Every Rose Has Its Thorn [Poison]
Fly To The Angels [Slaughter]
Hole Hearted [Extreme]
Love Is On The Way [Saigon Kick]
Love Of A Lifetime [Firehouse]
Signs [Tesla]
To Be With You [Mr. Big]
When The Children Cry [White Lion] 


Series: Guitar Play-Along
Softcover with CD - TAB
Artist: Various

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch! 8 songs, 56 pages

Price: €24,99


GROSSMAN STEFAN, EARLY MASTERS OF AMERICAN BLUES GUITAR: COUNTRY BLUES GUITAR. 22 songs: SCRAPPER BLACKWELL: (Blue Day Blues; Kokomo Blues); BLIND BLAKE: (Georgia Bound); BIG BILL BROONZY: (Big Bill Blues; Mississippi River Blues; Mr. Conductor Man; Saturday Night Rub; Stove Pipe Stomp; Worryin' You Off My Mind); REV. GARY DAVIS: (Cincinnati Flow Rag; Italian Rag; Sally, Where'd You Get Your Liquor From; Two Step Candyman); BLIND LEMON JEFFERSON: (Easy Rider Blues; Hot Dogs; One Kind Favor); LONNIE JOHNSON: (Go Back to Your No Good Man; Life Saver Blues); CHARLEY JORDAN: (Hunkie Tunkie Blues: Keep it Clean); JOSH WHITE: (Jesus Gonna Make Up My Dying Bed; Little Brother Blues). CD TAB.

Transcr. Stefan Grossman
SERIES: Stefan Grossman’s Early Masters of American Blues Guitar
CATEGORY: Guitar Method or Supplement

The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this incredible collection of 22 songs by 8 legendary early "Country Blues" guitarists. In addition to Stefan's expert transcriptions, the book includes a CD containing the original artist recordings so you can hear the music, and feel the music, as it was originally performed.

Artists: SCRAPPER BLACKWELL: (Blue Day Blues; Kokomo Blues); BLIND BLAKE: (Georgia Bound); BIG BILL BROONZY: (Big Bill Blues; Mississippi River Blues; Mr. Conductor Man; Saturday Night Rub; Stove Pipe Stomp; Worryin' You Off My Mind); REV. GARY DAVIS: (Cincinnati Flow Rag; Italian Rag; Sally, Where'd You Get Your Liquor From; Two Step Candyman); BLIND LEMON JEFFERSON: (Easy Rider Blues; Hot Dogs; One Kind Favor); LONNIE JOHNSON: (Go Back to Your No Good Man; Life Saver Blues); CHARLEY JORDAN: (Hunkie Tunkie Blues: Keep it Clean); JOSH WHITE: (Jesus Gonna Make Up My Dying Bed; Little Brother Blues).

Price: €27,99




Price: €99,99


CLASSICAL THEMES FOR ELECTRIC GUITAR, 25 Solo Guitar Arrangements, Jean Marc Belkadi. CD TAB.

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Author: Jean Marc Belkadi

This book/CD package contains 25 timeless classical themes from the Renaissance to the Romantic Era and beyond. It includes works by J.S. Bach, Bartok, Beethoven, Brahms, Chopin, Dowland, Guiliani, Handel, Haydn, Mozart, Purcell, Satie, Stravinsky, Tchaikovsky. A bio for each composer is also included and the CD features demo tracks of each piece.
48 pages

Price: €16,99



SWING GUITAR, Fred Sokolow. A String Of Pearls -Choo Choo Ch' Boogie -Go Daddy-O -I Ain't Got Nobody (And Nobody Cares For Me) -In The Mood -It Don't Mean A Thing (If It Ain't Got That Swing) -Jersey Bounce -Jump, Jive An' Wail -Just A Gigolo -Route 66 -Sentimental Journey -Since I Don't Have You -Take The 'A' Train -Tuxedo Junction -Zoot Suit Riot. Basi Jam play-along. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Author: Fred Sokolow

