LIBRO CON CD

Mike Stern, A Step-By-Step Breakdown of the Guitar Styles & Techniques of a Jazz-Fusion Pioneer

Serie: Signature Licks Guitar

Formato: Softcover with CD - TABLATURE
Autore: Joe Charupakorn
Artista: Mike Stern

Scopri la magia di un asso di chitarra Mike Stern con l'edizione speciale di Assoli d'Autore che includono le interviste e le lezioni con Stern, informazini esclusive sull'attrezzatura, l'analisi approfondita di 14 titoli e in più un CD audio con tutti  gli esempi musicali del libro. Le canzoni sono: After You • Jigsaw • Like Someone in Love • One Liners • Play •Sunnyside • Swunk • There Is No Greater Love • Tipatina's • Wing and a Prayer • e altre.

Larghezza: 9.0"
Lunghezza: 12.0"
128 pagine

After Blood, Sweat & Tears, Stern returned to Boston and played with saxophonist

Jerry Bergonzi (who he met through his teacher, the late Charlie Banacos). He also took

over Bill Frisell's spot in trumpeter Tiger Okoshi's Tiger's Baku, a band that Frisell helped

put together. In 1979, Stern landed his next big gig, with drummer Billy Cobham. During

a gig with Cobham at the now-defunct Bottom Line in New York City, Miles Davis (at the

suggestion of saxophonist Bill Evans) came to check out Stern. He liked what he heard

and Stern got the ultra high-profile gig for Davis's 1981 comeback tour. It was a major

milestone in Stern's career, and one that catapulted him into jazz stardom.

Stern played on three Miles Davis albums: The Man With the Horn, which featured a

burning solo on the first cut "Fat Time" (named in Stern's honor for both his great timefeel

and his at-the-time, corpulent physique); We Want Miles, a great live album; and Star

People, which also featured guitarist John Scofield, who was recruited as a second guitarist

because of Stern's then drug and alcohol problem. Having gradually become unreliable,

Davis ultimately let Stern go, to sober up.

During this time, Stern reconnected with Jaco Pastorius, playing in his Word of Mouth

band. They also played together nonstop when Stern lived above 55 Grand Street, a New

York City jazz club they played at since its inception (not to be confused with the 55 Bar

on Christopher Street, where Stern currently plays twice a week when he's in town). Jaco

wound up crashing at Stern's pad and the two were inseparable, playing at all hours of

the day and blowing lines over changes. Alas, they were also doing "white lines" to the

point of losing control. Stern checked into rehab, and in 1985, the cleaned-up guitarist

rejoined the Miles Davis band. Pastorius, however, never cleaned up. The drugs and alcohol

had severely impacted his mental state and behavior for the worse, and in 1987, during

an altercation with a bouncer outside a nightclub in Florida, he was tragically beaten

to death.

Since his tenure with Miles Davis, Stern has gone on to perform and record with

Michael Brecker, the Brecker Brothers, Bob Berg (with whom he co-led the Mike Stern/

Bob Berg band), Jaco Pastorius's Word of Mouth band, Steps Ahead, David Sanborn, Joe

Henderson, George Coleman, Ron Carter, Jim Hall, and Pat Martino, among others.

Stern has also recorded numerous solo albums-the first being Neesh, in 1983, which

was recorded for Trio (a Japanese label), right after Stern first left Miles Davis's band. It

was recently re-released, but only in Japan (on Absord Music Japan). In 1986, Stern

signed a deal with Atlantic Records and recorded Upside Downside. This marked the

beginning of a 15-year association with Atlantic Records that spawned ten albums and

three Grammy nominations. In 2004, with the demise of the jazz department at Atlantic

Records, Stern recorded his first album for ESC Records, These Times (now available on

BHM Records). In 2006 Stern moved to Heads Up International Records for his release

Who Let the Cats Out?, which garnered Stern a fourth Grammy nomination. A live DVD,

