ACCORDI - PENTAGRAMMA - GRAFICO DELLA TASTIERA

CHITARRA JAZZ UMBERTO FIORENTINO LIBRO CD PENTAGRAMMA METODO MUSICA ACCORDI MUSICA

CHITARRA JAZZ La,Umberto Fiorentino. LIBRO CON CD

LIBRO METODO DI MUSICA JAZZ CON CD. 

SPARTITI PER CHITARRA. 

ACCORDI, DISEGNO DELLA TASTIERA, PENTAGRAMMA. 

 

CHITARRA JAZZ (la):
Ciò che serve per studiare ed insegnare.
Questo libro nasce da una mia esigenza condivisa da chi studia o insegna la chitarra: avere a disposizione in un solo testo la maggior parte degli elementi con cui impostare il lavoro didattico. Più che un metodo dove il lavoro da svolgere è già piano, questo è un contenitore dal quale attingere informazioni che possono essere utili per un corso di studi; il materiale fornito può essere modellato dall’insegnante secondo il suo personale metodo e offre all’autodidatta le cognizioni e i mezzi per rarsi nell’esplorazione musicale. Il libro è diviso in più parti: una teorica, dove gli argomenti vengono spiegati nella loro essenza, una sorta di dizionario musicale selezionato che permette la comprensione degli argomenti in cui ci si imbatte nellio del jazz e della musica moderna. La seconda parte illustra graficamente le diteggiature di scale, arpeggi, accordi etc. Questa è la zona degli attrezzi di lavoro, costituita da grafici e diagrammi.

 

Sommario

TEORIA: ,
gli intervalli, ,
le scale, ,
le triadi, .
i modi, ,
g1i accordi di settima,
  i rivolti, .
  i drop, .
  le estensioni, .
le famiglie degli accordi,
le funzioni degli accordi,
armonia quartale,
II / V / I cadenze,
tonale e modale,
analisi armonica,
tempi forti e deboli, tensione e risoluzione,
suoni cordali,
cromatismi,

Le sostituzioni:
sostituzioni tra gli accordi della tonalità maggiore, ,
sostituzione del tritono, .
l'accordo di settima diminuito e le sostituzioni che ne derivano, ,
inserimento dell'accordo di dominante, .
inserimento del II m7 e delll m7/b5 prima del dominante, ,
inserimento delll m7 applicato al tritono, .
cambio di specie, .
cambio di specie applicato al tritono, .
inserimento di semitono, .
inserimento di semitono con cambio di specie ,

Le strutture: 
il blues, ,
il blues minore, .
parker blues, .
rhythm changes, ,
II / V / I songs (brani tonali), .
brani modali,
brani a struttura mista, '

i Patterns .
Associazione visiva accordo/scala, .
Patterns ritmici .
Schede aggiuntive: .
note sulla tastiera, .
tavola degli intervalli, .
modi sostitutivi, .
scrittura e simboli delle sigle, .
triadi per accordo di dominante, .
arpeggi per accordo di dominante, .
triadi utilizzabili sui modi della scala maggiore, .
arpeggi utilizzabili sui modi della scala maggiore .

DIAGRAMMI MELODICI: .
intervalli, tonica sulla sesta corda, .
intervalli, tonica sulla quinta corda, .
intervalli, tonica sulla quarta corda, .
scala maggiore posizioni base, .
scala minore armonica posizioni base, .
scala minore melodica posizioni base, .
scala maggiore posizioni verticali, .
scala minore armonica posizioni verticali, .
scala minore melodica posizioni verticali, .
scala pentatonica maggiore, .
scala blues, .
scala esatonale, .
scala diminuita, .
scala cromatica, .
arpeggi posizioni base, .
arpeggi posizioni verticali, .
triadi, .
accordi/scala .

DIAGRAMMI ARMONICI:
triadi, .
triadi late, .
accordi di settima drop 2, .
accordi di settima drop 3, .
accordi di settima senza quinta, .
sviluppo degli accordi di settima sui modi della scala maggiore, .
sviluppo degli accordi di settima sui modi della scala minore armonica,
sviluppo degli accordi di settima sui modi della scala minore melodica,
sviluppo degli accordi con intervalli di seconda sui modi della scala maggiore,
sviluppo degli accordi con intervalli di seconda sui modi della scala minore armonica, ..
sviluppo degli accordi con intervalli di seconda sui modi della scala minore melodica, ..
esempi di accordi con tensioni .
esempi di estensioni:

accordi con nona,
accordi costruiti per quarte,
voicings vari sulle quattro corde alte,
accordi con intervalli di seconda,
accordi sviluppati melodicamente.