Learn to play swing rhythm and lead guitar in the style of the masters! With this book / CD pack you get: transcriptions of 15 original hit recordings from the classics of the 1930s and '40s to the revival of the '90s; performance notes to help you understand the solos; instruction in comping patterns and chord embellishment; a history of swing guitar; and more. Songs, The accompanying CD includes full-band demos of all the songs, with guitar parts isolated. 80 pages

The Swing Era and the Swing Revival

Swing was America's pop music from the mid-1930s to the late 1940s. Some bands (like
Glenn Miller and Artie Shaw) were sweeter and milder, while others (like Benny Goodman and
Count Basie) were hotter and wilder. Some featured hot, improvised solos-the horn players
were the stars-and others strictly read the arrangements. But they all played dance music and
performed for jitterbugging and lindy-hopping couples. In the early 1930s, African-American
bands like those of Duke Ellington, Count Basie, and Fletcher Henderson launched the swing
era, and predominantly white bands like those of Benny Goodman, the Dorseys, and Harry
James made it a mainstream pop phenomenon.
A typical swing band consisted of a rhythm section (piano, guitar, bass, and drums), four or
five saxophones, the same number of trumpets and likewise trombones, and at least one vocalist.
The leader was usually a virtuoso player, and expert arrangers made up intricate charts in
which horn sections often played repetitious, rhythmic riffs in counterpoint to one another.
As World War II ended, the popularity of the big bands waned. (In 1946, eight major big
bands folded!) Smaller, more rhythm 'n' blues-oriented combos like Louis Jordan and the
Tympany Five came on strong to take their place. The new music was still horn- and riff-driven,
but bands emphasized boogie-woogie, a strong backbeat, and simpler, bluesier chord progressions.
It led to rock 'n' roll in less than a decade. If you were a teenager in 1954, swing was the
"square" music your parents liked!
But what goes around comes around, and in the late 1980s a swing revival was bubbling up
all over the U.S. By the early 1990s, most large cities in the country had at least one nightclub
where swing bands played, and dancers dressed in retro styles displayed the steps they had just
learned at the swing-dance lesson that preceded the live band. (In between dances, instead of
holding a cigarette and cocktail, the hoofers had a towel and a bottle of Evian!) Groups like
Squirrel Nut Zippers, the Brian Setzer Orchestra, the Royal Crown Revue, and Big Bad Voodoo
Daddy had hit singles and albums, were featured in major films, and even played at the World
Series halftime show (a sure sign of popular acceptance). Most of these new bands were smaller
than the Dorseys' or Ellington's, and they borrowed as much from Louis Jordan and Louis Prima
as they did from Benny Goodman. But by the turn of the new millennium, the message was unmistakable:
swing was back.
The Role of Guitar in Swing
During the original swing era, guitars were acoustic. Charlie Christian introduced the electric
guitar to big band music in 1939 when he joined Benny Goodman's band, but by the time it
took hold in other bands, the swing era was nearly over. Most players favored arch-top, F-hole
guitars like the Gibson L-5 and the Epiphone Broadway or Emperor. (Epiphone was not owned
by Gibson in those days.) These guitars had no cutaway, and their purpose was to provide fourbeats-
to-the-bar rhythm. Since single-note guitar solos could hardly be heard above a horn section,
chords-rather than hot licks-were the guitarist's main tools. The steady chunk-chunkchunk
of the guitar kept the rhythm section flowing.
Often, when swing guitarists "comp" (play chord backup to a vocalist or soloist), theyembellish
the basic chord progression. Going beyond chord ornamentation (e.g. playing a G9 instead
of a G7), they improvise whole progressions that are not found on sheet music, to make
the music hip (or "hep," as they said during the swing era). So in order to comp in the authentic
swing style, the guitarist who is unschooled in jazz needs some hip ness (hepness?) lessons!

