LIBRO CON CD

NIRVANA BEST OF GUITAR SIGNATURE LICKS CD TABLATURE LIBRO SPARTITI-Smells Like Teen Spirit

 

NIRVANA, THE BEST OF. CD TABLATURE
The Best of Nirvana

A Step-by-Step Breakdown of the Guitar Styles and Techniques of Kurt Cobain
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Author: Chad Johnson
Artist: Nirvana

As the heroes of a new musical generation, Nirvana's influence can't be overestimated. This book/CD pack lets you inside the playing of grunge god Kurt Cobain, teaching his riffs and licks that defined alternative music. Includes an introduction, detailed notes on Cobain's guitars, amps & effects, a discography, and these 12 Nirvana classics: About a Girl - All Apologies - Come as You Are - Dumb - Heart Shaped Box - Lithium - The Man Who Sold the World - On a Plain - Penny Royal Tea - (New Wave) Polly - Rape Me - Smells like Teen Spirit.

Inventory #HL 00695483
ISBN: 9780634014727
UPC: 073999112993
Width: 9.0"
Length: 12.0"
64 pages

About A Girl
All Apologies
Come As You Are
Dumb
Heart Shaped Box
Lithium
The Man Who Sold The World
On A Plain
Pennyroyal Tea
(New Wave) Polly
Rape Me
Smells Like Teen Spirit

Price: €29,99
€29,99

OSBOURNE OZZY RANDY RHOADS YEARS LIBRO CD CHITARRA TABLATURE S.A.T.O.-FLYING HIGH AGAIN-DEE

OSBOURNE OZZY, THE RANDY RHOADS YEARS. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Composer: Aaron Rosenbaum
Artist: Ozzy Osbourne
Artist: Randy Rhoads

With note-for-note transcriptions of Randy Rhoads' searing guitar work, gear set-ups, performance notes, historical retrospective and a play-along CD, this info-packed book will teach you to play 72 licks from 11 of Ozzy's most recognizable

 

 

Few musicians in the history of rock have been as beloved — revered, really — as Ozzy Osbourne’s late guitarist and musical soul mate, Randy Rhoads.

Only 25 when he was killed in an airplane accident in 1982, Rhoads managed in a few short years to establish himself as one of the most innovative guitar players in the world. On landmark Ozzy songs like “Flying High Again,” “Crazy Train” and “Mr. Crowley,” the guitarist wowed the world with solos and rhythm playing that managed to be explosive and tasteful, and a classical sensibility that was his alone. His premature death only served to solidify his legend, and his many fans keep his memory and spirit alive.

Guitar World acquired a tape of a seminar given by Rhoads himself before an enthralled group of Randyphiles at Music City in Greensburg, PA, on Feb. 2, 1982, only six weeks before his death. Here is the transcription of the lesson presented that day, in which he reveals himself to be every ounce the dedicated — and utterly unassuming — guitar hero.

Whether fielding questions from the audience about the details of his rig or the complexities of his technique, Randy was the perfect gentleman. And as his opening statement to the audience reveals, he was modest and humble, qualities that, as much as his guitar playing, endeared him to his fans:

“This is only the second time I’ve ever done this, so please don’t expect me to just come out and handle things real well; I’m very nervous about speaking in front of people, so you’ll have to give me a hand by asking a lot of questions. I’ll do anything I can to help you out.”

What effects do you use when you play live?

I have a pedalboard that’s got an MXR Distortion +, an MXR 10-band equalizer, a chorus, an MXR stereo chorus, an MXR flanger, a Crybaby wah pedal and a Roland volume pedal. I used them much more in the past than I do nowadays, but now our sound man is starting to add a lot more up front. Sometimes I use them more for quiet rhythm parts, just to enhance the sound. I never use echoes or anything for leads.

Do you have a preamp built into your guitar?

No, I just have the Distortion + on the board, and I just keep that on all the time. My amps are Marshalls.

What speakers do you use in your cabinets?

I use Altecs. I prefer those to Celestions because they’re very bright, clean speakers. I found that Celestion speakers are pretty dirty, and if you add a fuzz box to them they’ll sound terrible.

Do you ever have trouble with feedback?

Yes, I have lots of problems there. For example, if you let go of the guitar for a second, it will feed back. You’ve got to play so that you’re covering your pickup. If I don’t want to do something quiet, I have to either use the volume pedal or click off the fuzz—otherwise my guitar will squeal. I’ve gotten used to playing that way.

