LIBRO CON CD

CHORDS FOR JAZZ GUITAR The Complete Guide to Comping Chord Melody and Chord Soloing CD TABLATURE libro

CHORDS FOR JAZZ GUITAR, The Complete Guide to Comping, Chord Melody and Chord Soloing. CD TABLATURE

Chords for Jazz Guitar
The Complete Guide to Comping, Chord Melody and Chord Soloing
Series: Guitar Educational
Format: Softcover with CD
Author: Charlton Johnson

This book/CD pack will teach you how to play jazz chords all over the fretboard in a variety of styles and progressions. It covers: voicings, progressions, jazz chord theory, comping, chord melody, chord soloing, voice leading and many more topics. The CD includes 98 full-band demo tracks. No tablature. 149 pages.

Inventory #HL 00695706
ISBN: 9780634047145
UPC: 073999793710
Width: 9.0"
Length: 12.0"
152 pages

Price: €26,99
€26,99

MODERN JAZZ GUITAR STYLES, André Bush CD TABLATURE SOLOING-Chord Voicings-Modal-Rhythmic Sequencing

MODERN JAZZ GUITAR STYLES, A. Bush. CD TABLATURE

Product Description:
A unique book and CD package including extensive chapters on soloing, chords, rhythm and effects. With in-depth exercises on modern scale applications and intervallic choices, developing individual chord voicings, incorporating rock and funk concepts, exploring elements from world music such as odd meters and polyrhythms, and ideas for developing your own sonic textures and approach to tonal manipulation. Each section features an essay illustrating the musical history and specific innovations of modern jazz guitar masters, with insightful commentary accompanying each concept and example. The last section thoroughly analyzes studio performances of two original compositions incorporating all the above materials. Modern Jazz Guitar Styles provides the serious student or professional seeking to broaden his palette with a comprehensive overview of the current state of jazz guitar.

Extensive chapters on soloing, chords, rhythm and effects

In-depth exercises on modern scale applications and intervallic choices

Ideas for developing your own sonic textures and approach to tonal manipulation

Covers developing individual chord voicings, incorporating rock and funk concepts and exploring elements from world music

Provides serious student/professional a comprehensive overview of current state of jazz guitar

Companion CD included

 

Product Number: 99917BCD
Format: Book/CD Set
ISBN: 0786658657
UPC: 796279073325
ISBN13: 9780786658657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 1/31/2005
104 PAGES

modern jazz guitar styles chapter one introduction &
A jazz steps into the 21st century, creative guitarists have an unprecedented array of musical options at their fingertips. Fundamental study materials are more available in more forms than ever, and contemporary jazz has become infused with the influences of pop, rock, techno, hip-hop, rap, world music, etc. We guitarists may freely draw from not only the musical gestures of these styles, but also the techniques, tones and production values. In so doing, the new breed of jazz guitarist is well within the greatest traditions of jazz, which has always used whatever means necessary to express itself. Consider Dizzy Gillespie's championing of Afro-Cuban music, Illinois Jacquet's growling, distorted tone or Miles Davis' radical transformation of Tin Pan Alley and show tunes. As soon as technology permitted, jazz musicians recorded extended improvisations and compositions, and the advent of the electric guitar itself allowed guitarists to utilize be-bop phraseology.
The seminal work of modem jazz guitar pioneers such as John McLaughlin, Larry Coryell, Pat Metheny, John Scofield, Bill Frisell, Ralph Towner and many others now enters the jazz continuum and stands equally alongside the work of Charlie Christian, Wes Montgomery, Jim Hall etc. While these great artists deliberately set about combining rock and jazz styles, a new generation of jazz guitarists accepts these techniques as matter of fact. The sounds of Jimi Hendrix and Charlie Parker sit side by side in the new jazz guitar vocabulary.
In this book we will explore modem soloing techniques, chord playing, rhythmic theory and its practical application. Throughout, we will examine major guitarist/composers of recent years and how various styles from outside the jazz tradition have informed their work. There will also be a chapter on signal processing devices and their role in jazz guitar. Woven into all chapters and their various subjects will be commentary on specific artistis and albums where you can find great examples of the particular technique or effect. Also, I will begin every chapter with a short essay, which will try to give some historical context to the materials and times.
I will include a detailed analysis of two original compositions from my CD Invisible City (Quicksil ver Records/Odd Culture Productions) in which we will take an in-depth look at the compositional material, guitar techniques and effects, with an eye on all the material presented here. 1'11 conclude with a list of suggested listening and reading, where I will recommend CDs by many of the artists we've looked at, and related reading and viewing material.
While this volume contains some material that may be helpful and of interest to the beginning or intermediate player, I have geared most of the material and subject matter to the serious student of jazz guitar. While this list is by no means definitive, I would consider a basic grasp of the following material to be prerequisite to the subject matter in this book.

1. Major, melodic and harmonic minor scales, their modes and chords, as well as the diminished, whole-tone and pentatonic scales.

2. Basic fretboard harmony, including standard voicings for all major, minor, dominant and
diminished 7th chords, with extensions.

3. Basic principals of chord substitutions (i.e. tritone substitution, backcycling, triad over bass,
reharmonizing, etc.)

4. Knowledge of a good number of jazz standards (melody, chord changes and improvisational
analysis), preferably memorized.

