HAL LEONARD

FAITH NO MORE THE REAL THING GUITAR TABLATURE LIBRO-Epic-Underwater Love-The Morning After

FAITH NO MORE, THE REAL THING. Sono di San Francisco e il loro strano e originale incrocio di "strade" rap, jazz, funk, metal, di questo album del 1989, sembra rispecchiare i caratteri di ogni componente del gruppo. TABLATURE

AUTHORIZED EDITION GUITAR for the Practicing Musician

FAITH NO MORE

There's a new wave of bands emerging to divert the course of rock music for the 90's. They share a common thread-they take chances, eschew the obvious, and refuse to bow down to formulas. They explore a wider range of influences and sonic tangents than most of their contemporaries, resulting in a far richer final product, artistically and conceptually. King's X is such a band. So is Tesla. And so is San Francisco's Faith No More.
Their sound has been described as eclectic, though it is more-polymorphic, uncategorizable. Successfully merging a plethora of seemingly incongruous styles, it is-depending on which track you hear-thrash or heavy metal, rap, power pop, experimental psychedelia, textural modern rock or even revisited nostalgia. The band was formed in the early 80's around the kinetic rhythm section of drummer Mike Borodin (who had been digesting African rhythms in addition to standard hard rock and metal grooves) and punk-funk bassist Bill Gould. Classically trained keyboardist Roddy Bottum was inducted by Gould; the two had known each other since grade school in L.A. This core trio persevered until they joined forces with guitarist Jim Martin and vocalist Chuck Mosley. The fusion of punk, rap and metal was heard as early as their first offering, "We Care a Lot,"which achieved national recognition as a hit 12-inch dance single, of all things. The song was rerecorded for their 1987 debut, Introduce Yourself. By the time the third LP was to be recorded (1988), they had fired Mosley, and proceeded to hit the studio without a lead singer, building the tracks as instrumental backdrops for the "vocalist to be named later." Enter Mike Patton (formerly of Mr. Bungle), who wrote all the lyrics for the songs in two weeks, and provided the unusual vocal approach which was to redefine the band's sound. The definitive Faith No More was born by December 1988, and was unleashed on the world in their appropriately titled 1989 release, The Real Thing.
The music on this record surpasses all their previous work in terms of sophistication, adventurousness and sheer diversity. Consider the expansion of the punklsci-fi power pop genre (as exemplified in the mid 80's by Billy Idol and Steve Stevens) in such pieces as "From Out of Nowhere," "The Real Thing" and "Underwater Love." Here the futuristic synth/textural trappings are beautifully held in check by Martin's metal-edged power chords, galloping rhythm riffs (as in the title track) and ultra-fat, distorted guitar tone. This allows the synthesized and sampled keyboard parts-which normally undermine the rock impact of most contemporary bands-to contribute meaningfully to the sonic whole.
"Epic" celebrates the marriage of rap music and heavy metal. Verses are dominated by the characteristic rhythmical considerations of the rap style (sparse, repetitive percussion figures on drums and bass and a monotone vocal chant spoken as much as sung), while heavy rhythm guitar riffs provide a well-conceived contrast in the choruses, bridge and outro. Check out the thick palm muting and power chording of Rhy. Figs. 3 & 4 as well as the Randy Rhoads-inspired intervallic shapes found in the last bar of Rhy. Fig. 2 (containing chromatically ascending stacks of fourths and tritones).
Allusions to the speed metal/thrash genre are heard in "Surprise! You're Dead!" and "Zombie Eaters." In "Surprise!," one can detect a number of unmistakable traits: heavily accented, dissonant chromatic riffs, multiple meter changes, use of the Phrygian mode, lockstep ensemble passages throughout, and vocals ranging from a raspy monotone to overanxious Halfordesque shouting and demented laughter. "Zombie Eaters" combines light acoustic textures (Rhy. Figs. 1- 7) with aggressive heavy metal sounds (Riff A, for instance). Note also the unusual blend of synth pads and metal chords during Rhy. Fig. 8. The closing cod etta is a bizarre reworking of the immortal "Stairway to Heaven" chord intro, transformed into an equally evocative Faith No More moment. "Falling to Pieces" fuses a variety of influences. The rhythmic intro of pocketed bass and drums recalls the space funk of Parliament-Funkadelic, while the verse lays down an animated groove in the vein of Led Zeppelin (see Rhy. Fig. 1), complemented still further by the Van Halenesque triad comping in the second section of the verses (bars 9-12). The outro is purely textural, with keyboards adding coloristic arpeggiations over a funky bass/drums ostinato-the section seeming to grow organically from the power pop, hooky, outchorus vamp.
"Edge of the World," "Woodpeckers from Mars" and "War Pigs" represent three distinctly different musical directions handled by Faith No More with remarkable ease. "Edge" invokes a vintage 40's50's r&b/jazz mood, complete with bluesy acoustic piano accompaniment and ad-libbing, an implied shuffle pulse (slow 12/8), sax/horn section colors and hipster fingersnaps. The ingenuous minor/seventh (both Am and A7 as tonic) blues changes and nostalgic arrangement lend an eerie touch. "Woodpeckers from Mars" (and why not?) creates a surreal instrumental soundscape of otherworldly images evoked in the curious opening resonant synth riff (Riff A), intriguing ethnic main melody (based on the E Phrygian-Dominant scale: E F G# ABC D), and the twisted avante garde guitar effects in the 4/4 section, the latter providing an aleatoric interlude of frenzied and chaotic guitar noise instead of the predictable guitar solo of instrumental rock music. But then, Faith No More is hardly predictable-the only thing predictable is their unpredictability. "War Pigs" reappraises the metal roots of the band. Faith No More expands on the Black Sabbath classic in terms of modern recording sonics and technique, using a bigger, heavier 80's tone, but still remaining faithful to the details of the composition-reflected particularly in the paraphrase recreation of the signature Tony lommi guitarwork (even down to the overlapped double solos). For the studio and live stage, guitarist Jim Martin keeps his equipmentdeceptivelysimple. His main guitar is a 1971 Gibson Flying V, personalized with a chrome pickguard and truss rod cover. It is fitted with a Kahler tremolo system and a DiMarzio Super Distortion humbucker in the bridge position. Another Gibson V and a Les Paul round out the electric guitar line-up. These are played into three ancient Morley pedals (Power-Wah-Fuzz, Volume Depressor and an Echo-Chorus- Vibrato) and then straight into Marshall amps. Two acoustics, a banjo and a mandolin augment the guitar/string arrangements as needed.