Do you have a special tremolo unit on your Charvel Flying V?

Grover Jackson, who owns Charvel, builds the guitars himself for me, and I use his tremolo units. There’s no perfect tremolo, except for maybe a Floyd Rose, but Grover’s are very good. I have another Flying V, the polka-dotted one, but it isn’t a Charvel, and I do have tuning problems with it all the time.

What kind of music did you play when you first picked up the guitar?

I’m 25 now, so I don’t remember what I was playing when I was seven. I just played the guitar. One of the early things I remember was strumming [the flamenco guitar standard] “Malagueñia” on an old Spanish guitar. Later on I just started playing anything I heard on the radio: “Gloria” or “Louie Louie” or whatever.

What players did you admire growing up?

I get asked that all the time: “Who’s your favorite?” “What are your influences?” If you play long enough, your influences are bound to change. I never had a phonograph ’til I was, I think, 16, so I couldn’t just sit and copy my favorite players. I had to listen to the radio, and I liked whoever was good. One of my favorites was Mountain and Leslie West — those harmonics and that sustain. I just thought Leslie was the greatest. But now, I don’t have a favorite — I just like anybody who plays guitar.

Did you take lessons or were you self taught?

Mostly self taught. When I was young I took lessons—basic folk and classical training—then I started playing rock. I’m actually taking lessons now.

You’re taking lessons now?

I did when I was in England.

Who was your teacher?

Anybody. I just take lessons from anybody, like when I have a day off or something. I’ll find someone in town and just pick their brain.

Were you in other bands before you hooked up with Ozzy?

I was in a local band in L.A. called Quiet Riot for five years. I was still with them when I met Ozzy, so I had to leave. Other than that, I was just in some garage bands and other little things that didn’t work out.

Didn’t you put out a couple of records with Quiet Riot?

Yeah. We had a record deal, but we were very young and we lost the deal. It just fell apart. The records were later released in Japan. I was 17 years old and the producer wanted to make us sound very much like a pop band. I mean, if you hear it, there’s hardly any guitar on it.

What do you think of other guitarists, like Michael Schenker?
I think Michael Schenker is excellent, a great rock player. He’s very melodic and he plays with lots of feeling.

Are there any other players you’d put in that category?

Oh, I could name a hundred. I mean, everybody who’s out there is really good at what they do. Eddie Van Halen is fantastic, Ritchie Blackmore…

There are critics who accuse you of copying Eddie Van Halen. Are you influenced by him?

Well, we’re both from the same town and we were both in local bands. It seemed like everybody in L.A. was a lead guitar player, and we all played very similarly. Everybody used to say we all sounded very much the same.

What do you think of Angus?

Angus Young? I think what he does, he does great. He’s so into it.

Tony Iommi?

I didn’t know too much about Black Sabbath when I met Ozzy. That’s probably why I get along with Ozzy—we’re different and come from different musical backgrounds.

Does he ever talk to you about why he left Black Sabbath?

Oh yeah, all the time. I guess they just weren’t getting along. They had been together a long time—14 years or something like that.

When you write a lead, do you focus on the melody or go for more of a technical, dazzle-type thing?

It depends on what the progression is and what the mood of the song is. You have to put down something that suits the song well. I like to play melodically.

What would you say is important for having a good band?

Aside from being able to play well together, you all need to be on the same level mentally. If one guy wants to go out and earn money in a lounge and another wants to go out and do originals, then you’ve got a conflict. I think you should all want the same thing out of your band and like the same kinds of things. That’s a good start, I think.

Is it true that when you auditioned for Ozzy you didn’t even have to play? That you just plugged in your guitar and tuned up?

Yeah, it was even more embarrassing than this. [laughs] I thought I was gonna play with a band. All I brought was this little Fender warm-up amp. When I got there, everyone was behind the glass, and in the room was just me and my amp. And they said, “Okay, play.” And I thought, You’ve got to be joking. I mean, what could I play? I didn’t have any other musicians with me. So I just started warming up, then Ozzy said, “Yeah, you’re good.” I had only played for a few seconds. Then I got kinda mad and thought, Well, you haven’t even heard me yet.

Can you play some stuff for us now?