5. Familiarity with the history of jazz guitar and the ability to identify major figures from all eras by ear. ...
 

modern jazz guitar styles chapter one introduction &
A jazz steps into the 21st century, creative guitarists have an unprecedented array of musical options at their fingertips. Fundamental study materials are more available in more forms than ever, and contemporary jazz has become infused with the influences of pop, rock, techno, hip-hop, rap, world music, etc. We guitarists may freely draw from not only the musical gestures of these styles, but also the techniques, tones and production values. In so doing, the new breed of jazz guitarist is well within the greatest traditions of jazz, which has always used whatever means necessary to express itself. Consider Dizzy Gillespie's championing of Afro-Cuban music, Illinois Jacquet's growling, distorted tone or Miles Davis' radical transformation of Tin Pan Alley and show tunes. As soon as technology permitted, jazz musicians recorded extended improvisations and compositions, and the advent of the electric guitar itself allowed guitarists to utilize be-bop phraseology.
The seminal work of modem jazz guitar pioneers such as John McLaughlin, Larry Coryell, Pat Metheny, John Scofield, Bill Frisell, Ralph Towner and many others now enters the jazz continuum and stands equally alongside the work of Charlie Christian, Wes Montgomery, Jim Hall etc. While these great artists deliberately set about combining rock and jazz styles, a new generation of jazz guitarists accepts these techniques as matter of fact. The sounds of Jimi Hendrix and Charlie Parker sit side by side in the new jazz guitar vocabulary.
In this book we will explore modem soloing techniques, chord playing, rhythmic theory and its practical application. Throughout, we will examine major guitarist/composers of recent years and how various styles from outside the jazz tradition have informed their work. There will also be a chapter on signal processing devices and their role in jazz guitar. Woven into all chapters and their various subjects will be commentary on specific artistis and albums where you can find great examples of the particular technique or effect. Also, I will begin every chapter with a short essay, which will try to give some historical context to the materials and times.
I will include a detailed analysis of two original compositions from my CD Invisible City (Quicksil ver Records/Odd Culture Productions) in which we will take an in-depth look at the compositional material, guitar techniques and effects, with an eye on all the material presented here. 1'11 conclude with a list of suggested listening and reading, where I will recommend CDs by many of the artists we've looked at, and related reading and viewing material.
While this volume contains some material that may be helpful and of interest to the beginning or intermediate player, I have geared most of the material and subject matter to the serious student of jazz guitar. While this list is by no means definitive, I would consider a basic grasp of the following material to be prerequisite to the subject matter in this book.

1. Major, melodic and harmonic minor scales, their modes and chords, as well as the diminished, whole-tone and pentatonic scales.

2. Basic fretboard harmony, including standard voicings for all major, minor, dominant and
diminished 7th chords, with extensions.

3. Basic principals of chord substitutions (i.e. tritone substitution, backcycling, triad over bass,
reharmonizing, etc.)

4. Knowledge of a good number of jazz standards (melody, chord changes and improvisational
analysis), preferably memorized.

5. Familiarity with the history of jazz guitar and the ability to identify major figures from all eras by ear.
 

modern jazz guitar styles andre bush biography
Guitarist and composer Andre Bush draws from a wide range of influences in his music. He combines the
lyrical and creative approach of modem jazz heroes such as Wayne Shorter, Keith Jarrett and Pat Metheny with the
high-energy grooves and complex sonic structures of innovative guitarists such as John McLaughlin, Sco
Henderson and Nguyen Le. In addition to a thorough grounding in the jazz tradition, his extensive experience in
the world of rock and pop give him a unique musical outlook. Andre's playing seamlessly reconciles the
disparate worlds and establishes his conception as a natural and logical extension of the jazz guitar tradition.
Andre's new album, Start From Silence, pairs Andre with master pianist Art Lande and an allstar ban
performing his complex yet accessible compositions. Challenging rhythms, beautiful harmony, poignant lyricism.
and brilliant improvisation combine to create a cohesive and unique album.
Start From Silence follows up Invisible City (Quicksilver/Increase,) an album that featured jazz icons Dave
Liebman and Steve Smith. Invisible City emerged as one of the most critically acclaimed releases of 2000, nam
"CD of the Year" by the Jazz Review, and was added to hundreds of jazz radio stations nationwide, appearing 0
both CMJ and Gavin jazz charts.
Andre has performed or recorded with Dave Liebman, Steve Smith, Paul McCandless, Art Lande, Kenn_
emer, James Genus, Charlie Haden, Tootie Heath, George Cables, Buster Williams, Carl Allen, Andy NarelL
Darol Anger, Matt Rollings, Liz Story, Will Ackerman, Paul Hanson, Jack Perla and many others. Andre h
maintained a longtime musical partnership with Jenna Mammina, serving as her guitarist musical director ~
several albums and tours. He has appeared at the Mt. Hood Jazz Festival, San Francisco Jazz Festival, Montere_
Jazz Festival, Vancouver International Jazz Festival, Windham Hill's Winter Solstice tour and in clubs and theate
around the country. As a session guitarist, Andre has appeared with various bands at the Lilith Fair, on VHI an
TV and Alice Radio nationwide, contributed to many recording projects, and toured with a wide variety _
international artists.
Andre is a naturally gifted teacher who clarifies and inspires enthusiasm for complex musical concepts. H
i in frequent demand in the US and Europe as a guitar clinician and jazz educator.
Currently, Andre is touring in support of Start From Silence and Modern Jazz Guitar Styles. He teache
The Jazzschool in Berkeley, CA and at his home studio, is a frequent faculty member at Stanford Jazz Worksh
and Jazzcamp West and is a regular contributor to Guitar Player Magazine.
For information on concerts, clinics, workshops or seminars please contact:
odd culture productions, San Francisco.