the song Epic, transcribed by Matt Mitchell

 

From Out of Nowhere - 1989
Epic
Falling to Pieces
Surprise! You're Dead!
Zombie Eaters
The Real Thing
Underwater Love
The Morning After
Woodpecker from Mars
War Pigs (Black Sabbath) - Words and Music: Frank Iommi, John Osbourne, William Ward, Terence Butler - 1970
Edge of the World

Price: €59,99
€59,99

FAITH NO MORE, ANGEL DUST. Play it like it is TABLATURE

FAITH NO MORE, ANGEL DUST. TABLATURE

Transcribed by: Steve Gorenberg, Kerry O' Brien, Paul Pappas, Mark Phillips, Peter Seckel

Land of Sunshine - 1992 - 
Caffeine
Midlife Crisis
RV - Words and Music: Faith no more - 1992
Smaller and Smaller
Everything's Ruined
Malpractice
Kindergarten
Be Aggressive
A Small Victory
Crack Hitler
Jizzlobber
Midnight Cowboy - John Barry (3 November 1933 - 30 January 2011) - 1969 - Thema from the film "Un uomo da marciapiede"

Price: €59,99
€59,99

FAITH NO MORE-KING FOR A DAY FOOL FOR A LIFETIME GUITAR TABLATURE CHITARRA SPARTITI LIBRO BOOK

FAITH NO MORE, KING FOR A DAY FOOL FOR A LIFETIME. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK.
SPARTITI PER CHITARRA E VOCE CON:
ACCORDI, PENTAGRAMMA E TABLATURE

 

TITLES: 

Get out - 
Ricochet - 
Evidence -
The gentle art of making enemies - 
Star A.D. - 
Cuckoo for Caca - 
Caralho Voador - 
Ugly in the morning - 
Digging the grave - 
Take this bottle - 
King for a day - 
What a day - 
The last to know - 
Just a man - 
Price: €129,99
€129,99

FATES WARNING BEST GUITAR TABLATURE LIBRO-OUTSIDE LOOKING IN-THROUGH DIFFERENT EYES

FATES WARNING, THE BEST OF. TAB.

Price: €59,99
€59,99

FOO FIGHTERS Transcribed Score GUITAR TABLATURE LIBRO-Wattershed-Weenie Beenie-X-static-CHITARRA

FOO FIGHTERS, FOO FIGHTERS. BAND. TAB.

Series: Transcribed Score TAB
Artist: Foo Fighters
A dozen songs from their debut album.

Alone + Easy Target
Big Me
Exhausted
Floaty
For All The Cows
Good Grief
I'll Stick Around
Oh, George
This Is A Call
Wattershed
Weenie Beenie
X-static

128 pages

Price: €49,99
€49,99

FORD ROBBEN RHYTHM BLUES BOOK CD GUITAR TABLATURE LIBRO SPARTITI CHITARRA METODO

FORD ROBBEN, RHYTHM BLUES. CD TABLATURE

REH Book/Audio Pack
Series: Stylistic Method
Softcover with CD - TAB

Learn blues comping patterns from the master! Robben Ford reveals the chords and driving rhythm patterns he uses to create great blues backups: Funky, shuffle, and slow blues rhythms; Two- and three-note moveable shapes; 'Sliding sixths' patterns; Intro/ending licks; Seven different 7th chord voicings; and more. 60-minute audio accompaniment. 16 pages.