What would you like to hear?

How about the solo breaks in “Over the Mountain,” where you play the fast, unaccompanied licks?

The first lick in that section is played like this It’s in E minor. Then the next break is just a series of real quick pull-offs to open strings , with a tremolo bar dive added at the end. That’s all there is to it. There’s just one real lick in it; the rest is just, oh, noise.

Play the solo to “Revelation (Mother Earth).”

Okay. It’s in E minor and is very similar to a harmonic [minor] scale. It starts on E flat [D#] and goes up to E flat [D#] again at the very end. For the next lick, I use the edge of the pick to make the riff sound an octave higher. It sounds a lot different live, because I’m trying to slow it down so you can see what I’m playing. Then the next bit is played like this. The only weird notes in it are the E harmonic minor parts.

Could you play the fretboard-tapping riff from your “Flying High Again” solo?

Sure. You start with your left-hand index finger on C# [1st string/9th fret], and you tap with your right hand on a high A [1st string/17th fret]. When you move over to the B string, both hands move up one fret. You then repeat the process on the G and D strings, which finishes off the lick.
The next four bars of the solo are played exactly the same way, but begin down a fourth, in E. The same process is repeated, shifting up one fret as you move to each lower string.

What key is “Flying High Again” in?

It’s in A. When I play “Crazy Train” and then go to play “Flying High Again,” I’m a half-tone out.

Did you tune differently on Diary of a Madman as compared to Blizzard of Ozz?

Yes, we tuned down one half step when we recorded Diary.

Why?

When we were recording the second album, the tuner we had was miscalibrated, and I began to like the sound of being tuned down a half step for some of those songs. A lot of people tune down a half step, but I’d never done it before then. It gives a much heavier sound to the chords, and it just gives you a meaner sound, overall. When we play live, some of the songs are tuned down and some are not, so I use different guitars which are tuned accordingly.

Could you play the beginning of “Crazy Train”?

Yeah, sure.

Are you using a wah-wah on that part at the beginning?

No, just a distortion pedal.

How do you play the main rhythm part to “Crazy Train”?

Like this. The chord progression is A E/A D/A A; the open A string is played against all of the chord voicings. The fast lick at the end is played with pull-offs to open strings. At the end of the verse section, I use chordal inversions, like this. Each chord is played with the third in the bass [the major third appears as the lowest note in the chord voicing]. Here, the chord progression is A/C# E/G# D/F#, with the third of each chord played on the low E string.

How do you play the rhythm part to the section that leads into the chorus?

That part’s played like this. On the second verse, I add a riff when I get to the F#m chord at the end of the progression, like this.

How do you play that really fast, ascending lick during the second chorus?

That riff is sort of a “fake”; I don’t even do that lick live, because it sometimes sounds really sloppy. I used to play it live, though. It’s just an [arpeggiated] F# minor triad shape that slides up the neck chromatically [ascending one fret at a time], but I’m going to lie and say that it’s played perfectly. All it is is this, after which I hurry into a pick slide before the lick dies. When you play loud, you can get away with playing a lick like that without playing it perfectly.

Did you use tapping in the “Crazy Train” solo, too?

Yes, the solo begins with this tapped lick, after which I play a slow trill that slides down one whole step.

How do you play the last lick in the “Crazy Train” solo?

It’s in F# minor. I’m trying to remember it because I don’t do that run live anymore. To the best of my recollection, it’s played like this [FIGURE 4H]. The lick begins one and a half steps below F#, on D#. If you were to play the lick in A minor, it’d be done like this.

Is there a term that describes these kinds of riffs?

These riffs are all articulated with hammer-ons. I know of no other particular name to describe them.

Do you do any particular finger exercises before you go out on stage?

I have some exercises where I use the first, second and fourth fingers in order to warm up. Here’s one [FIGURE 5A] in which I’m just sort of “wandering around.”

It’s good to do exercises like this [FIGURE 5B] using “alternate picking” [down-up-down-up, etc.], and to keep speeding it up. I used to like practicing licks that contained a lot of hammer-ons, like these [FIGURES 5C and D], but I don’t do those things that much anymore. These licks are great, though, for warming up your fingers before a gig.

Could you show us those unusual chords in “Diary of a Madman”?