ESEMPI ARM ONICI: 1
II / V / I maggiore,
II / V / I minore,
blues,
rhythm changes,
esempio su Autumn Leaves .

ESEMPI MELODICI:
II / V / II maggiore,
III / VI / I minore,
modi:
lidio,
ionico,
misolidio.
dorico,
eolio,
frigio
locrio,
armonica,
minore melodica,
diminuita,
esatonale,
blues,
rhythm changes,
Esempio su autmn Leaves .
I CHITARRISTI DEL JAZZ

Introduzione

Questo libro nasce da una mia esigenza che credo possa essere condivisa da chi studia o
insegna la chitarra: avere a disposizione in un solo testo la maggior parte degli elementi
con cui impostare il lavoro didattico. Più che un metodo dove il lavoro da svolgere è già
pianificato questo è un contenitore dal quale attingere informazioni che possono essere
utili per un corso di studi; il materiale fornito può essere modellato dali 'insegnante
econdo il suo personale metodo e offre ali 'autodidatta le cognizioni e i mezzi per
addentrarsi nell'esplorazione musicale. Il libro è diviso in più parti: una teorica, dove gli
argomenti vengono spiegati nella loro essenza, una specie di dizionario musicale
selezionato che permette la comprensione degli argomenti in cui ci si imbatte nello studio
del jazz e della musica moderna.
La seconda parte illustra graficamente le diteggiature di scale, arpeggi, accordi etc.
Questa è la zona degli "attrezzi di lavoro" costituita da grafici e diagrammi.
La parte conclusiva contiene esempi melodici e armonici che riguardano il materiale
studiato. Gli esempi sono realizzati sulle cadenze armoniche dellllV/I maggiore e minore,
sul blues, sui rhythm changes e sulla sequenza armonica di un celebre standard come
"Autumn Leaves ". 

Price: €25,99
€25,99

YORK ANDREW THE CLASSICAL GUITARIST'S GUIDE TO JAZZ Expand Your Playing with a New Style CD

YORK ANDREW, THE CLASSICAL GUITARIST'S GUIDE TO JAZZ, Expand Your Playing with a New Style.

The Classical Guitarist's Guide to Jazz
Expand Your Playing with a New Style
By Andrew York / ed. Nathaniel Gunod

Item: 00-35452
UPC: 038081396484
ISBN 10: 0739071599
ISBN 13: 9780739071595

Category: Guitar Method or Supplement
Format: Book & MP3 CD
Instrument: Guitar

Guitarist and composer Andrew York presents the ultimate guide to jazz for classical guitarists. The first two sections of this three-part book cover jazz harmony and chord/melody, focusing on comping, chord voicings, voice leading, and arranging for solo guitar. Part three looks at improvisation, which may be the most exciting—yet foreign—aspect of jazz for classical guitarists. York shows you that improvisation is a skill that can be learned and practiced just like any other. By practicing the ear training and visualization exercises in this book, you will learn how to turn the music you hear in your "mind's ear" into imaginative, great-sounding jazz solos. The CD contains the exercises and examples performed by the author. 

INTRODUCTION

There is a desire among many classical guitarists to learn how to play some jazz on the classical

guitar. But they often have expressed reservations or even fear when confronted with the idea

of playing jazz, reading jazz charts or improvising. I've designed the first section of this book to

help classical guitarists learn the necessary harmonic skills to play jazz with confidence and to

have some fun doing it.

Learning jazz harmony will be the focus of this first section; before chord/melody or improvising

with scalesor modes can be learned effectively, it's vital to have a solid grasp of jazz harmony.

Sothat is where I chose to begin.

There are some basic differences between the jazz and classical worlds. Compared to classical

music, jazz uses a different style of notation and has a different rhythmic sensibility. We'll

talk about this, since understanding these differences is important for gaining fluency and

authenticity in playing jazz.

