LIBRO

THE GIG BAG BOOK OF PRACTICAL PENTATONICS BY MATT SCHARFGLASS.

542 esempi di frasi pentatoniche. TABLATURE

THE GIG BAG BOOK OF SCALES FOR ALL GUITARISTS. TABLATURE

Scales for Guitarists
The Gig Bag Series
Series: Music Sales America
Publisher: Music Sales America
TAB
Author: Mark Bridges, Joe Dineen

Covers 180 scales in all 12 keys in standard notation and tab, with fingering suggestions plus the different scale positions that cover the entire fretboard. Includes fretboard diagram.

Inventory #HL 14028884
ISBN: 9780825636936
UPC: 752187941378
Publisher Code: AM941370
Width: 5.0"
Length: 12.0"
178 pages

Introduction
This book is a reference guide for guitarists. It is
not intended as a method book, but rather as a reference
book of scales that are easily accessible to
the beginner or advanced guitarist. Regardless of
your musical interest, this book contains the
majority of scales you will encounter in most
styles of music (rock, jazz, country, or blues).
Strong scale knowledge will help build familiarity
with the fretboard and help develop technical ability.
The fifteen scales covered in this book are:
• major (Ionian)
• natural minor (Aeolian)
• Dorian
• Phrygian
• Lydian
• Mixolydian
• Locrian
• harmonic minor
• jazz melodic minor
• Lydian flat-seven
• whole tone
• diminished (whole-half)
• pentatonic (major)
• pentatonic (minor)
• blues scale (with major third and flatted fifth)
Although there are many more scales available,
these scales types were chosen for their popularity
as well as their usefulness.
The Gig Bag Book of Scales for all Guitarists has been
designed with the player in mind. You don't have
to go to your bookshelf to find that bulky chord
encyclopedia that your music stand can't even
hold up, you don't have to break the spine of the
book to get it to stay open, and it doesn't take up
all the space on your music stand. It is easy-tocarry
and easy-to-use. We hope that this book will
serve as a valuable reference source during your
ears as a developing guitarist.

How to Use this Book
It is strongly recommended that you develop a
practice regimen in which you devote some time
to scale study. If you practice one hour each session,
then devote fifteen or twenty minutes to scale
study. Another approach would be to practice
your warm-up exercises with a different scale each
day.
Here are some helpful tips:

• Use the handy thumb index to find the key
you're looking for.
• At the top of each page you will find the scale
type and to the right you'll find the scale formula
(W= whole-step and H = half-step).
• otice that there are five suggested scale types
along with their fingerings. (The scale types and ,
fingerings are only suggested guidelines; you are
encouraged to develop your own scale types and
fingerings.)
• The scales are written in both standard notation
and tablature. You will find a fretboard diagram
at the bottom of the page displaying the scale
pattern (the root of the scale appears as a circle
while the other scale tones appear as black dots).
• In addition, the five fingering types are bracketed
at the top of the fretboard diagram to help you
visualize the scale pattern all over the neck.

whether you are looking to develop chops (technique)
or broaden your scale vocabulary, The Gig
Bag Book of Scales for all Guitarists is for you.

BLUE BOOK OF GUITAR AMPLIFIERS, 2ND EDITION.

RAINBOW RISING, ROY DAVIES. the story of Blackmore's Rainbow. 296 Pages.

BOOK. A biography of Ritchie Blackmore's time with the rock band Rainbow. 8pp b/w photos.

We have waited a long time for someone to deliver a definitive book on the history of Rainbow, and in many ways this book is exactly what we have all been waiting for. In other ways however it falls short of its promises.

The many line up changes, the anecdotes from the recording sessions and live concerts, are all here, but what is missing are the in depth reasons behind the facts.

The lack of first hand quotes from the main people involved with the band, instead using quotes gleaned from old interviews, gives the impression that the book has been a peace meal construction, rather than a true study on the reasons behind the band. Was Mr.Blackmore interviewed for the book?

The book reads as if it has been written by two separate authors, the writing style of the journalist and the fan are at times poles apart. The journalist employs a style of flamboyance with the language, and the fan writes from the heart. I know the book is a compilation of two separate ideas that have been put together. At times the two flow well together, at other times the joins are very apparent.

The facts are presented within the story of the band, in a chronological manner, and the reader is certainly drawn through the history of the band in a tourist like manner. At times the book allows itself to view more important topics, but often just passes by quickly, with a casual reference to what happened. The earlier albums are looked at in depth, while the later albums are passed by with only a reference to the key tracks.

Aside from the above points, the book is a welcome addition to any real fan reference library. It clears up many points that have been in question for many years. An obvious one being whether or not “Temple of the King” was ever played live before the '95 re-formation. Thankfully we can now rest easy in our beds over that issue. The book does explore Blackmore’s reason behind the departure of Dio and the move towards a more commercial sound, and this is one of the most interesting parts of the story.