Sure. The song begins with an A [major triad], with the flatted fifth added to the chord. So, you’ve got the root note, A, the third, C#, then the flatted E, with the open high E on top. The sound of the Eb and the E together gives you that dissonant sound. As you can see, the notes on the D, G and B strings descend as the chords progress through the first five bars. This section ends with an arpeggiated Emaj9 [Eadd2] chord, with the seventh, D, dropped in at the end.

The verse section features virtually the same chords as those used for the first four bars of the intro, but played in a different time signature. This section ends with some different chords played in yet another time signature [6/8].

Then there’s the heavy, distorted riff which appears a few times during the song. Here’s how it’s played during the intro. Following the bridge and the interlude, I shift to this heavy rhythm guitar part. The last chord in bar 1 [the two-note Em] is very similar to C7, but I think of it as E diminished, as both chords are built from almost the same notes [both chords comprise the notes G, Bb and E].

Right before the interlude, I play a heavily distorted riff that is similar to the first heavy riff, which is in A minor, but is here transposed to E minor. This is followed by the interlude, which begins with an Em(add9) chord.

When you take your spotlight solo each night on stage, do you ever improvise or do you always play the same solo?

It’s basically the same. But it depends on the sound I have onstage: if it’s a bad sound, I just do a basic form of the solo. But if it sounds really good, I like to carry on with it.

 

SONG LIST:

CRAZY TRAIN
DEE
DIARY OF A MADMAN
FLYING HIGH AGAIN
GOODBYE TO ROMANCE
I DON'T KNOW
MR. COWLEY
OVER THE MOUNTAIN
REVELATION (MOTHER EARTH)
S.A.T.O.
SUICIDE SOLUTION

80 pages

Price: €27,99
€27,99

OSBOURNE OZZY THE VERY BEST OF techniques of Randy Rhoads-Jake E. Lee-Zakk Wylde CD SPARTITI

OSBOURNE OZZY, THE VERY BEST OF. A step-by-step breakdown of the styles and techniques of Randy Rhoads, Jake E. Lee, Zakk Wylde. CD TAB.

Description:
A step-by-step breakdown of the guitar styles and techniques of the late Randy Rhoads, Jake E. Lee and Zakk Wylde. Includes hits (with CD note for note performances) from the albums Blizzard of Oz and No More Tears. Great care has been taken to recreate the tones and mix of the original recordings, with one exception - the featured guitar part is isolated on the right channel, and the other instruments are isolated on the left channel. You may then listen to the guitar part for learning purposes, hear the entire band or play along with the backing tracks.

Rhoads:
-I don't know
-crazy train
-dee
-steal away (the night) live
-Iron man (live)
-Paranoid (live).

Jake E. Lee:
-bark at the moon
-killer of giants (Eb slack tuning)

Zakk:
-mama, I'm coming home
-no more tears (drop D tuning)

Arranged: Troy Stetina.
Explore the trademark riffs, solos and compositions of Ozzy Osbourne's famous sidemen: Randy Rhoads, Jake E. Lee and Zakk Wylde. This book/CD pack by Troy Stetina includes background notes, lessons and other helpful tips that will help you master 11 Ozzy favorites from his Black Sabbath and solo years. Features hands-on analysis of: Bark at the Moon -Crazy Train -Dee -I Don't Know -Iron Man (Live) -Mama, I'm Coming Home -No More Tears -Paranoid (Live) -Killer Of Giants -Steal Away (The Night). The CD includes full-band examples of each song. 64 pages.

Bark At The Moon
Crazy Train
Dee
I Don't Know
Iron Man
Killer Of Giants
Mama, I'm Coming Home
No More Tears
Paranoid
Steal Away (The Night)

Price: €29,99
€29,99

PANTERA DIMEBAG DARRELL'S RIFFER MADNESS LIBRO CD GUITAR TABLATURE techniques power chords

PANTERA, Guitar World Presents DIMEBAG DARRELL'S RIFFER MADNESS. L'8 Dicembre 2004, Darrell è stato ucciso in Ohio da un fan folle. CD TABLATURE

- CD CONTAINING ALL 114 EXAMPLES INCLUDED

- DIME'S CRUSHING RHYTHM AND BRUISE TECHNIQUES EXPLAINED

- DOZEN OF DIME RIFFS DISSECTED

- LOADS OF KILLER LICKS, LEADS AND HARMONY LINES

- PANTERA: THE STORY SO FAR

- DIME'S INFLUENCE: THEN AND NOW

- THE TONE ZONE: DIME'S AXES, AMPS AND FX

- FAQS FROM DARRELL'S INFAMOUS FEEDBACK SACK!

