo più completo di tecnica avanzata. 183 pagine di String skipping, alternate picking, sweeping (economy picking), arpeggios, tapping, whammy bar, pentatoniche, scale, modi, ecc. CD TABLATURE
Peter Fischer ROCK GUITAR SECRETS
Warm Ups
Pentatonic Scales
Bending, Vibrato and legato Techniques
Blues scales
String Skipping
Major Scales
Alternate picking
Modes
Economy picking (Sweeping)
Arpeggios
Two Hand Tapping
Minor scales
Legato Techniques
Exotic Scales
Whammy Bar
How to build a Solo
Practice Planning
Three-Notesper
String-Scales
Jam Tracks
Improvissation
and much more
Product Description:
The ultimate guitarist's reference book with playing techniques, solo and improvisation concepts, exercises and jam tracks. The purpose of this book is to demystify the relatively simple concepts or tricks around which much of rock guitar is built. The book is designed modularly, allowing the reader to choose any topic at any time, but is can also be sequentially as a method. Topics includes warm-ups, pentatonic scales, bending and vibrato techniques, blues scales, string skipping, major scales, alternate picking, modes, economy picking (sweeping), arpeggios, two-hand tapping, minor scales, legato techniques, exotic scales, whammy bar, how to build a solo, practice planning, and improvisation. Each concept is discussed in a thorough and easily understandable manner. The accompanying CD includes over 80 licks and exercises plus more than 20 jam tracks, helping the student put the concepts directly into practice. In notation and tablature.
Rock guitar secrets ... is there really such a thing? The cult that has always been built around every important rock guitarist seems to lend them a mystical quality. Of course, any thing unknown always has an aura of mystery about it until one takes a closer look at it. And that's exactly what I intend with this book; to finally lift the veil from around the so-called "secrets" of rock guitar playing, if such things really exist. In the course of this book you'll find that most of these so-called secrets are relatively simple concepts or tricks which can easily be learned by anyone. Combining them skilfully and developing a sensible, individually-geared practice plan while working with this book will work the real" magic". As is my first book" Masters of Rock Guitar", "Rock Guitar Secrets" is put together modularly, meaning that you can pick out sections at will. If you've" always wanted to learn something about two-hand tapping or the melodic minor scale", no problem! As it's not necessary to follow a set order of modules, each chapter is complete in itself, you can jump in spontaneously wherever you want. You don't have to have read the chapter on pentatonic scales in order to be ready to work with the section on the use of the vibrato arm. Of course you can also work through Rock Guitar Secrets from beginning to end, using it as a rock guitar" method". The real idea behind the modular design, though, is to help you to develop your own practice program. You'll find suggestions on how to put one together in chapter 18: "Effective learning - practice planning". Compared to the rock music world of ten or fifteen years ago, demands on guitar players' abilities are much greater today. Modern guitarists such as Steve Vai and his cohorts have infused the music with new concepts (eg. playing with arpeggios, 3-note-per-string scales, and string skipping, to name just a few). Since I myself, a "working" guitarist, ardent researcher and student of the instrument, have yet to come across a book that deals with such innovative ideas, I felt it was time to write one that describes these concepts in a thorough and easily understandable manner. To me, Rock Guitar Secrets, also means peering beyond the harmonic limitations of the music to see how demanding (actually jazz-derived) improvisational concepts, used today by guitarists like Satriani, Vai or Kee Marcello, can be employed in rock. In order to put them directly into practice, you'll find on the accompanying CD not only over eighty licks and exercises, but more than twenty jam tracks as well, playbacks without melodies, solos and licks, with which you can practice and apply the licks yourself. If you look at the table of contents you will see that, beside all the standard playing techniques, easy to intermediate improvisational concepts are also included, so that Rock Guitar Secrets can also function as a comprehensive textbook for the modern guitar soloist. At this point I would like to thank a number of people who have made my life and the writing of this book much easier: Birgit Fischer, Olaf KrOger, the Musicians Institute, Hollywood (especially Dan Gilbert and Carl Schroeder), as well as Frank Haunschild. For inspiration of all sorts I thank Peter Paradise, Mick Goodrick, Steve Vai, Paul Gilbert, Albert Collins and Steve Lukather, as well as all my guitar students. LOVE, PEACE and theUNIVERSE PETER FISCHER
So, that's just about it for my " Rock Guitar Secrets" .
