LIBRO CON DVD

BASIC BLUES GUITAR METHOD 1. Fisher. DVD TAB.

By Drew Giorgi & Fisher,
CATEGORY: Guitar Method or Supplement
FORMAT: Book & DVD

A thorough course, paced for beginners. Become a great blues guitarist by starting with the fundamentals, like holding the guitar, tuning up, and playing simple chords and notes, and continue to grow with more advanced topics explored later, like slides, tritone patterns and double stops. All the music in each 48-page book is shown in TAB as well as standard music notation and demonstrated on the accompanying CD and/or DVD.

THE GUITAR PLAYER REPAIR GUIDE, 3RD REVISED EDITION. Dan Erlewine. DVD

Moltissimi suggerimenti, consigli, segreti per la regolazione e la cura del vostro strumento, come i famosi tubicini di plastica che Stevie Ray Vaughan usava al ponte per proteggere dalla rottura le corde; tutti i trucchi e le misure della Lucille. 

Series: Book
Publisher: Backbeat Books
Medium: Softcover with DVD
Author: Dan Erlewine
This expanded edition for beginners to experts is a step-by-step manual to maintaining and repairing electric and acoustic guitars and basses. Players learn how to set up a guitar and keep it in top form by mastering basic maintenance. Features an essential DVD that makes guitar maintenance easier than ever. New features include set-up specs of leading players; stronger coverage of guitar electronics, including pickups and wiring diagrams; and expanded coverage of acoustics. 322 pages

Book/DVD pack. Newly expanded edition of this indispensable step-by-step manual for maintaining and repairing electric and acoustic guitars and basses. Learn how to adjust your own truss rod, install tuners, close and glue cracks, replace a nut, make finish repairs, wind your own pickups, and much, much more. Content is now highlighted based on skill level: Basic, D.I.Y., and Deep. New features include stronger coverage of guitar electronics, including pickups and wiring diagrams and expanded coverage of acoustics. DVD features segments on: how to evaluate any guitar before buying, how to set your own intonation, how to install strings without damaging your guitar, more. 

In my boundless optimism, I expected clues to sonic miracles. I was talking to Bob Ezrin, who produced Alice Cooper, Lou Reed, Pink Floyd, Kiss, Peter Gabriel and many others, and, in the process, conjured some of the hippest guitar sounds ever blasted across the airwaves. Surely, there must have been some voodoo in his microphone selection, his mic placement and his choice and manipulation of preamps, compressors and other arcane signal processors. But Ezrin made it clear that everything started with the guitar itself. "An excellent setup is at the center of every good, complex guitar recording," he said. "The pickups must be in good shape, the electronics must be as clean as possible, and the fretboard must be buzz-free." At a time when the quality of inexpensive, off-the-rack guitars can be downright awesome, we tend to forget how a beautifully set up instrument-more specifically, one tailored to a player's every ergonomic desire and technical idiosyncrasy-can enhance a guitarist's tone and performance. Perhaps we also forget that some guitars have souls that influence our playing in mysterious ways. (Just ask Clapton about Blackie, or B.B. King about Lucille, or Brian May about his Red Special.) The lesson here is just because you can easily replace an instrument that's broken, cranky or sickly, it doesn't mean that you should. In some cases, a few simple repairs can bring a guitar back to life-or even make it better than ever. And don't forget the whole concept of hot-rod ding. With a little guidance and tech savvy, you can swap pickups, futz with wiring and enlist some other tricks to make a cheap guitar rage like a cornered panther, or turbocharge a fine guitar until it's something truly magical. As Ezrin revealed, it all comes down to the guitar and what you do with it. And that's where Dan Erlewine becomes your guru, mentor, coach, visionary, taskmaster, guide and, most likely, savior. Dan knows more about guitars and guitarcraftthan pretty much anyone left standing on this planet, and decades of his wisdom, tips, and techniques are encapsulated in this musthave book-which should now and forever be your guitar-repair bible. Dan has been a vital and much-respected member of the Guitar Player family for many years, writing the seminal "Repairs & Modifications" column, as well as the "Repairs" column and the innovative "Mod Squad" feature (which profiled Dan's youthful shop crew pimping out various guitars) during my tenure as editor. Dan has also produced several how-to DVDs, and is currently developing a series of video repair guides for Guitar Player's Web television station, GPTV. To quote a cliche, "Dan is the Man." But that's the whole truth. And after this book inspires you to transform your guitars into the easiest-playing, best-sounding machines you've ever plugged into an amp, you'll probably build a little shrine to Dan Erlewine in your music room, rehearsal space or home studio. Yeah, you'll be that thrilled with your instruments, and the man deserves it. Now, read on and start making your guitars play better and sound great. Guitar Player