 

Guitar World Presents Dimebag Darrell's Riffer Madness
By Dimebag Darrell [Pantera]

Item: 00-0350B
UPC: 654979003175
ISBN 10: 0769291015
ISBN 13: 9780769291017

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

By Dimebag Darrell
with Nick Bowcott

--------------------------------------------------------------------------------
Metal is back! Dimebag Darrell is a walking textbook of modern metal guitar techniques, liberally spraying bone-crushing power chords, dissonant intervals, tremolo arm insanity, and a shredding lead voice worthy of the masters. Now all metal guitarists can go behind the scenes with Dimebag and Pantera. Here, he teaches the patterns and techniques that have driven Pantera to become one of the most successful heavy metal bands in rock history. A must-have, this book will go down in metal history as a classic.

Thankfully, once again, Dimebag Darrell and Pantera were having none of that nonsense and quite literally screamed their undying allegiance to metal from sold-out stadium stages allover the world. "We've always said that we're proud to be a metal band and we always will," Dime affirms. "I grew up a heavy metal kid, listening to great metal bands, and that's what we've always dreamed of being. Metal isn't a haircut, it's an attitude, and I knowit's not real fashionable right now but weain't about to let anyone down-we ain't about to deny what we are just so we can sell more records. We play extreme music and we lovethe heavy shit so why would we do anything else than what we're best at'?! It kills me when I see other metal bands trying to pass themselves off as something else just because metal isn't in style at the moment. Well, brother, they can join the pack, 'cos we'regonna remain true to our roots while all that other shit keepstwisting around us. We'relike a steel rod and wewon't bend.We'rejust gonna get bigger, stronger and harder. We'rethe full-meal deal, man-we're all about kick-ass songs with lead vocals, lead guitar, over-the-top drumming, killer bass lines and a shitload of no-holds-barred heavy riffs you can bust a nut on! "It doesn't matter what the 'experts' say, this form of music will never go away," our subject continues, his eyes ablaze with passion and sincerity. "Trends can come and go 'cos we'regonna keep playing right through them. To me, a trend is kinda like a zit, except peoplethink trends are cool-they both grow and grow and then finally, POP! They burst and go back to their normal size. So, it don't matter how many zits spring up around us 'cos we knowthey ain't gonna be around forever and we'll still be there whenthey're gone.This band is like a mole-a bad-assed, nasty mole-and weain't even halfway to wherewe're going!" Judging by the vast legions of fans that flock to Pantera concerts and the impressive array of platinum and gold disks that adorn the walls of Dimebag's pad, Camp Strapped, the band's unbending metal stance has clearly paid off. What is more, Pantera is clearly nowherenear being done. "We'rejust starting to get real good at what we do!" Dime laughs. "We'refour guys who are like family-we're in love with what wedo and we'reon fire whenwe're touring, man. Weain't nevergonna stop; we'rethe Rolling Stones of the heavy shit! And we'll never, ever change; there's no reason to-I can't see how it could ever change and that's the god's honest truth," Amen! Long live the "bad-assed, nasty mole."

 

Credit Where Credit Is Due

Not surprisingly, the world's guitar press was quick to notice the impact Dime was having on young players, and he's deservedly adorned countless covers as a result. Of all the praise that has beenheaped on our subject by such publications, the most succinct of all appeared in the February 1997 issue of Guitar World in which the following passage appeared: Pantera's "King Dime" is the premier metal guitarist of the Nineties. In an age when most headbangers have packed up their gig bags and moved to greener, grungier pastures, Darrell continues to dish out some of the decade's most brutal and uncompromising thrash. By combining the virtuosity of Edward Van Halen with the hyperactive rhythmic drive of a glue-sniffin' punk guitarist, Darrell has created a style that appeals to cfassic rockers, fans of death metal and industrial afficionados as well.

 

Part II: How?