You'll find the layout is not strictly linear; though I've tried to progress somewhat logically, I've

also digressed frequently and put in many things that will stretch you every step of the way. I

didn't want to spoon-feed you. Getting the most out of this book will require your participation and study.

Most of all, I hope you find some inspiring new directions for your music. Enjoy.

 

EDITOR'S PREFACE

At the National Guitar Workshop, the divisions between different styles of guitar playing have

never been drawn with a heavy line; we have always encouraged as much "cross-fertilization"

as students are comfortable receiving. So it was a no-brainer when Andrew first suggested a

course designed to teachjazz guitar to classical guitarists.

This book assumes you play classical or fingerstyle guitar on at least an intermediate level and

have a basic understanding of music theory. There is a quick review of the basics of theory on

page 64, but we make no pretenses about it being complete. If harmony is not a strong area for

you, you may want to brush up a bit.

Guitarists tend to be fun-loving, gregarious and curious, which is one very important reason

why the level of technical skill and musicianship among us continues to improve with each new

generation of players. We believe this book will appeal to that wide streak of curiosity and joy

in music making-music of all kinds-among our fellow guitarists.

 

HARMONY CONTENTS

About The Author
Introduction
Editor's Preface

 

CHAPTER ONE Chord Families
Major Family Chords
Major Muse (with Slashes)
Major Muse (Possible Comp)
Major Muse (Another Possible Camp)
Dominant Family Chords
Prominent Dominant.
Prominent Dominant (Another Possible Camp)
Minor Family Chords
Minor Line
Minor Line (Another Possible Camp)
Review

 

CHAPTER TWO - Five-Position Chords
Five-Position Chords
Five-Position Chords Along the Fingerboard
Five-Position Major 7 Chords
Five-Position Chords Across the Fingerboard
Five-Position Dominant Chords Along the Fingerboard
Five-Position Dominant Chords Across the Fingerboard
Five-Position Minor Chords Along the Fingerboard
Five-Position Minor Chords Across the Fingerboard

 

CHAPTER THREE - Reading Jazz Charts
Identify the Chord Family
Chart Reading Details
Chart Reading General Summary
Chart Examples
Inversions
Diminished Chords

 

CHAPTER FOUR - Dominant Chords
Altered Dominants
Playing Altered Dominants
Diminished 7th Chords
Altered Dominants and Minor Keys
Dominant Chord Chart

 

CHAPTER FlVE - ii-V Progressions
A ii-V Exercise
Carefree

 

CHAPTER SIX - Three-Note Voicings
Inversions of Three-Note Voicings
Inversion Study

 

CHAPTER SEVEN - RHYTHM
Swing
Comping Samba and Bossa Nova Rhythms
Comping in the Style of Freddie Green
Comping with a Two-Beat (Half Note) Feel
Anticipations
Metronome Practice

 

CHAPTER EIGHT - The Blues
Secondary Dominants
Turnarounds
Joroy

 

CHAPTER NINE - Songs
Day One
Analyzing Day One
Day One (with Camping Examples
A and B)
Day One (Final Camping Example)
Day Two
Day Two
A Note on Minor 9 Chords
Day Three
Seulb

Carry On
Discography
Chord Voicings for Page
Theory Summary

 

 

CHORD / MELODY PLAYING

INTRODUCTION
What is chord/melody? Basically, it is playing a melody and the chords at the same time. In
a way, playing a classical guitar piece is playing chord/melody, because everything is there,
melody and harmony-it is complete. But in jazz, chord/melody usually means a setting
of a standard, well-known song. These standards are learned by jazz players as part of the
traditional repertoire; at a gig anyone of these tunes can be called and everybody will know
it, both chords and melody. .
For guitar players, playing these standards with melody and harmony at the same time has
become known as chord/melody style. The aim of this section is to cover the skills needed to
play chord/melody. You'll find examples that are in the style of some of the jazz standards (the
standards themselves won't be used because of copyright restrictions), as well as exercises and
multiple harmonic settings of melodies.
This section presupposes that you have a functional grasp of harmony, and an understanding of
jazz harmony. You should also be able to read music, and have a functional right- and left-hand
fingerstyle technique. TAB is not used, though many of the notation examples also include chord
diagram boxes for help with visualization of chord shapes.
I hope you enjoy this book and learn a lot.