 


Contents:

1) Introduction.4
2) Scales / Single Note Soloing.
In this chapter we will explore modern approaches to single note soloing.
Modern intervallic choices, scalar approaches, picking techniques and
articulation such as sweeps and legato phrasing will be covered, as well
as a few practicing ideas.

3) Chords.28
Here we will cover some approaches to modern chord voicings. We'll
focus on breaking out of standard chord forms and developing voice
leading. Quartal harmony, cluster voicings and modern substitutions
will be covered.

4) Rhythm44
In this chapter we will explore ways in which various rhythmic languages
have been integrated into jazz in the past three decades. Odd meters,
brazilian rhythms, Indian theory as well as some metronome basics will
be explored.

5) Effects..71
In this chapter we will explore signal processing, tonal manipulation, detuning,
etc. in modern jazz guitar. We'll cover time-based effects (reverb, delays, etc)
tonal effects (distortion, chorusing), amp technology, and how they have been
integrated into several different guitarists musical languages.

6) Analysis of "Odd Culture, This" and "Past and Future Warriors"..76
In this chapter I'll give a detailed analysis of two songs from my album Invisible
City (Odd Culture Productions/Quicksilver Records). Many of the elements that
we've studied throughout the book are present here, such as odd meters, modern
chord voicings and jazz/rock guitar techniques, so this will be a good opportunity
to explore these elements from the ground up.

7) Listening / Reading / Viewing / Bibliography / Study Materials.85
I'll conclude the book with a list and comments on several artists, their CDs, books and videos, to further help your studies. You'll be familiar with some of
these players, but others may be new and definitely worth checking out. Also
included will be a list of additional study materials.

 


Tuning Note A 440 and Introduction
Intervallic Ideas Using Major Scale Modes on a ii-V-I
Intervallic Ideas Using Major Scale Modes on a Pedal Tone
Intervallic Ideas Using Dorian Mode on One Chord
Intervallic Ideas on a Progression Similar to "Giant Steps"
Bluesy Ideas Using Melodic Minor Modes on a Minor ii-V-i
Intervallic Ideas Using sus b9 Mode on One Chord
Intervallic and Bluesy Ideas on a Progression Similar to "Stella By Starlight"
Funky Ideas Using Half-Whole Diminished Scale
Ideas Using Half-Whole Diminished Scale on a ii-V-I
Ideas Using Half-Whole Diminished Scale on a ii-V-I
Pentatonic Scale for Maj7(~11)
Pentatonic Scale for Maj7(:11) on a ii-V-I
Pentatonic Scale for Maj7(:11) on a ii-V-I
Pentatonic Scale for Altered Dominant Chords on a Turnaround
Melodic Sequencing on a Minor ii-V-I
Melodic Sequencing on a Minor ii-V-I
Melodic Sequencing on One Chord
Melodic Sequencing on One Chord
Melodic Sequencing on a Progression Similar to Have You Met Miss Jones?"
Legato Phrasing Techniques on a Major Scale
Legato Phrasing Techniques on One Chord
Sweep Picking Demonstration
Sweep Picking on a Minor ii-V-I
Sweep Picking on Arpeggio Combinations
Right Hand Tapping Demonstration
Right Hand Tapping Demonstration, Extended Example
Right Hand Tapping for Voicing a Chord
Open and Stopped String Combinations for a Major Scale
Open and Stopped String Combinations in a Melody
Fourth-Based Voicings for Major Scale Harmony
Fourth-Based Voicings for Melodic Minor Scale Harmony
Modal Voicings from the Major Scale Using Adjacent Strings
Modal Voicings from the Major Scale Mixing Adjacent and Non-Adjacent Strings
Modal Voicings from the Melodic Minor Scale Using Adjacent Strings
Modal Voicings from the Melodic Minor Scale
Mixing Adjacent and Non-Adjacent Strings
Chord Voicings Mixing Stopped and Open Strings
Chord Voicings Mixing Stopped and Open Strings
Chord Voicings Mixing Stopped and Open Strings on a ii-V-I
Modal Voicings Mixing Stopped and Open Strings
Chord Etude on a Progression Similar to "'SoWhat" or "Impressions"
Chord Etude on a Progression Similar to "Stella By Starlight"
Chord Etude on a Progression Similar to "Blue Bossa"
Comping in the Style of John McLaughlin
Hammond B3-Style Comping
Single Note Comping
Rhythm Etude Using a Single Note
Rhythm Etude Incorporating Melody
Rhythm Etude in 3/4
Vamp in 5/4 on One Chord
Vamp In 5/4 with Harmonic Modulation
Etude In 7/8 with Basic Subdivisions
Etude in 7/8 Adding Melody
Etude in 7/8 Adding Melody with Various Rhythmic Figures and Chord Voicings
Etude in 7/4 on a Progression Similar to "All the Things You Are" 54-
Etude on an 11/8 Blues
Funk Etude in 7/4
Metric Modulation, 4/4 to 3/4
Metric Modulation, 4/4 to 7/8
Rhythmic Displacement
Rhythmic Displacement with more Complex
Melody and Variation
Rhythmic Displacement through a Chord Progression
Rhythmic Sequencing on One Chord
Rhythmic Sequencing on One Chord
Rhythmic Sequencing on a Turnaround
Counting Subdivisions in 15/8
Counting in 15/8, Emphasizing First Beat of Each Subdivision
15/8 Groove, Adding Melody
15/8 Groove with Melody, Adding Rests and Ties
15/8 Groove, Adding Chord Progression and Melody
Basic Montuno for Guitar
Montuno for Guitar with Modem Harmony
Basic Bossa Nova Rhythm Guitar Pattern
Bossa Nova in 5/4
2 Against 3 Polyrhythm
12/8, 6/8,3/4 Polyrhythm
2 and 4 Against 3 Polyrhythm on a Progression Similar to "Someday My Prince Will Come"
Demonstration of Implied Metric Modulation
Short Composition Incorporating Implied Metric Modulation
Odd Culture, this from "Invisible City" (Odd Culture Productions/Quicksilver Records)
Past and Future Warriors from Invisible City (Odd Culture
Productions/Quicksilver Records)