In 1993, Guitar World, the biggest-selling guitar magazine on the planet, decided to see if they could get three of the hottest lead players on the planet to pen some columns for 'em. Their first two choices were no-brainers-Kirk Hammett and Eric Johnson, both firmly established as giants amongst the six-string elite. Finding the third guy, however,was gonna be a little less obvious. Guitar Worlds editor, Brad Tolinski, didn't want to take the easy route and give it to someone who was already firmly established as a household name,y'see. Instead he wanted to take a risk and give it to a relative unknown-a player whose star was on the rise but wasn't clearly visible for all to see yet. In short, it was a crapshoot. Brad called me and asked me if I had any thoughts on the matter. In my mind there was no doubt who should get the gig, and so my answer was instant: "Dime's your man," I blurted. ''I'd bet my house on it-if only I had one!" Brad and his crack editorial staff conferred and agreed. Furthermore, they offered me the task of beingthe writer who worked with Dime on his column - should he decide to accept this daunting mission. Thankfully he did and in the April 1993 issue Guitar World, Dime's column trade its auspicious debut. Its title ? enough, it was ...

Price: €29,99
€29,99

ELVIS PRESLEY THE GUITARS OF Guitar Signature licks Scotty Moore Garland James Burton CD TABLATURE LIBRO

PRESLEY ELVIS, THE GUITARS OF. LICKS. La tecnica e lo stile dei chitarristi di Elvis dagli albori alle ultime esibizioni; Scotty Moore, Hank Garland, James Burton. Pieno di notizie e informazioni sulla musica di una delle più importanti e influenti personalità del rock. Contiene: That's all right -baby, let's play house -a big hunk o' love -good rockin' tonight -hard headed woman -hearbreaker hotel -hound dog -I don't care if the sun don't Shine -jailhouse rock -just because -little sister -milk cow blues boogie -mystery train -never been to Spain -see see rider -too much. CD TAB.

Signature Licks Elvis' music is synonymous with the birth of rock and roll and the invention of rock guitar. Wolf Marshall takes you back to the roots where it all started with this exploration into the influential style of the King's fretmen. This book is a step-by-step breakdown of the playing techniques of Scotty Moore, Hank Garland, and James Burton. Players will learn their unique concepts and techniques by studying this special collection of Elvis' greatest guitar-driven moments. The 75-minute accompanying audio presents each song in stereo-split with full band backing. Songs include: A Big Hunk O' Love -Heartbreak Hotel -Hound Dog -Jailhouse Rock - See See Rider, and more! 72 Pages.

Songlist:
BABY,LET'S PLAY HOUSE
A BIG HUNK O'LOVE
GOOD ROCKIN' TONIGHT
HARD HEADED WOMAN
HEARTBREAK HOTEL
HOUND DOG
I DON'T CARE IF THE SUN DON'T SHINE
JAILHOUSE ROCK
JUST BECAUSE
LITTLE SISTER
MILK COW BLUES BOOGIE
MYSTERY TRAIN
NEVER BEEN TO SPAIN
SEE SEE RIDER
THAT'S ALL RIGHT
TOO MUCH

Price: €29,99
€29,99

RED HOT CHILI PEPPERS GUITAR SIGNATURE LICKS BOOK & CD TABLATURE SPARTITI CHITARRA LIBRO

RED HOT CHILI PEPPERS, LICKS. CD TAB.

Series: Signature Licks Guitar
Medium: Softcover with CD

Signature Licks Red Hot Chili peppers covers songs from all 4 of their releases. Learn all of the licks that made these tunes and the band famous. Detailed breakdown of each riff with an accompanying CD. 72 pages

Aeroplane
Breaking The Girl
Catholic School Girls Rule
Fight Like A Brave
Give It Away
Good Time Boys
Love Rollercoaster
My Friends
Subway To Venus
Taste The Pain
Under The Bridge
Warped

Price: €26,99
€26,99

ROLLING STONES GUITAR SIGNATURE LICKS CD TABLATURE CHITARRA LIBRO SPARTITI METODO BOOK

ROLLING STONES, GUITAR LICKS. Da celeberrimi brani di Rhythm and Blues come "little red rooster" del bestiale Willie Dixon, o "shake your hips", a canzoni marchiate Rock Stones come "when the whips come down", sempre con accordature negroidi. Contiene: beast of burder -doo doo doo doo doo (heartbreaker) -hang fire -happy -the Harlem shuffle -it's only rock 'n' roll -(but I like it) -little red rooster -miss you -not fade away -rocks off -shake your hips -shattered -she's so cold -start me up -tumbling dice -undersover (of the night) -when the whip comes down. CD TAB.