 

EDITOR'S PREFACE
he purpose of this section is to put the information from the first part of this book to work in a
chord/melody context; this, as the author points out, will be the most familiar jazz style to classical
and otherfingerstyle guitarists. An inquisitive, self-motivated classical or fingerstyle guitarist will
e able to use this section as ajumping-off point and enjoy a lifetime of music-making in this st'le.
s fun, and having this set of skills will help working guitarists fill out their sets on the gig.

An MP3 CD is included with this book to make learning easier and more enjoyable. The symbol shown
4 at bottom left appears next to every example in the book that features an MP3 track. Use the MP3s
to ensure 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 (example numbers
are above the icon). All the track numbers are unique to each "book" within this volume, meaning
every book has its own Track I, Track 2, and so on. (For example, The Classical Guitarist's Gutde to Jazz:
Harmony starts with Track I, as does Chord/Melody and Improvisation.) Track I for each book will help
you tune your guitar.
To access the MP3s on the CD, place the CD in your computer's CD-ROM drive. In Windows, doubleclick
on My Computer, then right-click on the CD icon labeled "MP3 Files" and select Explore to view
the files and copy them to your hard drive. For Mac, double-click on the CD icon on your desktop
labeled "MP3 Files" to view the files and copy them to your hard drive.

 

CHORD / MELODY CONTENTS
Introduction
Editor's Preface

 

CHAPTER ONE - Triads
First Word
MinorTriads in Closed Voicing
A Triad Tune
Chilean Tune with Closed Voicings;
MinorTriads in Open Voicing
Chilean Tune with Open Voicings
A Triad Tune

 

CHAPTER TWO - Harmonizing with Triads
Greensleeves
Greensleeves
Diatonic Harmony
Greensleeves Lead Sheet, A Section
Greensleeveswith Triads in Closed Voicing
Passing Tone Use in Chord/Melody
Greensleeves with Triads in Open Voicing
Greensleeves with Open and Closed Triads
Going up an Octave
Greensleeves Melody One Octave Higher
Greensleeveswith Open and Closed Triads

 

CHAPTER THREE – Greensleeves-Extending the Harmonies
Greensleeves with Extended Chords # 1 Greensleeves up an Octave
with Extensions 86

 

CHAPTER FOUR - Harmonizing Each Note of the Scale
Harmonizing the C Major Scale
with a C Major Chord
Harmonizing the C Major Scale with G7
A Sor Study Phrase
Harmonizing the C Major Scale with D Minor
Dominant Chord Chart.
Quartal Chords

 

CHAPTER FIVE - PassingTones and Deeper Harmony
Using Passing Tones
Using Passing Chords

 

CHAPTER SIX - Romanza
The Original
Romanza
Romanza Chord/Melody (
Romanza Duet
Tritone Substitutions
Romanza Chord/Melody solo

 

CHAPTER SEVEN - A Few of the Things You Might Be
A Few of the Things You Might Be-Lead Sheet
A Few of the Things You Might Be-Chord/Melody

 

CHAPTER EIGHT - Autumn Sleeves 
Autumn Sleeves-Lead Sheet 
Autumn Sleeves-Chord/Melody # 1
Autumn Sleeves-Chord/Melody #2

 

CHAPTER NINE - Lagrima de Nuevo
Lagrima.
Lagrima de Nuevo-Chord/Melody .

 

CHAPTER TEN - Ode to Joy
Ode to Joy.

 

CHAPTER ELEVEN – Blues for J.D.
Blues for J.D .
A Final Word .
Romanza with Chord Changes .

 

 

 

 

IMPROVISATION

INTRODUCTION
To pick up the guitar and play music without knowing what you will play-this is the thrill of
improvising, or creating music spontaneously, and ajoy to which many players feel drawn but at
the same time find intimidating. I wrote this book to help classical players (and players in other
styles too) begin to find their way toward improvising on the guitar. The approach I've taken
for this book is to explore the basics of single-line improvisation over jazz-style harmony. Right
from the beginning, we will work with "the color of sound" to help the ears identify each note
as it relates to a harmonic base.Then we will begin improvising in open position right from the
start. After we get a feel for approaching the guitar in this spontaneous way, we will begin to
work with scalesand chord forms to build the skills necessary for improvising single-line solos
over chord progressions.
hope this book helps to demystify the world of jazz improvisation and inspires you to greater
spontaneity and creativity on your guitar.