Andre Bush cover photo
Danie/ Gohstand - danie/photo.com
Guitar images (AES620 series) courtesy of Yamaha
Recorded by Peter Wolf at Wolfsound Productions
 

Price: €24,49
€24,49

Hal Leonard Method JAZZ GUITAR Jeff Schroedl CD TABLATURE LIBRO METODO SPARTITI CHITARRA

JAZZ GUITAR. J. Schroedl. CD TAB.

Softcover with CD - TAB
Author: Jeff Schroedl

Featuring in-depth lessons and 40 great jazz classics, the Hal Leonard Jazz Guitar Method is your complete guide to learning jazz guitar. This book uses real jazz songs to teach you the basics of accompanying and improvising jazz guitar in the style of Wes Montgomery, Joe Pass, Tal Farlow, Charlie Christian, Jim Hall and many others. Lesson topics include: chords and progressions; scales and licks; comping and soloing styles; chord-melody; intros and endings; technique; equipment and sound; and more!

Songs include: Satin Doll - Take the A Train - Billie's Bounce - Impressions - Bluesette - My One and Only Love - Desafinado - Autumn Leaves - Watch What Happens - Misty - Song for My Father , and more. The CD contains 99 tracks for demonstration and play-along.

"Highly Recommended." Just Jazz Guitar

"Filled with well-written examples ... bask in the glory of having a lot of great material at your fingertips." Downbeat
80 pages

Autumn Leaves
Billie's Bounce (Bill's Bounce)
Bluesette
The Christmas Song (Chestnuts Roasting On An Open Fire)
Desafinado
Easy Living
Honeysuckle Rose
I Remember You
Impressions
Mr. P.C.
Misty
My One And Only Love
My Romance
A Nightingale Sang In Berkeley Square
Ornithology
Road Song
Samba De Orfeu
Satin Doll
Song For My Father
Take The 'A' Train
Watch What Happens

Price: €26,99
€26,99

SAUNDERS BRUCE, MELODIC IMPROVISING FOR GUITAR. CD TABLATURE

SAUNDERS BRUCE, MELODIC IMPROVISING FOR GUITAR. CD TAB.

Product Description:
"Melodic Improvising" is a systematic, detailed method to help the intermediate to advanced guitarist create melodies over harmony. Using techniques developed through his 15 years of teaching improvisation at the world-renowned Berklee College of Music, Bruce Saunders' book teaches guitarists the same techniques used by pianists and brass and woodwind players to create melodic solos; a necessary book for any guitarist wishing to play "outside the box."

Product Number: 20216BCD
Format: Book/CD Set
ISBN: 0786668458
UPC: 796279089869
ISBN13: 9780786668458
Series: Non-Series
Publisher: Mel Bay Publications, Inc.

Chapter 1: Stepwise Movement
Chapter 2: Intervallic Movement
Chapter 3: Patterns, Triads, & Chords Through Changes

Price: €19,99
€19,99

CARTER RON BUILDING JAZZ BASS LINES LIBRO CD CONTRABBASSO compendium techniques PLAY-ALONG

CARTER RON, BUILDING JAZZ BASS LINES. CD TAB.

Table of contents:

Eight
Little Waltz
Nearly

Series: Bass Builders
Medium: Softcover with CD

Artist: Ron Carter
In this book/CD pack, bass legend Ron Carter illustrates step by step the basic concepts of creating bass lines; constructing lines using non-harmonic tones and diverse rhythms; playing in fast tempos; and developing tone and pitch. Includes a play-along CD with an all-star rhythm section and isolated bass parts, so players can listen to Ron play the sample written lines, practice them with the CD, then create their own lines with the guitar, piano and drums backing them up. 48 pages.

Price: €23,99
€23,99

AFRO CUBAN SLAP BASS LINES. Oscar Stagnaro. CD TABLATURE

AFRO CUBAN SLAP BASS LINES. CD TAB.

Series: Berklee Methods
Publisher: Berklee Press
Softcover with CD - TAB
Author: Oscar Stagnaro

Afro-Cuban rhythms are hot, and the bass is the beating heart of the groove! Now you can learn to play slap bass in seven popular Afro-Cuban styles: cha cha, son montuno, songo, timba, Afro-Cuban 6/8, Latin jazz, and Latin jazz in 7. Whether you read tab or standard notation, you will quickly learn all these styles and develop your slap bass techniques to create style-appropriate articulations. The included CD has percussion tracks, play-along tracks and complete songs to help you improve your groove to an Afro-Cuban rhythm. Grammy-winning bassist Oscar Stagnaro is one of today's top players and a pioneer in bass education. He is an associate professor at Berklee College of Music, where he helped found the Latin bass studies department. He is co-author of The Latin Bass Book. 56 pages.