... serious problem. Most acoustic guitars with problems suffer from sharpness and need to be compensated by adding to the string length. Occasionally, though, flat- ness caused by over-compensation isfound on acoustics on which the bridge has been installed out of position. Don't expect the guitar you buy to have perfect intonation. Tweaking the intonation needs to be done to suit the the individual player's needs, governed by the factors mentioned here. When setting intonation, we try to get a stri ng to play the same note when fretted at the 12th fret aswhen played open, only an octave higher. In theory, the distance from the nut to the 12th fret isthe same asfrom the 12th fret to the saddle. The 12th fret octave is the halfway point of the scale (scale length equals the measurement from the nutto the 12th fret, times two). In practice however, the string length must be increased to compensate for the sharpness that results when the string is pressed down during playing. The mathematical distance of the scale is based on a straight line from the nut to the saddle's center, but when you press the string down it becomes stretched, and goes sharp. This isa basic explanation of the need for compensation. Add in the factors below, and you'll see why the seemingly simple job of setting the intonation can cause you to tearyour hair out before you finally take the guitarto a repair shop, so they can teartheir hair out! The closer the strings are to the fingerboard, the less compensation is needed, since the strings go sharp lesswhen pressed. However, guitars with lighter strings generally need more compensation than heavier ones, since asstring tension decreases (going from heavier-gauge strings to lighter), the compensation need increases.Therefore, the lighter the strings and the lower the tension, the more need for compensation. So, perhaps one cancels out the other. Confusing, but you can prove it for yourselfby trying this test: Using an electronic tuner, check your guitar's intonation on the low Estring at concert pitch. Retune the string to D.lt will intonate sharper, which indicates the need for more compensation, or added string length. That's why the modern electric player, who uses .010 strings or lighter, often searches far and wide to find a repairman to set the intonation.
Wound strings need more compensation than plain ones. Because of their extra weight and slower, low-pitched vibrations, wound strings need more clearance from the fingerboard to avoid buzzing. The extra clearance isgained by raising the string height from the fingerboard for wound strings. This increase in heigh causes the strings to go sharp more than the unwounds when depressed. This iswhy bridge saddles slant toward the bassside on steel-string acoustics or electrics. I like the term "speaking length" of a string. Franz Jahnel's comprehensive Manual of Guitar Technology refers to the mathematical string length asthe "true" length (the measured distance from nut to bridge saddle), and the actual vibrating length asthe "playing” or speaking, length. A string, especially a wound one, doesn't actually start vibrating, or speaking, until it gets a certain distance from the nut orthe saddle. So, part of the string's length (in terms of sound) isalways lost-another reason for compensation. Notice that c1assicaI guita rs have sadd les with no slant. Why? The wound strings have a stranded core rather than a solid one, and sharp out at a rate similar to that of the solid nylon treble strings. Classical strings have a more even tension acrossthe fingerboard than steel strings. Therefore, they require close to the same amount of compensation per string, and in general are more uniformly spaced from the fingerboard in terms of height. You may find saddles that have been slightly filed off-center (compensated) under the Band G strings some classicals. Instruments with longer scales need less compensation than shorter-scaled ones, because the longer string must be tighterto reach the same pitch. Thus the longer string is lessapt to be sharp when fretted and needs lesscompensation (the higher the tension, the lessa string goes sharp).The two most common scales are long and short. Long scales are 25-112" or thereabouts (these include Strats, all their clones, and many Gibsons; Martin uses a 25.4" and guild a 25-518",but we lump them all together as long scale): short scales are 24-314" or thereabouts (Gibson Les Pauls, ES-335s,smaller Martins at 24.9",etc.).Classical guitars have long scales.There are many other scales, but only a few really common ones: a "medium" 25" scale is used ...

This Repair Guide is the leading step-by-step

1 Cleaning and care

basic basic

Supplies 1

Cleaning the finish

Cleaning the fingerboard

Avoiding cracks, dealing with humidity

2 Installing strings

basic

Installing strings on electrics

Installing strings on acoustics 1

Installing strings on c1a~sicals 1

3 Neck evaluation and truss rod adjustment

basic

Neck evalution

d.i.y.

Truss rod adjustment

Understanding relief

Pro-quality straightedges

Typical neck adjustment scenario

deep

Rescuing a broken truss rod

4 Setup and action

basic

What is a setup?

d.i.y.