But, as I said, "just about", because in this chapter I'd like to talk about effective practicing again. By itself, the information in the first 17 chapters is only half the story. So how does one deal with such a heap of information without getting frustrated right from the start? If you ask me, I'd say that three things playa major role: Desire, Persistence, and Patience. These three terms are, for me, inseparably connected. Without the desire to get better on the guitar, you'd probably never have the patience to practice persistently. And persistent practicing is, in my opinion, best maintained by means of a practice plan. And what should such a plan consist of? That's a good question! It's important for you to be aware of your long and short-term goalsfor example, your ideal notion of what your playing should be like (long-term goal), and the steps that must be taken in order to reach this goal, such as scale material, playing techniques to form your style (intermediate goals) and further breakdowns into single licks and exercises (short-term goals). These can be broken down even further into units as small as you like. Besides this, I also find it important to do the required exercises in addition to the things you practice just because they're fun. Another thing that can be said about practicing plans is that they're only beneficial to you when you really stick to them for a longer period of time. For this reason it's very important to be realistic about the amount of practice time at your disposal, and not to cram this space too full. The more honest you are with yourself, the better. A 7-hour-a-day plan with hundreds exercises is, in fact, more apt to lead to frustration than anything else because it's practically impossible to maintain over a long period of time. For this reason, I'd say that 2-3 hours a day, 4 or 5 days a week is already quite a lot of time. Of course, when I speak of 2-3 hours, I mean really concentrated practicing, and not two hours of jamming around. That's a lot, believe me. And persistent practicing really pays off in the long run. Tapping for 10 minutes a day brings better results than a 5-hour non-stop tapping marathon followed by a 3-week pause. With these things in mind, I've put together a practice program that I think is very effective and which contains many important aspects like warm-ups, scales/theory, playing techniques and music-making. Even if you haven't mastered every exercise yet, you should try to stick to the general plan.
Foreword
Six Tips for Practicing
Survey of the Study Program
CD Playist
Chapter 1 - Warm Ups
Note Location
Chromatics
The Spider
Chapter 2 - Pentatonic Scales
Stretch pentatonics
Sequences
Jam Tracks
Chapter 3 - The Blues Scale
Blue notes
Scale positions
Licks
Chapter 4 - String Bending/Vibrato
Smear, release and unison bends
Circle, rock and jack-off vibrato
Chapter 5 - The Major Scale
Scale positions
Licks
Projects
Chapter 6 - Alternate Picking
3-notes-per-string scales
Pedal tone licks
Mega-chops
Paganini
Chapter 7 - The Modes of the Major Scale
3-note-per-string scales
Modes
Tonal colors
Pitch axis system
Chapter 8 - Legato technique
Hammer-ons
Pull offs
Slides
Shapes
Chapter 9 - Triadic Arpeggios / Triads
Welcome to the land of arpeggios!
Chapter 10 - Economy Picking
Sweeping
Scales
Arpeggios
Chapter 11 - Four-Note Arpeggios
Standard/long form fingerings
The Jan Hammer scale
Chord substitution
Chapter 12 - String Skipping Technique
Scales
Arpeggios
Sequences
Repeating Patterns
Licks
Chapter 13 - Two Hand Tapping
Tapping scales and arps
Eight-finger tapping
Harmonics tapping
Chapter 14 - The Harmonic Minor Scale
Modes
Jam Tracks
Projects
Chapter 15 - The Melodic Minor Scale
Positions
Modes
Altered Scales
Licks
Chapter 16 - Exotic Scales
Whole tone scale
Diminished scale
The Enigmatic scale
Chapter 17 - The Vibrato Arm
The whammy bar
The dive bomb
Wang bar clips
Legato phrasing
Chapter 18 - Effective Learning - Practice Planning
Chapter 19 - Improvisation - Building Solos
Appendix
Discography and literature
List of symbols
Italiano
English