Series: Signature Licks Guitar
Medium: Softcover with CD
Artist: Rolling Stones
Arranger: Wolf Marshall
A step-by-step breakdown of the guitar styles of Keith Richards, Brian Jones, Mick Taylor and Ron Wood. 17 songs are explored, 96 pages, including:

Beast Of Burden
Doo Doo Doo Doo Doo (Heartbreaker)
Hang Fire
Happy
It's Only Rock 'N' Roll (But I Like It)
Little Red Rooster
Miss You
Not Fade Away
Rocks Off
Shake Your Hips
Shattered
She's So Cold
Start Me Up
The Harlem Shuffle
Tumbling Dice
Undercover (Of The Night)
When The Whip Comes Down

Price: €25,99
€25,99

SANTANA, EUROPA (EARTH'S CRY HEAVEN'S SMILE). ENSEMBLE GUITAR TABLATURE

SANTANA, EUROPA (EARTH'S CRY HEAVEN'S SMILE). Ensemble per 4 chitarre e basso. Tablatura solo della chitarra 1. CD TABLATURE

21st Century Guitar Ensemble Series: Europa (Earth's Cry Heaven's Smile)
By Carlos Santana and Tom Coster / arr. Bill Purse / ed. Aaron Stang

SERIES: Warner Bros. Publications 21st Century Guitar Course
CATEGORY: Guitar Method or Supplement
FORMAT: Score, Parts & CD
LEVEL: Levels 2-3

An exciting new series of guitar ensemble music. Each title includes a full score and parts for four guitars and optional bass guitar. Teacher and student performance notes and a listening CD are included.

The hauntingly beautiful "Europa (Earth's Cry Heaven's Smile)" is one of Carlos Santana's most popular instrumentals. In addition to Santana's own classic recording, this song was a huge instrumental hit for tenor saxman Gato Barbeiri. This arrangement will make a great final concert selection. Intermediate/advanced level: appropriate for high school students in Levels 2 and 3 of the Method.

Includes the Following Selections:
Title Composer
EUROPA (EARTH'S CRY HEAVENS SMILE)
CARLOS SANTANA/TOM COSTER

Price: €21,00
€21,00

SATRIANI JOE i SEGRETI DELLA CHITARRA CD ITALIANO TABLATURE ACCORDI SCALE MODI SOLOING TECNICA

SATRIANI JOE, I SEGRETI DELLA CHITARRA, IN ITALIANO. Tutte le 41 lezioni che Satriani ha scritto per la rivista "guitar", Accordi; Scale e Modi; Teoria delle scordature; Tecnica; Armonici, Assoli. TABLATURE

 

41 PRIVATE LESSONS AS FEATURED IN GUITAR For The Practicing Musician magazine (GFTPM)

INCLUDES

CHORDS

SCALES & MODES

TUNINGS

THEORY

TECHNIQUE

HARMONICS

SOLOING

Price: €34,99
€34,99

SATRIANI JOE THE BEST SIGNATURE GUITAR TABLATURE BOOK CD SPARTITI CHITARRA LIBRO TECNICA

SATRIANI JOE, THE BEST. Comprende anche basi.
Dale Turner explore Satriani's scorching sound with this step-by-step breakdown of his styles and techniques. This book/CD pack provides hands-on analysis of 11 classic tracks from five albums. From Not of This Earth: Hordes of Locusts -Memories -Not of This Earth -Rubina. From Surfing with the Alien: Always with Me, Always with You -Circles -Crushing Day. From Dreaming #11: The Crush of Love. From Flying in a Blue Dream: Big Bad Moon -Flying in a Blue Dream. From The Extremist: Summer Song. 80 pages. CD TAB.

Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Dale Turner
Artist: Joe Satriani

Explore Satriani's scorching sound with this step-by-step breakdown of his styles and techniques. This book/CD pack provides hands-on analysis of 11 classic tracks from five albums. From Not of This Earth:

Always With Me, Always With You
Big Bad Moon
Circles
The Crush Of Love
Crushing Day
Flying In A Blue Dream
Hordes Of Locusts
Memories
Not Of This Earth
Rubina
Satch Boogie
Summer Song

80 pages

Price: €26,99
€26,99
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