Live-New Morning The Paris Concert was also released in 2006, by independent

German label, lnakustik. This DVD featured Richard Bona, Dennis Chambers, and Bob

Franceschini. In 2009, a sequel to Live-New Morning The Paris Concert was released

and features Tom Kennedy, Dave Weckl, and Bob Franceschini. Big Neighborhood,

Stern's most explosive guitar album to date, was also released in 2009 and featured virtuoso

guitarists Steve Vai and Eric Johnson, among others. Stern's earlier Atlantic recordings,

with the exception of Play and Voices (which are still available through Warner

Music), are now distributed by Wounded Bird Records, a CD-only re-issue label.

Despite Stern's enormous status as a world-renowned jazz-fusion guitar virtuoso, his

prodigious technical abilities (which he seamlessly combines with a heartfelt lyricism),

and his impressive history onstage with countless jazz legends, Stern is a humble and

grounded musician whose sole mission is to constantly grow as a player. "The more I

know, the less I know" is one of Stern's favorite quotes, and it is indicative of his approach

to music, as a neverending quest.

For this Signature Licks edition we have enlisted Mike Stern as a consultant. He offers

not only unique analytical and historical insight for each selection but also a special private

lesson, to help you understand the theory behind his burnin' lines. And indirectly,

large portions of the information in this book have been gathered over the years, during

my studies with Stem and om itnessing countless live shows.

ONE ON ONE WITH MIKE STERN

What was the first jazz solo that had an impact on you?

Well that's a hard question because my mom used to playa lot of jazz records so I always

heard jazz around the house. I started playing when I was 12, but I was 17 when I started

getting more into jazz. I guess it was something off a Miles Davis record. One of the

first records I used to scope was Herbie Hancock's Maiden Voyage. That was one of the

first albums that I checked out and tried to play along with. At the time, I was listening to

more blues, rock, and Motown, and playing along by ear.

When you played along with Maiden Voyage, were you soloing over it or were you

trying to play the actual parts?

I was doing a little bit of both-the actual parts and the solos.

Do you remember the first solo you transcribed?

Yeah, it was a Joe Pass solo. I picked a blues because it's an easy form and Joe's solo

had a lot of inside bebop. It was a medium swing, not a real fast tempo.

Did he playa lot of sixteenth notes in the solo?

He was playing a lot of eighth notes, just a lot of really cool bebop lines. Joe was a very

clear, inside player in a lot of ways. He didn't go outside the key too much, and it was very

clear what he did when he did go out, the way he outlined it. He was amazing like that.

There was a lot of bebop vocabulary; he used to play with Oscar Peterson. It took me

about three weeks to transcribe the solo. I had to slow the record player down, which

almost ruined the record. Finally I taped it and finished the rest. Later on I showed it to

some people and they said most of it was wrong [laughs]. But doing it myself was amazingly

helpful.

After you learned the solo did you take licks from it and use them in your own playing?

A little bit, and some of the phrasing, too. It's like when you read a book or short storyyou

don't memorize every word; you just take certain things away from it and then enough

of the remaining information goes unconsciously into your brain, or in the case of music,

into your ear. Over time, if you take from enough different solos from different people, you

don't sound like just one guy.

For a long time now, I've been more into copping piano and saxophone solos. But

when I was first transcribing, it was guitar because it was my own instrument-and that

was hard enough. But like I said, transcribing lines for myself was really helpful; I got a lot

more out of it that way than from reading it from a book.

Were you writing out the solos?

Yeah, I wrote them down. Then I'd read through it, not so much to cop licks but more like

reading a magazine or a short book, where you might remember a couple of phrases and

quote from it-you don't memorize every word. Some people go too far and memorize the

whole solo, but the idea is to learn how to phrase unconsciously and then twist it around

your own way, as a kind of springboard for your own ideas. That way you get a vocabulary

in a certain style; for instance, if you want to work on your bebop vocabulary, you do

a lot of bebop players. I did a bunch of guitar players at first-Joe Pass, Jim Hall, Wes

Montgomery, George Benson-and then I got into horn players.