Choo Choo Ch' Boogie - Louis Jordan and The Tympany Five, 1946
Go Daddy-O - Big Bad Wodoo Daddy, 1995 
I Ain't Got Nobody (And Nobody Cares For Me) - Spencer Williams, 1956
In The Mood - Glenn Miller Orchestra, 1939
It Don't Mean A Thing (If It Ain't Got That Swing) - Duke Ellington - Sophisticated Ladies, 1932
Jersey Bounce - Benny Goodman, 1942
Jump, Jive An' Wail - Brian Setzer Orchestra - Louis Prima, (1956) 1998
Just A Gigolo - Leonello Casucci, 1930 
Route 66 - Nat Cole Trio, 1946
Sentimental Journey - Les Brown and his Orchestra, 1943
Since I Don't Have You - Brian Setzer Orchesta, (1959) 1988
A String Of Pearls - Glenn Miller Orchestra, 1942
Take The 'A' Train - Duke Ellington - Billy Strayhorn - 1941
Tuxedo Junction - Glenn Miller Orchestra, 1940
Zoot Suit Riot - Cherry Poppin' Daddies - 1997 - Steve Perry

Price: €39,99

JAMAICA GUITAR ATLAS CD TABLATURE reggae-bob marley-ska-calypso-palm mute-libro chitarra



Your passport to a new world of music
By Raleigh Green

SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement

Jamaican music is loved throughout the world for its laid-back feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles, from reggae rhythms in the songs of popular bands like The Police, to ska beats in the music of groups such as The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-inspired style popular in the 1950s) to modern styles like dub (an electronic form of reggae). You’ll learn about the spiritual influence of the Rastafarian religion and explore the work of numerous Jamaican musicians, including Lord Flea, Count Lasher, The Maytals, The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin, and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.

The CD demonstrates all the examples and compositions featured in the book.

Guitar Atlas Jamaica. (Your passport to a new world of music). By Raleigh Green. For Guitar. Guitar Method or Supplement; Method/Instruction. National Guitar Workshop: Guitar Atlas. Multicultural; World. Book & CD. Published by Alfred Music Publishing (AP.33486). ISBN 0739062816. Multicultural; World.


Guitar Atlas:jamaica is an introduction to the rich musical tradition of
jamaica. From a guitarist's perspective, there is much to love in jamaican
music, especially the guitar-centric styles of mento, ska, rocksteady, and
reggae. In this book, the most important jamaican musicians, guitarists, styles,
and techniques are demonstrated through numerous musical examples. Most of these
examples are meant to be played with a pick, although there is some fingerpicking as
well. You will get the most from this book if you have experience reading standard
music notation and/or TAB, as well as some experience with common open chords,
barre chords, and basic guitar technique. The Notation Guide on page 3 should help
you with any unfamiliar notation. Welcome to Guitar Atlas: jamaica, and let's begin our journey!

Jamaican music is loved throughout the world for its laidback feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles-from reggae rhythms in the songs of popular bands like The Police to ska beats in the music of groups like The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-like style popular in the 1950s) to modern styles like dub (an electronic form of reggae).You'll learn about the spiritual influence of the Rastafari religion and explore the work of numerous Jamaican musicians, including Lord Flea,Count Lasher,The Maytals,The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin,and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.
The CD demonstrates all the examples and compositions featured in the book.

The island of jamaica is located in the Caribbean Sea. It is situated 90 miles south of
Cuba and is a part of the Greater Antilles, a group of islands that also incluJe~ Puerto
Rico and Hispaniola. With a tumultuous history of slavery, war, poverty, and natural
disasters, jamaica is a true melting pot of mixed ethnicities. jamaica is smaller than the
state of Connecticut, however, the global impact that this Caribbean island has had on
the rest of the world is enormous.
When Christopher Columbus first arrived to jamaica in 1494, the native Arawak people
(also known as Taino Indians) had already been there since 650 A.D. Sadly, soon after
Spain's occupation of the country began in 1509, the indigenous population was wiped
out by slavery, disease, and war. By 1655, Britain seized jamaica and soon, through
intense colonization and a booming slave trade, Jamaica became the largest producer
of sugar in the world. After many uprisings, slavery was abolished in 1838. In 1872,
Kingston became the capitol, and in 1962, jamaica became an independent nation.