An MP3 CD is included with this book to make learning easier and more enjoyable. The symbol shown
at bottom left appears next to every example in the book that features an MP3 track. Use the MP3s
to ensure 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 (example numbers
are above the icon). All the track numbers are unique to each "book" within this volume, meaning
every book has its own Track I, Track 2, and so on. (For example, The Classical Guitarist's Guide to jazz:
Harmony starts with Track I, as does Chord/Melody and Improvisation.) Track I for each book will help
you tune your guitar.
To access the MP3s on the CD, place the CD in your computer's CD-ROM drive. In Windows, doubleclick
on My Computer, then right-click on the CD icon labeled "MP3 Files" and select Explore to view
the files and copy them to your hard drive. For.Mac, double-click on the CD icon on your desktop
labeled "MP3 Files" to view the files and copy them to your hard drive.

 

CONTENTS
Introduction
Editor's Preface

 

CHAPTER ONE - Colors of Scale Tones
Root Note (R),orTonic
Perfect 5th (P5)
Major 3rd (M3)
Perfect 4th (P4), or 11th
Major 2nd (M2), or 9th
Major 6th (M6), or 13th
Major 7th (M7)

 

CHAPTER TWO - Improvising with G Ionian, Lydian and Mixolydian in Open Position
G Ionian, or Major
G Lydian
G Mixolydian

 

CHAPTER THREE - Open Position Scale Work
Permutating the Major Scale
3rds
Sequence of Four Notes
6ths
Arpeggio Permutation
Chord Tones Within Scale Forms-ii, V and I

 

CHAPTER FOUR - ii-V-I in Open Position
Am7: Improvising in Two-Measure Phrases
D7: Improvising in Two-Measure Phrases
GMaj7: Improvising in Two-Measure Phrases
ii and V Chords Together
ii, V and I Chords Together
Adding an E7 Chord

 

CHAPTER FIVE - 2nd Position Chords and Scales in G Major

 

CHAPTER SIX - Fly Me Through the Tune If Changes
Fly Me Through the Tune (2nd Position Voicings)
The ii Chord in E Minor
The V Chord in E Minor
Beginning to Improvise Over the Progression
Fly Me Through the Tune (Improv to "Slow Changes" -2nd Position)

 

CHAPTER SEVEN - 7th Position Chords and Scales in G Major
Voicings for "Fly Me Through the Tune"

 

CHAPTER EIGHT Seeing How Changing Chord Tones Relate to Each Other
Fly Me Through the Tune (7th Position Improv)
Conclusion
Afterword
Developing Your Ear
Appendix
Modes of the G Major Scale
Seven Modes Beginning on G  

 

Price: €36,99
€36,99

POWERS LEIGH THE SCALE BOOK LIBRO SPARTITI METODO TUTTE TONALITà SCALE MODALI

POWERS LEIGH, THE SCALE BOOK.

Price: €17,99
€17,99

PASTORIUS JACO-MODERN ELECTRIC BASS CD LIBRO METODO PENTAGRAMMA ACCORDI BASSO

PASTORIUS JACO, MODERN ELECTRIC BASS. In italiano. CD

Price: €19,99
€19,99

HOLDSWORTH ALLAN MELODY CHORDS FOR GUITAR LIBRO SPARTITI ACCORDI DIMINUITA DOMINANTE

HOLDSWORTH ALLAN, MELODY CHORDS FOR GUITAR.

Series: Guitar
Publisher: Centerstream Publications
Artist: Allan Holdsworth

Influential fusion player Allan Holdsworth provides guitarists with a simplified method of learning chords, in diagram form, for playing accompaniments and for playing popular melodies in "chord-solo" style. Covers: major, minor, altered, dominant and diminished scale notes in chord form, with lots of helpful reference tables and and diagrams. 112 pages

Price: €32,99
€32,99

ARPEGGIOS Guitar Guide CHERRY LANE TABLATURE LIBRO CHITARRA SPARTITI IMPARARE DITEGGIATURA

ARPEGGIOS. CHERRY. 215 Pagine, centinaia di arpeggi a 1, 2, e 3 ottave, diagrammi, teoria, formule. TAB.