The basics of setup

Setting up an electric guitar

Setting up a guitar with tremolo

Setting up an electric bass

Setting up a flattop acoustic

Setting up an archtop

Setting up a classical

deep

Low action and the blues

Setups for pro players: Stevie Ray Vaughan and Jeff Beck

John Mooney's slide

Albert Collins

BuddyGuy

B.B.King

5 Intonation and compensation

basic Understanding compensation

d.i.y. Setting intonation

Adjustable bridges (electrics)

Non-adjustable bridges (acoustics)

deep Buzz Feiten Tuning System

6 Tuning machines

Tuner basics

d.i.y. Installing tuners

Steinberger tuners

Tuner repairs, broken mounting screws

Damage from over-oiled tuners

deep

Rotted plastic knobs

Making new tuners look old

Reconstructing rotted knobs

7 Electric guitar bridges: non-tremolo

basic

The manyTune-O-Matics

TonePros and Pigtails

Steve Rowen on T-O-M hardware

d.i.y.

Slotting Gibson bridge saddles

Adjusting an ABR-1bridge radius

Bridge posts and tailpiece studs

De-rusting metal bridge saddles

8 Electric guitar bridges: tremolos

basic

Setting up your tremolo system

d.i.y.

Floyd Rose installation and setup

Kahler installation and setup

Fine-tuning a Strat tremolo

The Trem-Setter

Roller nuts

deep

String benders

9 Acoustic guitar bridges

basic

Fitting flattop bridge pins

Evaluating acoustic action

d.i.y.

Replacing a bridge saddle -

Archtop bridges

Fitting an archtop bridge

10 Acoustic body repairs

d.i.y.

Clamps and glues

Closing and gluing cracks

Gluing loose braces

deep

Reattaching loose bridges

Bridge pad problems

Neck resets

11 Necks

basic d.i.y.

Fender guitar neck shapes

Fender bass neck shapes

d.i.y.

Installing bolt-on necks

Fret buzz in the high registers

deep

Broken pegheads

12 Fretwork

basic

What to expect from afret job

d.i.y.

Loose frets

Fret files

Compound radius fingerboards

Fret dressing

Refretting:

Choosing yourfretwire

Hammer-in method

Compression fretting

Martin bar-style fretting

The glue-in method

Bound fingerboards

Vintage Fender fretting

Fret slots and tang size

deep

The neck jig

The Plek machine

13 Nut replacement

basic

About nut replacement

d.i.y.

steps for replacing a nut

Tools

Removing the old nut

Roughing in the blank

Cutting slots, finishing up

String spacing

14 Bindings and pickguards

d.i.y.

Loose bindings

Shrinking Strat pickguards

Regluing an acoustic pickguard

15 Guitar electronics

Tools and supplies for electronics

Soldering technique

Using a multi meter

Caps and pots

Switches

Shielding

Acoustic guitar amplification

Seml-hollowbody wiring

Pickup replacement

Pickup repair

Rewiring, modifications

Wiring diagrams

deep

Wind your own pickups

6 Finishing and finish repairs

d.i.y.

A basic finishing schedule

Spraying necks and bodies

Finish repairs

Supplies for finish repairs

Fixing chips

Fixing dents and scratches

Touching up color

deep

Faking an aged finish

17 Shipping a guitar or amp

How to pack a guitar

How to pack an amp

18 Tools

basic tool list

d.i.y. tool list

deep tool list

sharpening chisels and scrapers

19 Resources and schools

Training for a career in lutherie

Lists: schools, suppliers, organizations

Index

THE ART OF TAP TUNING How to Build Great Sound into Instruments. Roger H. Siminoff. DVD e libro

Series: Book
Medium: Softcover with DVD
Author: Roger H. Siminoff

This book explains the secret ingredients needed to obtain the very best tonal qualities when building acoustic string instruments. It includes an exploration of the tools and equipment needed, the methods to excite tones in the instrument, how to make the necessary changes, and how to achieve consistency and repeatability. The text focuses on tap tuning as it relates to mandolins, guitars, banjos, violins, ukuleles, dulcimers, pianos, and more. The DVD includes demonstrations of the acoustic phenomena described in the text. 48 pages.

GUITAR JOURNALS... FLAMENCO. DVD TABLATURE

Product Description:
This 176-page book/DVD package includes six full-length contemporary Flamenco guitar compositions by Ioannis Anastassakis, MA, best-selling Mel Bay author of the Art of Rasgueado and one of the few people to have obtained a Graduate Degree in Flamenco Guitar. Selections include Veridiana (Rumba Flamenca), Angelika (Granadinas), Maestro Serrano (Tangos), as well as 3 more solos based on the Flamenco forms of the Farucca, the Soleares and the Malaguena. Presented in standard notation and tablature, with extensive performance notes for each selection. DVD duration 64 min.