Price: €21,00
€21,00

KOCH GREG, RHYTHM RIFFS Over 200 Riffs in All Styles Hal Leonard Guitar Method CD TABLATURE DOMINANT 7TH

Rhythm Riffs, Over 200 Riffs in All Styles Hal Leonard Guitar Method

LIBRO PER CHITARRA CON CD E TABLATURE

Series: Guitar Method
Format: Softcover with CD
Arranger: Greg Koch

Also available:
Lead Licks – 00697345

Inventory #HL 00697346
ISBN: 9780634048487
UPC: 073999973464
Width: 9.0"
Length: 12.0"
48 pages

 

KOCH GREG, RHYTHM RIFFS. 200 riffs. CD TABLATURE

Over 200 Riffs in All Styles Hal Leonard Guitar Method
Series: Guitar Method
Medium: Softcover with CD
Arranger: Greg Koch

Are you tired of playing the same riffs over and over again? Or maybe you just don't know what to play during your solo? Loaded with new ideas, Rhythm Riffs gives you the tools to spice up your rhythm guitar playing and make your parts more authentic. This book/CD pack covers rock, blues, jazz, country, funk and "outside" styles. It gives you major, minor and dominant 7th riffs for nearly any musical situation - over 200 riffs in all! The CD includes each riff played at full speed and at a slower practice tempo. 48 pages.

INTRODUCTION

RIFFS MAJOR
RIFFS MINOR
RIFFS DOMINANT 7TH.
12 -BAR VARIATIONS
TUNING

INTRODUCTION

Do you find yourself reaching for the same chord shapes again and again when you pick up a guitar? What if someone asks you to "play something bluesy" on a G chord-do you know what to do? How would you like to spice up your rhythm guitar playing, make your parts more authentic, or maybe just get some new ideas? Rhythm Riffs is a unique book designed for the intermediate to advanced guitarist to increase your playing vocabulary exponentially. Whether you're playing in a band, writing songs, accompanying others, or just jamming with friends, there's so much more you can do-other than strum!-when playing rhythm guitar.

ABOUT THE RIFFS
What is a "riff?" A riff is a rhythmic theme that can contain single notes or chords. What goes into a riff can really depend on the style of music or even the particular player. A riff can include any of these elements:
• unique chord voicing(s)
• distinctive rhythm(s)
• hammer-ons/pull-offs
• fills & ornaments
• passing tones & chords
• unusual playing techniques
• other embellishments

The possibilities are nearly endless!
When it comes right down to it, most songs are the same. That is, they're all based on chords. What makes one song-or style, or artist-different from another, is what they do with those chords. This is where Rhythm Riffs comes in.
Each riff in this book is based on a simple chord-like A, Em, G7, etc. The chord label doesn't necessarily reflect the actual voicing used; it just shows you what type of chord you may want to play the riff over. This means you can start "plugging in" the riffs right away-putting them into songs, grooves, jams, whatever.
But here's where things get really interesting: Each riff isn't just played once. Instead, through various stylistic nuances, each riff is "morphed" into five different genres of music: rock, blues, jazz, country, and funk.* This gives you an option for just about any style you could possibly play! With twelve major riffs, twelve minor riffs, and twelve dominant seventh riffs, plus the five stylistic variations for each, you've got 180 potential riffs for bolstering your rhythm guitar vocabulary. The last section of the book features eight variations on the 12-bar blues, also done in various styles, which provide interesting rhythmic ideas and chord voicings for this most popular and highly used song form. Folk, R&B, and pop are occasional alternate styles.

HOW TO USE THIS BOOK
There is no right or wrong way to use this book. Some players may want to play each riff in its entirety; others will want to pick and choose just a few chord voicings or techniques out of various riffs. Some players may want to focus on one particular style and learn only those riffs. The option is always yours. If you started the book at the beginning, it would take you quite a while to get to some of the ideas at the end. Therefore, you may want to "preview" the book first: Listen to the CD while following along with the book, and keep track of the selections that you like. Make those your first playing priority. On the CD, each riff is played twice (fast, then slow); the total CD length is just over an hour. Track 45 contains tuning notes.

HOW TO PRACTICE
When learning the riff selections, practice them along at a speed at which you can play flawlessly. If you try to play them fast too soon, the "slop factor" can be too great. (Always give yourself plenty of time to learn each riff; there's a lot of them here and the tendency may be to rush, but each riff is worth taking your time with.) Using a metronome is very helpful for gradually speeding up pieces that you are trying to learn. Start at a reasonable tempo, and as your skill dictates, increase the tempo. When trying to apply the riffs, some incubation time is again a good idea. It may help you to have certain tunes in mindperhaps a song for which you're having trouble finding fresh rhythm ideas. You can try the riffs at your next band rehearsal, record them as you playa tune to see how they sound, play along with records, or whatever it takes to feel conversant with them. Never force a riff, though; strive to make your playing musical. When something works, you'll know it. The 12-bar variations at the end of the book can be used in their entirety or can be cross-mutated by joining some of the different variations together. The idea is to give you a strong rhythmic vocabulary for com ping a blues in any genre.