This book in the new Guitar Reference Guides series allows players to find any arpeggio quickly and with ease. No music reading is required, as each arpeggio is shown in diagram form. Unlike other giant arpeggio books that cover only the most common arpeggios, this book presents every arpeggio type with numerous fingering options. Ideal for beginners seeking a well-organized, easy-to-follow guide to last a lifetime, and for consummate professionals who need a reference of arpeggios for every possible musical situation.

Price: €23,99
€23,99

THE GUITAR GRIMOIRE, PROGRESSIONS AND IMPROVISATION. TABLATURE

THE GUITAR GRIMOIRE, PROGRESSIONS AND IMPROVISATION. Centinaia di combinazioni dentro e fuori il circolo delle quinte. 282 Pagine. TABLATURE

Guitar Grimoire, The-Progressions & Improvisation by Adam Kadmon. For Guitar. This long awaited volume is the most thorougly exhaustive compendium of chord progressions ever published. Literally filled with hundreds of exercises and thousands of diagrams accompanied by Kadman's unique presentation, this book completely examines the. Instructional, Improvisation and Progressions. Instructional book. Standard notation. 282 pages. Published by Carl Fischer (CF.GT15).
ISBN 0825831970. With Standard notation. Instructional, Improvisation and Progressions. 9x12 inches

Price: €35,00
€35,00

SERIOUS ELECTRIC BASS, The Bass Player's Complete Guide to Scales and Chords By Joel Di Bartolo.

SERIOUS ELECTRIC BASS, The Bass Player's Complete Guide to Scales and Chords By Joel Di Bartolo. TAB.

SERIES: Contemporary Bass Series
CATEGORY: Bass Guitar Method or Supplement
FORMAT: Book
Bass basics, major scales and modes, harmonic and melodic minor scales and modes, arpeggio patterns and symmetric scales (whole tone and diminished). Serious Electric Bass is a definitive, comprehensive, user-friendly guide for electric bassists of all levels. 279 pages.

 

12 Chapter 1- Set-up and Adjustment Guide
Section 4: Adjusting The Tilt (Angle) Of The Neck
The angle of the neck may be adjusted only on basses with bolt-on necks. Having worked your way
through the previous 7 1/2 pages, you would think that your bass would be in perfect playing condition
by now. But there are times when no amount of truss rod adjusting or string lowering or raising
will create a smooth, even feel all over the neck. Usually when this happens, the notes above
the octave on any string (the upper register) are a bit harder to play than those below the octave.
Adjusting the tilt of the neck should solve the problem.
If you own a bass with a "through-the-body" design (neck and body are one piece) and you have
this problem, only very fine adjustments of both the truss rod and string height can solve it. For
you bolt-on neck owners, this adjustment may be done in one of two ways.
 
IF your bass has a neck-tilting screw built in:
A newer Fender, an old Music Man, or any other bass that has a small hole in the neck mounting
plate found on the back of the instrument, has a neck-tilting screw built in. Basses with this
feature usually have three rather than four screws holding the neck onto the body.
1. Lower the pitch of the strings so they flop on the fingerboard. Loosen the neck mounting
screws two or three full turns.
2. Insert yet another size allen wrench. The wrench that just fits into the hole is, more often
than not, the correct size. (If your instrument requires a particular size allen wrench to
adjust the truss rod and another size to raise or lower the strings, this is the third size allen
wrench you will need. Buy a whole set.) While standing the bass up on a table or on your
lap, use one hand to press the neck into the body. The screws will stick out of the back of the
bass. With your other hand, slowly turn the screw clockwise until you feel resistance. Turn
the wrench another one-half turn and you should see the neck raise slightly.
3. Remove the allen wrench, tighten the screws, bring the bass back up to pitch and check to
see if the problem has been solved. If not, repeat the procedure.
4. If you have gone too far, lower the strings, loosen the neck and turn the screw a bit in the
opposite direction. Tighten everything up and check it again. Things should be OK this
time.
 