Format: Book+DVD
Series: Guitar Journals

It is no secret that interest in the flamenco guitar has grown very rapidly during the last 50 years. Flamenco guitar technique has evolved to extremely high standards, the compositions have matured beyond even the most optimistic expectations and the number of artists performing solo flamenco guitar music has risen to unprecedented heights; even the number of new flamenco guitar recordings has quadrupled in the last 5 years alone! There is, however, still one problem plaguing this continuous and multi-faceted progress: lack of performance repertoire. When compared to its classical guitar counterpart, flamenco guitar repertoire is found lacking indeed. Very few editions of performance pieces exist, most of them decades-old compositions that do not take into account the progress that has taken place in both the performance techniques and the compositional forms of flamenco guitar.

My intention with this collection of pieces is to tread the fme line between traditional flamenco guitar, firmly rooted in the inherited musical elements and the contemporary influences that have brought new levels of excitement to the music. All the compositions presented in this collection are based on traditional flamenco guitar forms. All of them, however, include additional elements from other musical cultures and styles. These compositions are meant to be performed live. I have performed most of them at least 200 times during the course of my flamenco guitar recitals and in just about every performance scenario from impromptu guitar gatherings to heavily publicized recitals, when teaching flamenco masterclasses or just playing for friends. The level of difficulty is usually upper intermediate with some parts drifting purposefully into advanced territory. Do not let that discourage you! I hope you have as much fun working with the compositions in this book as I had composing and recording them. Moreover, if you do enjoy them, do not hesitate and let me know. And while you are at it, check out. Finally, if you are interested in the subjects of flamenco and classical guitar, check out my Art of Rasgueado book, as well as my upcoming Art of Tremolo, Treasures of Flamenco Guitar and Flamenco Guitar Studies books, all published by Mel Bay Publications.

Companion CD Recording: All of the compositions in the book are recorded on the companion CD at performance speed. In addition, several of the key parts in each composition are recorded again at slow speed, in order to offer a more complete understanding of each phrase. Finally, I have included video files on the companion DVD that demonstrate the most difficult parts, as well as flamenco-specific techniques within these compositions. Fingering Notes: In order to simplify the visual complexity of the music, I have opted to avoid repeating obvious left-hand fingerings, especially in the case of basic major and minor chords played in open position and/or phrases repeated many times throughout the composition (eg. The basic rasgueado pattern in Soleares). This was done intentionally in an effort to give the music an uncluttered look, since there is a fair amount of rhythmic complexity as well as a large assortment of right hand techniques that need to be meticulously transcribed in the notation and tablature. As a personal fingering choice, I tend to use my left hand 4th finger (little finger) for a lot of phrases where most guitarists would use their 3rd (ring) fmger instead. I have found that with proper training, the little finger becomes even stronger than the ring finger, so I tend to use it a lot, sometimes to the point of favoring it. Still, this is a personal fingering choice. Feel free to substitute the 3rd finger in these instances. Keep in mind that a lot of flamenco falsetas (music phrases) are based on chord shapes that are held for either the complete duration or a significant segment of the phrase. This is especially prevalent in tremolo-based and arpeggio-based phrases. Try to identify these phrase segments and keep the maximum number of chord notes ringing while performing them. Depending on their specific context, trills are sometimes notated as appogiaturas and are sometimes given appropriate rhythmic value. The most basic, as well as the most usual, golpe is played with the ring finger hitting the golpeador of the flamenco guitar, right below the 1st string close to the bridge. However, there are two other special golpes used in the following compositions, which are explained in each piece's performance notes. The most distinctive techniques of the flamenco guitar are the various Rasgueados. These characteristic strumming techniques playa key part in creating the unique sound of the flamenco guitar. I have intentionally decided to use a very large variety of rasgueados, more than you would probably find in the actual playing of even an advanced flamenco guitar performer, in order to demonstrate a representative sample of the variety of flamenco rasgueado technique. If you are interested in learning more about the various rasgueado techniques used in flamenco, their history proper performance and context, I suggest you check out my instructional book The Art of Rasgueado, published by Mel Bay Publications.