SPECIAL TECHNIQUES
There are two specialized (right-hand) techniques used in this book on occasion-most often in the country-style riffs-that may require a little explaining before we proceed. One is Travis-style picking, and the other is chicken pickin'.
The Travis-style selections in this book are written as two parts like the example below. The lower part can be played with the thumb, while the higher register can be played with the first and second fingers. A hybrid picking ("pick & fingers") approach may also be employed by playing the lower register with your pick while your middle and ring fingers catch the other notes. In either case, muting the lower notes with the palm of your picking hand gives the desired rhythmic approach for this style.

Chicken pickin' means different things to different people, but it basically involves using muting of one form or another to achieve a "clucking"-type sound indicative of a lot of great country guitarists. The muting used to produce chicken pickin', as it occurs in this book, can best be explained with the example below. The three notes of the first A chord are simultaneously plucked by the index, middle, and ring fingers. These same fingers are immediately used to dampen the strings, and the thumb is used to pluck the open A string (which is being muted by the index finger) to produce the "cluck." By rapidly going back and forth between the open chord and the muffled "cluck," your chicken pickin' sequence begins to take shape.

 

RHYTHM RIFFS giver you major, minor, and dominant 7th riffs for nearly any musical situation. Over 200 riffs in all !

CD includes each riff played at full speed and at a slower practica tempo !

 

ROCK

BLUES

JAZZ

COUNTRY

FUNK 

Price: €15,99
€15,99

COLOR YOUR CHORDS CD TABLATURE LIBRO SPARTITI CHITARRA ACCORDI KEITH RICHARDS-MALCOM YOUNG

COLOR YOUR CHORDS. Perlmutter. CD TAB.

Hendrix-ize a C chord! Van Halen-ize a G chord! Color your chords like the masters of rock guitar! With expert yet user-friendly advice on fretting, voicing, technique, feel and other topics, you'll learn how to cop the chordal styles of: Chuck Berry, John Frusciante, Jimi Hendrix, James Hetfield, Dave Matthews, Jimmy Page, Keith Richards, Pete Townshend, Eddie Van Halen and Angus and Malcolm Young.

Price: €21,99
€21,99

25 GREAT GUITAR SOLOS CD TABLATURE LIBRO MUSICA SPARTITI Let It Be-Sultans Of Swing KNOPFLER

In 25 Great Guitar Solos, we take an in-depth look at some of rock guitar's finest moments. Whether it's the jaw-dropping technique of Yngwie Malmsteen, the unmistakable individuality of Jeff Beck, or the melodic brilliance of Mark Knopfler, each solo stands out as a unique achievement within the rock guitar genre. Travel through time as we explore rock' n' roll history with bios, photos, lessons, full notation and tablature, a sound-alike audio CD, and much more. There's plenty here to keep you occupied and enough stylistic variation to satisfy your occasional craving for the eclectic. About the CD. The accompanying audio CD with this book includes all 25 solos performed note for note with a full band and is playable on any CD player. For PC and MAC computer users, the CD is enhanced with Amazing Slow Downer software so you can adjust the recording to any tempo without changing pitch! The time code shown at the start of each solo transcription indicates the point at which the solo begins in the original recording. All solos on the CD performed by Hal Leonard studio musicians. Scotty Moore, Jeff Beck, Eddie Van Halen, Steve Vai and many others, take an inside look at the genesis of rock lead guitar. The book and CD compendium provides solo transcriptions in standard notation and tablature, lessons on how to play them "HOW TO PLAY IT", guitarist biographies, AGE AT TIME OF RECORDING, GUITARS, AMPS, equipment,  photos, history and much more. The accompanying CD contains full-band demonstrations of every guitar solo in the book! 152 pages. Note: only solos are notated, not complete songs.

25 Great Guitar Solos is the latest instructional paperback release from Hal Leonard Publishing, the leader in educational material for musicians. It's 25 transcriptions of some of the greatest signature guitar solos ever recorded. This collection will no doubt thrill any burgeoning, motivated guitarist, whether they're young or old, novice or veteran. The content is comprehensive and accurate, yet portrayed in a simplified manner that doesn't overwhelm or discourage the learner. The book is complete with transcriptions, lessons on how to, biographies on each song and artist, photos, and a notation legend. A CD is attached as well, which includes note-for-note renditions of all 25 songs, done by a complete band, and playable on any CD player. Additionally, the CD is enhanced for PC and MAC users, with slow down software for a painless learning experience. You can decelerate the songs to any tempo without changing note pitch. Taking full advantage of the lessons in this book will improve and add sparkle to any guitarist. The bio sections are fascinating, and loaded with info pertaining to the songs and the recording artists who played them. For example: 'All Along The Watchtower' gives a short bio of the life of Jimi Hendrix and his music, and then goes into detail about how the song is done, its arrangement and chord changes, key and measure continuance, and also about the guitar and gear used. The collection of songs is excellent.