Your bass does not have a neck-tilting screw built in:
Unfortunately, most basses don't have that neat little hole in the neck mounting plate. So...
1. Loosen the strings (you don't have to take them off of the pegs) and remove the neck from
the bass. When removing the neck, just turn the screws far enough to get the neck off.
(Leaving the screws in the body of the bass will make re-attaching the neck easier.)
2. Find a book of matches and cut off a quarter of the cover. Place the piece of matchbook
cover in the bottom of the neck slot.
3. Screw the neck back on, making sure that the torque on each screw is about the same. Bring
the string up to pitch and check out the feel of the neck in the upper register. If it feels
good 'our job is done.
 
Intonating the Bridge 5
5. Compare the two pitches (fingered note and harmonic) again. Although their points on the
meter may have changed, you will notice that the difference between the two pitches has
decreased. Continue in this manner until both the fingered note and the harmonic give
matching readings on the tuner. During this process, it doesn't matter if the tuner isn't reading
0 or 440. As long as the two notes give the same reading, you are all right. By applying
this procedure to each string, each string should be fairly well in tune with itself.
Fine Tuning Your Bass
To truly fine tune your bass, especially one with a two-octave neck, you should intonate each string
at the octave and a fifth (high D on the G string) as well as at the octave. Mter you have intonated
the octave and its harmonic to your satisfaction, move up to the octave and a fifth (19th fret), and
repeat the process.
Now, return to the octave fret and if those notes still match, move on to the next string. If they
don't, repeat the process at the octave, and recheck the octave and a fifth. Continue in this manner
until the notes match at both points on the neck.
If it isn't possible to get the two points to match, one of two things could be wrong. The string
itself could be untrue (loose or uneven windings), or the frets of your bass might be slightly off. In
either case, try to find an average between the two, and move on to the next string.
N.B. 2: Often, your tuner will measure the octave and a fifth fingered note as being sharper
than the octave fingered note. As long as the octave and a fifth fingered note is the
same as its harmonic and the octave fingered note does the same, you are OK
This procedure may seem rather involved; but as with changing strings, the more you do it the
faster and easier it becomes. There is nothing worse than playing an exposed line high up on the
bass and having it be out of tune. "But Ijust tuned my bass!," you say. This "two-point" intonating
procedure will not only bring the upper register of your instrument into perfect tune with the rest
of the fingerboard, but it will also benefit your low strings a lot.
The upper register of the E string, or the B string on a 5-string bass, usually sounds flabby; that is,
the notes just don't seem to center in. Using the two-point intonating method usually cures this
problem, allowing you to play notes high up on low strings that sound clear and well-centered.
N.B. 3: This section has dealt with Fender-style bridges only (i.e., those bridges with
the adjustment screws located at the end of the bridge assembly). If your bass has an
intonating procedure that requires you to remove the string from the saddle, loosen an
allen screw, move the saddle by hand, tighten the allen screw, bring the string up to
pitch, and only then check its intonation, or if the bass requires some other equally
ingenious (read "tedious") method, check with your dealer or repair shop if you aren't
sure how to do it. The Fender-style bridge is the most common one on the market.
Although this section can't begin to cover every bass bridge ever made, the remarks
concerning matching fingered notes and harmonics on your tuner do apply to all types
of bridges.
N.B. 4: This section is pretty involved. Be sure you understand all of it before moving ahead.
Price: €27,99
€27,99

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

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

Introduction to Jazz Guitar Soloing
A Comprehensive Improvisation Method

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

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

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

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

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

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

 

 

A Comprehensive Improvisation Method by Joe Elliott

Contents
Introduction

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

ISBN 978-0-634-00970-9

HAL-LEONARD CORPORATION
 

Price: €26,99
€26,99

STAND ALONE TRACKS FUSION MARK Dziuba LIBRO SPARTITO CD TABLATURE CHITARRA BASI

STAND ALONE TRACKS: FUSION. M. Dziuba. CD TAB.

Stand Alone Tracks: Fusion
By Mark Dziuba

ITEM: 00-14179
UPC: 038081133942
ISBN 10: 0882847325
ISBN 13: 9780882847320
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

--------------------------------------------------------------------------------
This is the most effective practice tool you will ever use! With Stand Alone Tracks, your CD player becomes your own personal back-up band. This Book and CD set will help you make the most of your practice time and polish your improvisational skills. Examples range from simple to complex in a variety of possibilities within the style. Examples are long enough to let you really "stretch out" and experiment as your chops develop.

Price: €16,99
€16,99
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