Born on the Greek island of Crete, Ioannis Anastassakis studied at the Greek National
Conservatory and the Nakas Conservatory in Athens. He completed his bachelor's degree at the
American College of Greece, and subsequently studied at the distinguished Musicians Institute
in Las Angeles (GIT), where he was hired as an instructor after graduating in the top 1% of his
class. He continued his studies, specializing in solo flamenco guitar under the tutelage of Juan
Serrano at California State University, completing an MA in Guitar Performance and graduating
Magna cum Laude. Currently (2005), he is working towards a Doctorate in Education, with an
emphasis in Music in the UK.
Ioannis studied for several years with Juan Serrano. In addition, he has studied with Flamenco
guitar legends Manolo Sanlucar, Juan Martin, Paco Serrano, Jose Antonio Rodriguez and Manolo Franco.
Ioannis' list of teachers of electric guitar are no less impressive; the list reads like a "Who's
Who" of contemporary electric guitar legends including: Steve Vai (Whitesnake), Vinnie Moore (UFO), Marty Friedman (Megadeth), John Petrucci (Dream Theater), Frank Gambale (Chick Corea), Paul Gilbert (Mr. Big), Brett Garsed, Joey Tafolla, Scott Henderson, Mike Stern, Jean Marc Belkadi, Darren Householder, Tommy Tedesco, Ted Greene, Ron Echete, Sid Jacobs and Joe Diorio.
Ioannis has also performed and/or recorded in various settings with band members from
Whitesnake, Dio, Deep Purple, Ozzy Osbourne Band, Elton John Band, Santana, Celine Dion, Sara Vaughan, Tito Puente, Julio Iglesias, Tower of Power, Chick Corea Electric Band, Jeff Beck, Steve Vai Band, Badlands, Tribal Tech, Natalie Cole, Joe Cocker, Cher, Blood Sweat & Tears, Nina Hagen and others.
Ioannis has presented over 300 solo recitals in Europe and the United States and has been a
guest lecturer at several American colleges and universities including: The University of Southern
California, California State University Northridge, California State University Fresno, California
State University Fullerton, Musicians Institute, Fresno City College, and the American College of
Greece. In addition, he has won classical and flamenco guitar competitions and has been featured
a dozen times on American television programs.
In December 2000, he was the first guitarist ever to present a solo guitar recital at the Greek
National Opera House.
Ioannis' first solo flamenco guitar CD, Flamenco Live at Ioannina, was released by MP3.com
in August 2000 and immediately entered the company's flamenco category Top 10 chart, eventually
reaching the #1 spot worldwide in October 2002. The CD was re-mastered and re-released by
Wild Rose Angel Productions in 2003.
Ioannis' second and third solo flamenco guitar CDs, Traditional Flamenco Guitar Selections,
Vol.J & Vol.2 are scheduled for release by Wild Rose Angel Productions in 2006 and 2007
respectively.
Ioannis' instructional materials are published and distributed worldwide by Mel Bay
Publications. His first instructional book The Art of Rasgueado, achieved best-seller status within
months of its initial publication date. He is also a regular columnist in Mel Bay's Guitar
Sessions® magazine.

TABLE OF CONTENTS
Introduction
Acknowledgements
General Performance Notes
Notation Legend
A mi madre (Soleares) - About the Composition
A mi madre (Soleares) - Performance Notes
A mi madre (Soleares)
Recuerdos de Cordoba (Farruca) - About the Composition
Recuerdos de Cordoba (Farruca) - Performance Notes
Recuerdos de Cordoba (Farruca)
Angelika (Granadinas) - About the Composition
Angelika (Granadinas) - Performance Notes
Angelika (Granadinas)
Veridiana (Rumba) - About the Composition
Veridiana (Rumba) - Performance Notes
Veridian (Rumba)
Maestro Serrano (Tangos) - About the Composition
Maestro Serrano (Tangos) - Performance Notes
Maestro Serrano (Tangos)
Variations on Malaguefia (Malaguena) - About the Composition
Variations on Malaguefia (Malaguena) - Performance Notes
Variations on Malaguefia (Malaguena)
About the Author

DVD CONTENTS
This DVD contains specific sections from the songs chosen by the author to teach in greater detail. Each section is played at speed and then played again at a slower pace to offer greater instruction and insight into each piece. The audio tracks are located on the DVD. You can access them by selecting "Audio Only selections" from the main menu of the DVD. 

Song Title: Composer/Source:

Introduction
Acknowledgements
Performance notes
Notation legend

A Mi Madre - Ioannis Anastassakis
Angelika - Ioannis Anastassakis
Flamenco Variations on Malaguena - Ioannis Anastassakis
Maestro Serrano - Ioannis Anastassakis
Recuerdos De Cordoba - Ioannis Anastassakis
Veridiana - Ioannis Anastassakis