Transcriptions · Lessons · Bios · Photos
Series: Guitar Book
Softcover with CD - TAB
Author: Chad Johnson

"A composer does not just write the main Inelody; he composes every orchestrated part in the entire sound spectrum. That is also what I do, but I do it in the form of rock 'n' roll." -Yngwie Malmsteen. Of all the eighties "shredders," Yngwie Malmsteen stands out as the most prominent. He raised the bar more than any other single guitarist and inspired legions of followers in the same way as Eddie Van Halen (see "Eruption"), Joe Satriani (see "Satch Boogie"), or Steve Vai (see "Big Trouble"). With the release of 1984's Rising Force came a fully-developed and entirely unique style that fused heavy metal and classical music with dizzying results. Eddie's technique was awesome, but Yngwie's was simply staggering. He had solidified his place instantly among the guitar gods. Born Lars Johann Yngwie Lannerback in 1963 in Stockholm, Sweden, he adopted his mother's maiden name, Malmsteen, after his parents divorced. As a young child he was particularly unruly and actually refused his mother's suggestions to take up a musical instrument, feeling as though music wasn't quite macho enough. At the age of seven, however, this would change. Yngwie saw a documentary on Jimi Hendrix (see "All Along the Watchtower") in which he burned his guitar on stage, and that was all Yngwie needed. Hendrix and Deep Purple's Ritchie Blackmore (see "Highway Star") inspired him early on, and Yngwie was particularly interested in the way Blackmore combined classicallytinged minor lines with heavy rock riffs. To say he became obsessed would even be an understatement; Yngwie eventually dropped out of school at around age ten (!) so. he could stay home and practice. His mother, well aware of the talent young Yngwie displayed, supported the decision. Through his sister, Yngwie was introduced to the music of classical composers such as Bach, Beethoven, Mozart, and Paganini. He became particularly interested in Paganini, who combined a dazzling technique with an unruly, "wild man" demeanor. Yngwie patterned much of his attitudes after the nineteenth-century violinist, eventually resulting in a healthy ego and wild on-stage antics. By his late teens, Yngwie was playing in several local bands around Sweden but finding little success with the then pop-dominated musical tastes of the time. After sending demo tapes to several labels in the U.S., he struck gold in the form of Mike Varney. The president of Shrapnel records, a label tailored to the new "shredding" style emerging at the time, Varney invited Malmsteen to Los Angeles in 1981. Yngwie quickly joined the band Steeler, which did release one album, but he soon left in search of a band with a style better suited to his. Alcatrazz was a closer fit, and Yngwie remained with them until 1983, releasing one studio album (No Parole from Rock 'N' Roll) and one live album (Live Sentence) before deciding to set out on his own. Yngwie's spot in Alcatrazz would be filled by Steve Vai. Yngwie recruited his longtime keyboardist friend Jens Johansson and formed his own band, Yngwie J. Malmsteen's Rising Force. Their debut album, Rising Force, was released in 1984 and sent shockwaves through the rock guitar world. The album actually peaked at #60 on the charts-an extremely impressive feat considering the majority of the album was instrumental- and received a Grammy nomination for Best Rock Instrumental Performance. Yngwie swept the readers' polls in ... 

... over 13 million. The band instantly became the biggest in the world, and they freely indulged in all of the debaucheries that rock stardom affords. In 1988 they released G N' R Lies, an album that combined their first EP with four new acoustic-based songs. They scored another huge hit with the delicate ballad "Patience," but "One in a Million," with its shocking, outspoken lyrical content, swarmed the band in controversy and negative publicity. At the American Music Awards, Slash and bassist Duff McKagan, both severely intoxicated, made an extremely inappropriate acceptance speech laced with profanity, further damaging the band's public image. By 1990, both Slash and Steven Adler had developed serious heroin addictions, and while on tour with the Rolling Stones, Axl announced that he would leave the band if certain members didn't stop "dancing with Mr. Brownstone." Although Slash was able to get himself clean, Adler continued to truggle and was eventually fired from the band, with Matt Sorum (from the Cult) brought in as a replacement. Amid all the controversy and drama, the band had been working on their followup album, augmented in the studio by keyboardist Dizzy Reed. The release was delayed for nearly a year, but Use Your Illusion I and Use Your Illusion II finally came out in September of 1991-unfortunately for them, this was the same month that Nirvana's Nevermind hit the helves. Though the Illusion albums sold ell initially, it was only a matter of time before grunge took the nation by storm. The Spaghetti Incident?, a collection of punk covers, was released in 1993. but failed to make much of a splash. Since then, Slash has stayed active with Slash's Snakepit in the mid-nineties and more recently the successful Velvet Revolver, which features former Stone Temple Pilots frontman Scott Weiland, Duff McKagan, and Matt Sorum. Axl Rose, the only remaining member of G N' R, has been promising the release of a new album for nearly a decade, which has turned into somewhat of a running joke amongst the music industry. How to Play It: Slash was truly a breath of fresh air in the late eighties. His sound was so raw and unpolished compared to others of the day, yet he still had considerable chops that seemed unlikely given his punkish edge. With "Sweet Child 0' Mine," he created one of the most memorable guitar tracks of the decade. The infamous intro was striking enough, but the lengthy solo really provided him an opportunity to shine. At first the song comes off as a jangly, upbeat pop rock song, complete with loves truck lyrics and the standard changes. The entire mood changes at the solo, however, and that new darker, menacing vibe carries out through the rest of the song. The solo begins with a dramatic key change from D major to E minor by way of a chromatic walk-up. Slash begins navigating the new Em-C-B7-Am progression with sparse, tasty phrases from the E minor scale, occasionally alluding to the harmonic minor scale over the B7 chord. He employs imitative phrasing throughout to lend direction to the solo, as is evident is measures 2-3, 6-8, and 9-14. He makes extensi e use of both half- and whole-step bends throughout, with pitch-perfect intonation in each instance. Notice how Slash works with the rhythm section, gently accenting the "and" of beat 2 with many of his melodies to reinforce the main rhythmic pulse of the song. At the end of measure 16 he kicks on the wah and unleashes a pre-composed sixteenth-note ascenuing rUll based 011 the E harmonic minor scale that ushers in the energized second half of the solo. The lick lasts two measures, as the Am chord is extended for one extra measure to heighten the build-up into the next section. Though it begins in seventh position, it ends up in twelfth position, shifting positions on the high E string exclusively with pinky slides. The first two beats don't pose much of a fingering problem, but after that things can get hairy if you don't think ahead. Try fingering the C and D# notes in the second half of beat 3 (measure 16) with your first and third fingers, respectively. After that, you should be able to continue sliding your pinky up for the position shifts without a problem. At measure 18, over the new four-measure progression of Em-GS-AS-BS-CSDS- G5, Slash turns up the heat with gutsy pentatonic-based phrases mostly in...  Vital Stats: Guitarist: Slash, Song: "Sweet Child O' Mine", Album: Appetite for Destruction, 1987 Age at time of recording: 22, Guitar: Gibson Les Paul, Effects: wah wah, Amp: Marshall