INTRODUCTION
DISCOGRAPHY
THE RECORDING
ABOUT THE AUTHOR
MIKE STERN'S GEAR
ONE ON ONE WITH MIKE STERN
BOP 'N ROLL: A LESSONS WITH MIKE STERN

After You - Mike Stern - 1986
Jigsaw - Mike Stern - 1989
Like Someone In Love - Words: Johnny Burke, Music: Jimmy Van Heusen - 1944
Odds Or Evens - Mike Stern - 1991
One Liners - Mike Stern - 1997
Play - Mike Stern - 1999
Showbiz - Mike Stern - 1996
Sunnyside - Mike Stern - 1996
Swunk - Mike Stern - 1994
That's What You Think - Mike Stern - 1997
There Is No Greater Love - Words: Marty Symes, Music: Isham Jones - 1936
Tipatina's - Mike Stern - 1999
Upside Downside - Mike Stern - 1986
Wing And A Prayer - Mike Stern - 1996

PENTATONIC SCALES FOR BASS, FINGERINGS, EXERCISES AND PROPER USAGE OF THE ESSENTIAL FIVE-NOTE SCALES. Ed Friedland. CD TABLATURE

Pentatonic Scales for Bass

Fingerings, Exercises and Proper Usage of the Essential Five-Note Scales
Series: Bass Builders
Format: Softcover with CD - TAB
Author: Ed Friedland

The pentatonic is one of the most widely used scales in music. This book teaches fingerings for these essential five-note scales all over the neck, and how to use them to create solid, functional bass lines. The CD contains 56 tracks and features full-band demonstration examples. Covers: major and minor pentatonic scales; one- and two-octave scale patterns; pentatonic modes and their applications; soloing with pentatonic scales; and much more ! 64 pages

The Pentatonic is one of the most nwidely used scales in the world of music. In pentatonic scales for bass, you'll learn fingerings for these essential five-note scales all over the neck and see how you can use them to create solid, functional bass lines. The CD included contains 56 tracks and features full-band demostration examples.

MAJOR AND MINOR PENTATONIC SCALES

ONE AND TWO-OCTAVE SCALE PATTERNS

DOVENS OF TECHNICAL EXERCISES

PENTATONIC MODES AND THEIR APPLICATION

HANDLING COMMON CHORD PROGRESSIONS WITH PROPER PENTATONIC SCALES

SOLOING WITH PENTATONIC SCALE

AND MORE

By definition, a pentatonic scale is simply a group of five consecutive notes within the

range of an octave. With this loose framework, there can be many variations of five-note

patterns that fit this description. Throughout this book, we will focus on the two most

common variations: the major pentatonic (1-2-3-5-6-S) and minor pentatonic (1-h3-4-

5-~7-S). These pentatonic scales are undoubtedly the most commonly used musical

elements in the world. Cultures as far-flung as Africa, Europe, Asia, the South Pacific,

and the North and South Americas use these five-note patterns as the basis of their

musical traditions, and their influence on contemporary music is just as far-reaching. As

the primary building blocks of the rock and roll musical vocabulary, the pentatonic scale

can be traced directly to West Africa, Ireland, and Scotland. When African captives were

brought to the Western world, they carried with them a deep musical tradition whose

rhythmic basis morphed over time into shuffle and swing feels. Melodically, the minor

pentatonic scale (1-h3-4-5-h7-S) was at the core of their music-eventually evolving into

the blues scale (1-h3-4-#4-5-h7-S), the melodic foundation of the blues. The journey from

the blues to rock and roll has been well-documented.

But the pentatonic scale's influence on popular music can also be traced back to the music of

Ireland and Scotland. As Celtic people settled in the New World, they brought their

songs, reels, jigs, and sea shantys-many of which were based on the pentatonic scale.