In the early 19th century, when the percussive musical traditions brought over by West
Mrican slaves mixed with the music of the European quadrille (a precursor to the square
dance), the jamaican folk music style called mento was born. Mento was jamaica's most
popular music throughout the 1930s and 1940s; however, during this period, American
jazz also became immensely popular in jamaica. By the 1950s, mento was still alive,
but American R&B had largely taken hold of the jamaican popular music scene. In
the 1960s, all of these various influences came together to create a unique jamaican
musical style called ska.
The quick tempo of ska was a reflection of the upbeat mood in jamaica after gaining
independence in 1962. jamaicans soon observed, however, that serious social problems
remained, and in 1966, the music changed with the mood. A new style called rocksteady
emerged, replacing the upbeat pace of ska with a much slower feel. A short-lived
movement, rocksteady was only around for two years when jamaica's most famous
musical style, reggae,was born. From the late 1960s to the mid-1980s, reggae became
a worldwide sensation. During this time period, the Rastafari (those belonging to
the religious and cultural Rastafari movement covered on page 33) garnered a strong
association with reggae due to the international fame of Bob Marley and others. English
bands like The Clash and The Police started to incorporate reggae sounds into their own
music. By the latter half of the 20th century, a wide array of reggae subgenres developed,
including dancehall, toasting, dub, raggamuffin, reggaeton, 2-tone, and lovers rock, just to
name a few. Despite being a small island, jamaica and its varied musical traditions have
greatly inspired and influenced musicians and music lovers throughout the world.

A compact disc is included with this book. Using it with the book can make learning Track easier and more enjoyable. The symbol 1 shown at the left appears next to every example that is on the CD. Use the CD to help ensure that you're capturing the feel of the examples and interpreting the rhythms correctly. The track number below the symbol corresponds directly to the example you want to hear. Track 1 will help you tune to this CD. Enjoy!

Raleigh Green, based in the Boston area, is known for his versatility
as a guitarist and his expertise as a music educator. Proficient in
many styles of music, Raleigh is the author of The Versatile Guitarist
(Alfred/National Guitar Workshop #28243). He teaches guitar at
Phillips Academy in Andover, Massachusetts and is a long-time
instructor for the National Guitar Workshop and DayJams. Raleigh
teaches online guitar lessons at and is endorsed
by D'Addario strings. After receiving a B.F.A. from the University
of Missouri with a concentration in art and computer-aided
multimedia, Raleigh attended the Berklee College of Music where
he graduated summa cum laude and was awarded both the Quincy
Jones Award and the Professional Music Achievement Award.
Raleigh lives in Medford, Massachusetts with his wife, Laura, their
son Cole, and an Australian cattle dog named Max.

Very special thanks to Laura and Cole, Ken and Linda Green, the Breretons, and all of my friends, students, and colleagues at Phillips Andover Academy; David, Barbara, and Jesse Smolover; Burgess Speed, and everyone else in the Workshop family. Also thanks to Kevin "K-Don" Michaels, Wayne Marshall, and Carl Johnson for research assistance; D'Addario & Co.; and Pete Sweeney and Matthew Liston for playing great music on the CD.
This book is dedicated to Cole Leven Brereton-Green.

H = Hammer-on.
P = Pull-off.
SL = Ascending slide.
= Descending slide.
P.M. = Palm Mute.
= Fermata. Pause, or hold note longer than its indicated duration.
> = Accent. Emphasize the note or chord.

1,2,3,4,0 = The left-hand fingers starting with the index finger;
0= open string. Thelen-hand fingers are indicated under the TAB.
rit. = Abbreviation for ritardando. Become gradually slower.
Swing 8ths = Eighth notes written like straight eighth notes, but played with a long-short rhythm that produces the shuffie feel.When Swing Bths appears at the beginning of a piece, eighth notes are played like triplets with the first two eighth notes tieden =.en).
= 185 = Tempo marking. In this case, there are 185 quarter nores, or beats, per minute. (If you have a metronome, set it to 185.
4x = Play four times.
D.S. al Fine = Dal Segno al Fine. Go back to the symbol .. and play to the Fine, which is the end of the piece.

= Staccato. Make note shorter than its indicated duration.
= Chuck. Muted, percussive, unpitched nore.
p, i, m, a = The right-hand fingers starting with the thumb.

= Repeat signs. Repeat music between the two symbols When only the end repeat sign is present, repeat music from the beginning.

otation Guide

Jamaican History
Jamaican Music Overview .