Price: €20,99
€20,99

GAMBALE FRANK SPEED PICKING FOR GUITAR CD TABLATURE LIBRO PER CHITARRA SWEEP ARPEGGIOS

GAMBALE FRANK, SPEED PICKING FOR GUITAR. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

Speed Picking - Frank Gambale
Series: Stylistic Method
Format: Softcover with CD
Artist: Frank Gambale

REH Book/ Audio Pack Improve your speed and fluidity through increased pick efficiency. Gambale explains and demonstrates sweep arpeggios, speed picking licks, harmonic superimpositions, sequence licks, and more!
Inventory #HL 00070033
ISBN: 9780793527519
UPC: 073999700336
Width: 9.0"
Length: 12.0"
36 pages
 

Frank Gambale
Frank Gambale arrived in the U.S. in September 1982, an Italian Australian, to study at the
renowned Guitar Institute of Technology (GIT) in Hollywood. Graduating with the highest honor,
Student of the Year Award, he was offered a teaching position which he held for three years while
performing in Los Angeles with his own band.
Frank's list of performance credits is long and varied, including such musicians as Chick Corea and
the Elektric Band, with whom he won a Grammy and two nominations, Jean Luc Ponty, and Steve
Smith and Vital Information.
In addition, Frank has two guitar models with the Ibanez company, and endorsements with many
companies including D'Addario Strings, and DiMarzio pickups.

SELECTED DISCOGRAPHY
Passages
(JVC)
The Great Explorers
(JVC2020)
Note Worker
(JVCVIO 75)
Thunder From Down Under
(JVC3321)
Frank Gambale "LIVE"
(Legato/Important 1003)
A Present For the Future
(Legato/Important 1002)
Brave New Guitar
(Legato/Important 1001)
WITH VITAL INFORMATION
Easier Done Than Said
OTHERS
MVP - Truth In Shredding
(Alan Holdsworth)


Speed Picking
Over the years of playing, performing and teaching guitar, one of the biggest
problems encountered is not with the left hand fingerings as much as with the
right hand picking technique. Many guitarists openly admit that their picking
is pretty bad.
Unfortunately, there is not much written on this particular subject and that is
the purpose of this book, to give you an insight into the techniques that I have
been developing and using that really work. The basic idea has been with us for
many years and can be used to achieve mind-boggling speed and flawless accuracy
while being completely relaxed in the right hand.
I refer to this style of picking as SPEED PICKING (sometimes referred to as
sweep picking). A lot of us know at least one SPEED PICKING lick:

In this example of SPEED PICKING, one down stroke is used for the first 3 notes
and a Hammer-on for the last note. Most guitarists have played this simple lick
at some time or another and leave the technique at that, little knowing how far
this germ of an idea may be taken.
The most common style of picking today is 'Alternate' picking (down up down)
or the reverse (up down up) which is an excellent way to pick and I am by no
means trying to talk anyone out of it. What I am trying to do is broaden your
horizon. Alternate picking is fine for scale-type runs but just doesn't cut it for
arpeggios or lines where there is only one note per string for example.
SPEED PICKING is actually partly alternate picking except, whenever a str ing
is crossed, one stroke is used for the two notes whether going from low to high
or the reverse.

REH HOTLINE SERIES

IMPROVE YOUR SPEED AND FLUIDITY THROUGH INCREASED PICK EFFICIENCY

STANDARD NOTATION AND TABLATURE

SWEEP ARPEGGIOS

SPEED PICKING LICKS

HARMONIC SUPERIMPOSITIONS

SEQUENCE LICKS AND MORE !

BUILD MAXIMUM PICKING EFFICIENCY

Price: €26,99
€26,99

GENESIS ANTHOLOGY Guitar Recorded Versions TABLATURE SPARTITI CHITARRA TURN IT ON AGAIN

GENESIS, ANTHOLOGY. TAB.

Note-for-note tab transcriptions for 18 classics spanning the career of this supergroup with great staying power. Includes:

Abacab
Afterglow
Dance On A Volcano
Follow You, Follow Me
Hold On My Heart
I Can't Dance
Invisible Touch
Jesus He Knows Me
Land Of Confusion
Misunderstanding
No Reply At All
No Son Of Mine
That's All
The Lamb Lies Down On Broadway
Throwing It All Away
Tonight, Tonight, Tonight
Turn It On Again
Your Own Special Way,
includes photos, 144 pages.

Price: €26,99
€26,99

GREEN DAY INTERACTIVE CD-ROM GUITAR TABLATURE CHITARRA VIDEO iSONG VIDEO AUDIO ORIGINALE

GREEN DAY. Le canzoni originali, per chitarra e per basso: basket case -good riddance -geek stink breath -when I come around -brain stew -hitchin' a ride. Includes original recording! CD-ROM TAB.

Price: €35,99
€35,99

GUNS N' ROSES APPETITE FOR DESTRUCTION NOTE-FOR-NOTE DRUM TRASCRIPTIONS-LIBRO-ADLER

GUNS N' ROSES, APPETITE FOR DESTRUCTION. Per batteria.

Price: €99,99
€99,99
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