This music became the seed of the Appalachian folk tradition, which over the years

evolved into Old Timey, Bluegrass, and Country. Between the late 1940sand 1950s,these

styles crossbred with the emerging "boogie" genre to create rockabilly as well as rock

and roll. When you look at this crosscurrent of influence, the differences between artists

like Muddy Waters and Hank Williams seem less significant.

The pentatonic scale (in its major form) is simply a major scale without scale degrees 4

and 7. The interval created between the 4th and 7th scale degrees is known as the tritone, and it

is the principle source of dissonance in Western music. By removing these two degrees,

we have a scale that is void of any potential dissonance. German composer Carl Orff

(best known as the composer of Carmina Burana) devised a system of music education

for children based on the use of pentatonic scales for this very reason. Since there are no

"bad" notes, children can improvise freely on pentatonic-based instruments to develop

their creativity. It has been said that in medieval times, the use of the tritone in musical composition

was banned due to its disharmonious quality. It is documented that the tritone was once

referred to as Diablo en Musica, or the "Devil in Music," and considering most music of the

time was composed for use in church, it is not hard to see why the pentatonic scale might

have been favored.

Introduction

 Using the CD

 Learning the Pentatonic Scale
 Minor Pentatonic

 Major Pentatonic

 Two-Octave Pentatonic Scales

 Technical Exercises

 Pentatonic Modes
  - Using Pentatonic Modes

 Common Out-of-Scale Chords

 Other Chord Movements

 Soloing with Pentatonic Scales
 - Major 7th Chords
 - Minor 7th Chords
 - Dominant 7th Chords

 In Closing

GARRISON FEWELL, JAZZ IMPROVISATION FOR GUITAR A Harmonic Approach. CD TABLATURE

Jazz Improvisation for Guitar
A Harmonic Approach
Series: Berklee Guide
Publisher: Berklee Press
Format: Softcover with CD
Author: Garrison Fewell

The purpose of this book is to explore the relationship between jazz harmony and improvisation by studying the vertical structures of chords and their function in a progression, and the horizontal or linear application of harmony to melodic improvisation. Each topic is accompanied by musical examples that are designed to help you hear the connection between harmony and melody and to develop a more melodic and creative way of thinking about improvising over chord progressions.
Width: 9.0"
Length: 12.0"
110 pages

Use jazz harmony to play more intelligent, imaginative, and creative solos. Recognize appropriate note choices and alternatives, whether improvising over easy or complex harmonic progressions. See analysis and melodies created using each concept, "bringing the blackboard to the fretboard." Traditional notation and tab included.

You will learn to:

• Improvise using a rich harmonic palette, over many types of chord changes
• Enrich your harmonic context for improvisation using characteristic diatonic substitutions and upper-structure triads
• Reharmonize melodies using diatonic, hybrid, and polychord voicings
• Use other non-diatonic chords, such as altered, bII7, and diminished chords
• Use parallel modes and dominant substitution as sources for new harmonic colors
• Explore a variety of scale types, including minor scales, symmetrical-diminished scales, and ways of finding new harmonies, such as four-tonic systems
• Create expressive solos with all these tools, applying these rich harmonic contexts within a framework of traditional counterpoint and compositional practice

Garrison Fewell has taught thousands of guitarists since the 1970s at Berklee College of Music and around the world. He has played on dozens of recordings, both as a leader and with artists such as Herbie Hancock, Slide Hampton, Tal Farlow, Benny Golson, and many others. This book is a companion to his first book, Jazz Improvisation for Guitar: A Melodic Approach (Berklee Press).

"Garrison Fewell has long been a hero to the jazz guitar community. Read this book and you will find out why."

—Jim Hall, Acclaimed Jazz Guitarist, Composer, Arranger

"This book contains the answers to many of the questions I have been getting from my students throughout my 35 years of private teaching. The chapter on Melodic Counterpoint is wonderful and probably the only guitar book I know of that explains counterpoint so concisely."