History of Mento
Mento Strumming
Lord of the Fleas
Mento Mama
Men to Lead Melodies
Facing Forward
Check YtJurPockets
Papaya Paradise
Color Me Calypso

The Beginnings of Ska
Jamaican Lady
The Skank
Straight Ahead
Fountain ofYtJuth
Ska Horn Lines
Strum It Up
Tie the Knot
The Skatalites
Skanks for the Memories

CHAPTER 3-Rocksteady
History of Rocksteady
Slow It Down
Rude Boyfriend
Slow Skank
Keep It Muted
Chill Out Rude Boy
Steady Sixteenths
Stay Steady
Alphabet Soup

CHAPTER 4-Reggae
Early Reggae
Jamaican Peach
Roll with the Punches
All Aboard
The Rastafari Movement and Roots Reggae
The "Bubble"
Never Forget
African Riddim
Reggae Rhythm Embellishment
Back Alley Dreadlock
Dub-Style Effects
The Question

CHAPTER 5-Bob Marley
In the Style of "Stir It Up"
Natty Dreadlock
In the Style of "Rasta Man Chant" .
Nyabinghi Beat
In the Style of "I Shot the Sheriff" .
Dread Man "Walking
In the Style of "Exodus"
On the Run
In the Style of "Redemption Song" .
Rasta Farewell

CHAPTER 6-Ernest Ranglin .
The Journey Begins .

Price: €21,99


HOOKER JOHN LEE, A Step-by-Step Breakdown of His Guitar Styles and Techniques. CD TAB.

Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Author : Dave Rubin
Artist : John Lee Hooker

Explore the earthy blues of inimitable guitar legend John Lee Hooker with this book/CD pack! Dave Rubin explores licks from:

Blues Before Sunrise
Boogie Chillen No. 2
Boom Boom
Bottle Up And Go
Catfish Blues
Hoogie Boogie
It Serves Me Right To Suffer
Mama, You Got A Daughter
Moaning Blues
One Bourbon, One Scotch, One Beer
This Is Hip (This Is It)
Tupelo (Tupelo Blues)
Wednesday Evening Blues

Price: €26,99

ASAP CLASSICAL GUITAR Learn How to Play the Classical Way James Douglas Esmond LIBRO CD TABLATURE gymnopedie

ASAP CLASSICAL GUITAR, Learn How to Play the Classical Way, James Douglas Esmond. CD TABLATURE.


Per chi incomincia a suonare la chitarra classica, ASAP, As Soon As Possible, con il significato di: "al più presto possibile".

Serie: Guitar
Editore: Centerstream Publications
Copertina morbida con CD - TAB
Autore: James Douglas Esmond

Teacher-friendly or for self-study, this book/CD pack for beginning to intermediate guitarists features classical pieces and exercises presented progressively in notes and tab, with each explained thoroughly and performed on the accompanying CD. A great way to learn to play ASAP! 36 pages.


List of piece playing tips and explanations of exercises

R.H.Exercise Group #1
An easy introduction to the most basic finger patterns used in these pieces as well as good reading for the open strings.

R.H.Exercise Group #2
Moreindex and middle combinations. Start slowly and work for balance in the hand and an even tone.

L.H.Exercise #1
Stay on one string for as long as necessary to get perfect. Moving each finger deliberately and independent of others.

L.H.Exercise #2
Work to keep fingers down until they absolutely need to move.

Spanish Theme
Use this as a reinforcing piece for first position reading by saying notes out loud while playing. Index and Middle throughout for the top line. Work this line separately for awhile before adding the Bassline.

Ode to Joy
This piece, like the last is introduced in two parts and the Bassline will require a bit more attention.

Minuet in C
This piece should be approached like the last two but the parts require even more attention. Follow the left hand fingerings very closely. Get the left hand and the Bassline very good before adding together.

R.H.Exercise Group #3
These arpeggiations will be useful and comprehensive in regards to learning the next pieces in the book. Take one at at a time and practice very slowly.

L.H.Exercise #3
The L.H. and RH. should be practiced equally in this exercise. Practice the right hand alone and don't go too fast.