YEAR, SONG, GUITARIST, ARTIST / BAND, ALBUM

 

1955, Rock Around The Clock, DANNY CEDRONE, BILL HALEY, shake, rattle & roll
1956, Hound Dog, SCOTTY MOORE, ELVIS PRESLEY, The real Elvis
1967, Sunshine Of Your Love, ERIC CLAPTON, CREAM, Disraeli Gears
1968, All Along The Watchtower, JIMI HENDRIX, Electric Ladyland
1969, Let It Be, GEORGE HARRISON, THE BEATLES, Let it be
1970, 25 Or 6 To 4, TERRY KATH, CHIGAGO, Chicago II
1972, Blue Sky, DUANE ALLMAN, DICKEY BETTS, ALLMAN BROTHERS BAND, Eat a Peach
1972, Blue Sky, PART 2 SOLO, DUANE ALLMAN, DICKEY BETTS, ALLMAN BROTHERS BAND, Eat a Peach
1972, Highway Star, RITCHIE BLACKMORE, DEEP PURPLE, Machine Head
1973, Free Bird, GARY ROSSINGTON, ALLEN COLLINS, LYNYRD SKYNYRD, Pronounced Leh-Nerd Skin-Nerd
1973, La Grange, BILLY GIBBONS, ZZ TOP, Tres Hombres
1975, Bohemian Rhapsody, BRIAN MAY, QUEEN, A Night At the Opera
1975, She's A Woman, JEFF BECK, Blow by Blow
1975, Walk This Way, JOE PERRY, AEROSMITH, Toys in the attic
1978, Eruption, VAN HALEN, Van Halen
1978, Sultans Of Swing, MARK KNOPFLER, DIRE STRAITS, Dire Straits
1978, Sultans Of Swing, PART 2 SOLO, MARK KNOPFLER, DIRE STRAITS, Dire Straits
1980, Crazy Train, RANDY RHOADS, Blizzard of Ozz
1980, You Shook Me All Night Long, ANGUS YOUNG, AC/DC, Back in Black
1983, (You Can Still) Rock In America, BRAD GILLIS, JEFF WATSON, NIGHT RANGER, Midnight Madness
1983, (You Can Still) Rock In America, PART 2 SOLO BRAD GILLIS, JEFF WATSON, NIGHT RANGER
1983, Am I Evil? KIRK HAMMETT, METALLICA, Garage Inc.
1983, Pride And Joy, STEVIE RAY VAUGHAN, Texas Flood
1984, Black Star, YNGWIE MALMSTEEN, Rising Force
1986, Big Trouble, STEVE VAI, Eat 'em and Smile
1987, Satch Boogie, JOE SATRIANI, Surfing with the Alien
1987, Sweet Child O' Mine, SLASH, GUNS N' ROSES, Appetite for destruction
1990, Get The Funk Out, NUNO BETTENCOURT, EXTREME, Pornograffitti

Price: €26,99
€26,99

STRATOCASTER CHRONICLES THE-Celebrating 50 Years of the Fender Strat Tom Wheeler LIBRO CHITARRA

THE STRATOCASTER CHRONICLES, Celebrating 50 Years of the Fender Strat. Tom Wheeler.

Series: Book
Publisher: Hal Leonard
Medium: Hardcover with CD
Author: Tom Wheeler

The world's most famous guitar had a golden anniversary in 2004, and this official, authorized book/CD package offers the best photos, quotes, facts and sounds to properly celebrate this achievement. From Buddy Holly to Jimi Hendrix to today's hottest players, the Fender Stratocaster defines rock'n'roll for generations of fans and players.

Special features include exclusive photos from the world's greatest guitar collection, as well as a CD with musical examples of famous Strat sounds and styles hilariously performed by Greg Koch even spoken excerpts from the author's interviews with the Strat's beloved inventor, Leo Fender.

This book also recognizes that the Stratocaster's deeper significance lies in the music that guitarists have created with it. You'll hear what Strat players have to say about their instrument, their music and each other. The Fender Stratocaster both reflects and influences popular culture worldwide. The Stratocaster Chronicles focuses on the people who brought it into the world, the designers and builders who refined it, and the players who have taken it from there. 280 pages.

Price: €56,99
€56,99
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