—Vic Juris, Author, Composer, Guitarist with Dave Liebman, Lee Konitz, Mel Tormé, Gary Peacock

"Jazz Improvisation for Guitar is a must for any jazz guitarist who wants to know the secrets of advanced improvising. Professor Fewell uses his many years of teaching experience (he taught my son Julian when he was at Berklee) plus his prodigious musical talent, to lay out the exact tools for cracking the advanced harmony in modern jazz. I learned some ideas I hadn't thought of from this book, and anyone who takes Garrison's rich and comprehensive journey into the non-diatonic aspect of playing will be well rewarded."

—Larry Coryell, Pioneer Fusion Guitarist, Recorded with Charles Mingus, Gary Burton, Chick Corea, and John McLaughlin

"Very ambitious endeavor by guitarist/author Garrison Fewell. Many topics are included with much care and organized beautifully. This could almost be a dictionary or a thesaurus of musical study. Lots of great examples, and nicely engraved as well. Should be in every musician's library. I for one will do some study here!"

—Jack Wilkins, Author and Guitarist with Chet Baker, Sarah Vaughan, Bob Brookmeyer, Buddy Rich

"For the musician wanting a better understanding of improvisation, this book is a must have. While the main focus of the book is for guitar, it really works for anyone wanting to know more about improvising. Garrison has put together information explaining the harmonic variables that help create interesting improvised solos. The written examples are easy to understand and even have fingering charts to show the best way to execute them. Improvisation is a never-ending study to develop a musical vocabulary to implement your ideas. With the help of this book, you can begin this journey."

—Steve LaSpina, SteepleChase Recording Artist, Composer, Educator, Recorded with Jim Hall, Pat Martino, Stan Getz, Randy Brecker

"This book is a treasure chest of advanced concepts presented in a very accessible and enjoyable way. The "tip" boxes alone could be a go-to for countless hours of repeat practice sessions for players of any level."

—Liberty Ellman, Guitarist, Composer, Pi Recording Artist, Member of Henry Threadgill's ZOOID

12-STRING FINGERPICKING GUITAR METHOD, FLINT. 27 Titoli.

BOOK AND CD.
IN STADARD NOTATION AND TABLATURE.

Product Description:
This beginner's method for 12-string guitar by veteran guitarist Tommy Flint covers all of the basics for getting started. Topics include tuning and strings; reading chord diagrams, notation and tablature; blues; triplets; slurs; slides; melody playing on the 1st and 2nd strings; two and three part harmony; movable chords; and rolls. Numerous solos give the student a chance to practice the skills being taught. The companion CD is a helpful audio tool for attaining the correct sound.

Contents:

Going Down The Road Feeling Bad --
Shuffle Boogie --
Down And Out Blues --
Sweet Hour Of Prayer --
In The Pines --
Wildwood Flower --
Mean And Low-Down Blues --
Bully Of The Town --
Little Rosewood Casket --
Graceful Movements --
Letter Edged In Black --
A Boogie --
Dowtown Strut --
Little Brown Jug --
Under The Double Eagle --
Rena Lara --
Gee Haw Boogie --
Brushing The Blues --
Old 97 --
Frankie And Johnny --
The Old Spinning Wheel --
South Side Shuffle --

ADVANCED FINGERSTYLE GUITAR. Ken Perlman. 216 pagine. CD TAB.

Series: Guitar
Publisher: Centerstream Publications
Softcover with CD - TAB
Composer: Ken Perlman

This follow-up to the popular Fingerstyle Guitar book by Ken Perlman (00000081) is really two books in one. To the advanced player, it's an excellent tune book featuring 33 interesting and highly playable guitar arrangements. To the intermediate player, it serves as a clear and detailed guide to the technical expertise and theoretical knowledge required to bridge the gap to the advanced level. Covers Baroque tuning, DAD-GAD tuning and much more. The tunes are organized according to genre: Alternating Bass Pieces, The Country Blues, Melodic Guitar, Fiddle Tunes, Ragtime and Chord-Melody, and all tunes are played on the accompanying CD.
216 pages