Pastoral Theme
Feel the left hand being free even thought the 3rd finger is rooted to the low G. Practice the top line by itself as well.

Gymnopedie #1
This is the first Chordal piece and therefore working on it by "Blocking" the left hand and just practicing the motions that the left hand uses from ms. to ms. will be beneficial. Also practice the Bassline and right hand motions alone.

New World Theme
Approach this piece the same way as the first three "Break-Down" pieces.

Etude in C
For this piece just looking at the tablature and practicing the arpeggio patterns by themselves with no left hand is a good way to start. Then incorporate blocking the left hand motions as well before putting together slowly.

Etude in A minor
Approach this piece the same way as the Etude in C.

Approach this piece by breaking up the two lines, but pay very close attention to the top line. De-emphasize the
Bass notes as much as possible. A light touch when holding down the repeated C and G is good for the other fingers.

Academic Festival Overture
Practice the chords that happen on every other beat to start. Try to de-emphasize the middle voices as well.

A Dance
Get familiar with the repeating Bassline in this piece so it can be put into the background while the top voice and middle voices can focused on more. Follow the fingering strictly.

Simple Lamentation
Practice the Bassline a lot by itself, being careful to shape it and work on having a good volume and even tone.

Soldier's March
Practice the chords without worrying about the rhythm at first and then after working the RH. motions, combine.

Approach this piece in the same way as Musette, being careful to have a light left hand, especially when moving up
the neck.

Practice the RH. arpeggio pattern by itself before learning the L.H. Focus on some of the harder chord changes.

Practice the melody by itself a lot to get a very good, even sound. Make sure to de-emphasize the middle voices.

Musetta's Waltz
Use the same approach as with Adagio, take your time to plant the L.H./ RH. fingers on the ending 8th note run

Practice the repeating Bassline first to get it very solid, then work on each 4 measure piece before connecting them.

Eine Kleine Nachtmusic
Special care on the opening octaves should be taken. Be careful not to tense up the right hand on repeated fingerings throughout.


Foreword - How to use the Book
This book, while organized progressively, is constituted of all pieces that are developmental in nature for a beginner's technique. It is therefore recommended but not necessary to go through the book in a stepwise fashion. In addition the pieces can be broken in to several technique categories( i,m studies, arpeggio studies, chordal, etc.) and some pieces fall in to several of these categories. To ease the student into reading on the guitar the pieces have been arrange in very manageable keys, no more than 1# used.
I strongly suggest following all the fingerings that are suggested, however, if there are places in the book where a teacher or student wishes to change a fingering then that should be fine as long as the student adheres to it. There are many options for fingerings on the guitar and the important thing to remember is that the student is building what I like to call a "Technique Memory" and that each piece, or section of a piece can be seen as a set of directions that will, if practiced carefully, be absorbed and adhered readily to the next similar piece. As Guitarists, we are always building towards more difficult pieces but in a way always dealing with some of the same as well so it makes sense to stick closely to fingerings for some time.
Write in even more if necessary.
The exercises and 1st section of Broken-Down pieces are meant to really help the student ease into the book. The exercises do not have to be mastered before studying the pieces, especially due to the reading aspect, but should be incorporated into a daily practice routine.
I hope you enjoy the pieces and find this to be fun and helpful on your journey as a Classical guitarist.


James Douglas Esmond started playing the guitar
seriously in his teens. He received his Bachelor's
of Music Theory and Classical Guitar performance
from Ithaca College, Ithaca, N.Y.Upon graduating
he became involved in church music. He has held
positions in various churches, as a guitarist, organist,
singer and conductor. In addition to his church
work, he also teaches Guitar and Piano at Blue Sky
Studios in Delmar, N.Y., and writes and arranges
compositions in various genres and styles. He currently
serves as the Organist/Music Coordinator at
Newtonville Methodist Church in Loudonville, N.Y.
He resides in Albany N.Y.with his wife Meighan.


Table of Contents and C.D. Track List

Exercises and Pieces in graded order, with playing Tips

Foreword and Biography

Track 1. -R.H.Exercise Group #1
Track 2. - R.H.Exercise Group #2 .
Track 3. -L.H.Exercise #1 .
Track 4. -L.H.Exercise #2 .
Track 5. -Spanish Theme (Melody and Bassline) .
Track 6. -Spanish Theme .
Track 7. - Ode to Joy (Melody and Bassline) .
Track 8. - Ode to Joy .
Track 9. - Minuet in C (Melody and Bassline) .
Track 10. - Minuet in C .
Track 11. -R.H.Exercise Group #3 .
Track 12. -L.H.Exercise #3 .
Track 13. - Pastoral Theme .
Track 14. - Gymnopedie #1 .
Track 15. - New World Theme .
Track 16. -Etude in C .
Track 17. -Etude in A minor .
Track 18. -Musette .
Track 19. - Academic Festival Overture .
Track 20. - A Dance .
Track 21. - Simple Lamentation .
Track 22. - Soldier's March .
Track 23. - Sunrise .
Track 24. - Reflections .
Track 25. - Adagio .
Track 26. - Musetta's Waltz .
Track 27. - Cannon .
Track 28. - Eine Kleine Nachtmusic .

Price: €16,99

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar Tim Quinn CD TABLATURE CHITARRA

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar, Tim Quinn. CD TAB.

MBGU Rock Curriculum: Fluid Pentatonics, Book 2
84 Melodic Studies for Guitar
by Tim Quinn

Product Description:
Fluid Pentatonics for Guitar: 84 Melodic Studies for Rock Guitar is a comprehensive manual for developing blistering pentatonic motion that moves freely over the entire fretboard, using position-shifting slides, hammer-ons, and pull-offs for speed and fluidity. Emphasis is on overcoming the restrictive nature of traditional pentatonic "box" scale fingerings by developing pathways that continually shift between and connect the five pentatonic “boxes”. Complete whole-neck control is developed through an extensive series of repeating melodic exercises and etudes. Section One presents 35 sequential whole-neck studies, each of which spans the range of twelve frets, thus unlocking virtually every possible position shift. Section Two develops complete non-shifting control through a series of 15 interesting and useful sequential patterns, applied to each of the five pentatonic "boxes". Section Three presents 10 whole-neck/position-shifting studies that are non-sequential in design, in order to develop unpredictable melodic flow. Then, in Sections Four and Five, two vital extensions/variations of the pentatonic scale are fully explored; the Hexatonic and Dominant Pentatonic scales.

The result is a complete matrix of pentatonic moves and connections that allow the guitarist to float freely across the entire fretboard without being locked into any single particular pentatonic "box". The resulting sound is definitely NOT bluesy (very little string bending), but closer to a modern jazz-rock fusion style; fluid and unpredictable. Great for all guitarists in rock, jazz, fusion, blues, country, and pop styles who want to unlock complete whole-neck freedom and develop a fast, modern pentatonic sound. CD included.

Presented in standard notation and tablature.

Price: €27,99



Product Description:
Chord-Lead Soloing for Guitar is a complete method for developing fluid double-stop chord melody. This style of playing can be heard most notably in the playing of Jimi Hendrix (in songs such as The Wind Cries Mary, Little Wing, and Castles Made of Sand), as well in the music of the guitarists he influenced, including Steve Vai, Eric Johnson, and Stevie Ray Vaughan. Chord-lead style playing bridges the gap between straight lead and strictly rhythm, because it is simultaneously chordal (implying a specific major or minor chord) and melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm into one flowing melodic chordal texture. This is accomplished through a comprehensive collection of chord-lead phrases, each of which is presented in at least three different fingerings (important for whole-neck flow). These phrases are then assembled into soloing etudes that demonstrate practical application over different chord progressions

Chord-lead playing can be adapted to every style of music, including rock, jazz, blues, alternative, funk, R&B, country, and pop. Mastering chord-lead soloing also greatly increases a guitarist’s ability to "stand alone"; that is, to play by himself unaccompanied by other musicians, mixing and switching between chording and lead improvisation. This book is perhaps the most definitive guide ever written for mastering this highly sought after (yet elusive) style of playing. CD included. Standard notation and tablature.

Price: €24,99
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