Where the book really excels, is in the appendices. The lists of concerts, records, singles, bootlegs, personnel and equipment are excellently presented bits of work. Though curiously no mention of the specs for the Rainbow, and of its later fate when it was discarded.

The story is one familiar to most older fans of Mr.Blackmore and his career, and most of the quotes and stories are also familiar to anyone who followed the band during its duration. The book has a nice easy reading feels to it, except the few times I had to reach for the dictionary, notably when the journalist started using words like “tyro”. It is an enjoyable read, and for those not familiar with the history of the band, it’s a fine starting point. For those of us more than familiar, I await a Blackmore biography, should anyone be brave enough to write one. Bit like a Rainbow album really, some great material, some highlights, some filler, and some fade out towards the ends of tracks, but overall an interesting body of work.

THE FENDER ELECTRIC GUITAR BOOK 3RD EDITION. Tony Bacon

To mark the 60th anniversary of Fender, Backbeat's introduced a new, completely revised third edition of this bestseller. Fender guitars have long been the instruments of choice for artists such as Jeff Beck, Eric Clapton, Jimi Hendrix and Stevie Ray Vaughan. This book tells the complete story of Fender guitars, detailing classics such as the Telecaster, Stratocaster & Jazzmaster as well as lesser-known models. Dozens of photos reveal Fender's storied craftsmanship, while the text includes collector details for all models. The reference section lists all models and their statistics. This new edition has been refreshed and updated, with 56 extra pages and over 60 new photographs. The main text has added material and has been brought up to date to cover Fender's ever-changing history amid the fascinating developments for the company and its instruments during the eight years since the previous edition. 192 pages.

The Fender Electric Guitar Book - 3rd Edition

A Complete History of Fender Instruments
Series: Book
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon

Inventory #HL 00331752
ISBN: 9780879308971
UPC: 884088151201
Width: 8.5"
Length: 11.0"
192 pages
 

THE FENDER ELECTRIC GUITAR BOOK

is the only volume to tell the full story of all Fender's electric
guitars - from Telecasters, Stratocasters, and
Jazzmasters to Mustangs, Jaguars, and Showmasters.

• This completely revised and updated third edition
includes a wealth of new and unseen information, along
with a host of extra photographs.

• The book explains how Fender's guitars have inspired
generations of musicians hungry for stylish and
responsive instruments. Key events, such as the
CBStakeover in 1965 and the formation of Fender
Japan in 1982, are related to contemporary guitars,
and unique interviews with Fender people past
and present shed new light on decades of
musical history.

• An unrivalled collection of colour
photographs showcases the skill and
versatility of Fender's designers, and
meticulous listings for the collector
detail all of the company's electric
guitar models from 1950 to the
present day.

• This book is a thorough,
entertaining examination of the
world's premier maker of
solidbody electric guitars - and a
book that every guitar nut and
music fan will want to own.
"Great for the coffee table or
the reference library."
GUITAR PLAYER
HL00331752

presents
the definitive story of Fender's electric guitars
in a revised and updated third edition.
leo Fender introduced the world to the
solid body electric guitar in 1950 with the
instrument now known as the Fender
Telecaster and soon added another classic,
the Stratocaster.
Fender s sleek, adaptable instruments
fuelled the pop music boom of the 1960s and
have since been heard in the hands of virtually
every guitarist of note, including Buddy Holly,
Jimi Hendrix. George Harrison, Keith Richards,
Kurt Cobain, and Eric Clapton.
The book documents the past and present of
Americas supreme maker of solid body electric
guitars. profiling fine as well as freaky Fenders
through a wealth of detailed research and an
unsurpassed collection of superb photographs.
As well as the full story, and a sparkling
gallery of photographs, the book includes
meticulous listings for the player and collector,
detailing every Fender electric guitar model
from 1950 to the present day.
With its unmatched set of features, The
Fender Electric Guitar Book is the only must-
have book on the subject.

CONTENTS
THE FENDER STORY
The complete history from the earliest
days in the 1940s right through to
Fender's current instruments and
players, plus an accompanying gallery of
full-colour pictures.

REFERENCE SECTION
Every Fender model spec'd and
explained, from 1950 to 2007, made in
the USA, Mexico, Japan, and Korea. Plus
a chronological inventory and systems
for dating, including serial number keys.
INDEX
ACKNOWLEDGEMENTS

the fender story
mostly wooden - but from the metal bar used in the player's left hand to stop the
raised strings, which were generally tuned to an open chord. During the 1930s and
later the term 'Spanish' was used to identify the other type of guitar (less popular at
the time) which was played upright against the body. Leo would call this the 'standard'
guitar.
Doc Kauffman wrote later about the early days of K&F. "[Leo and IJwould go down
to the store, and at the rear was a metal building that housed the guitar department,
and we would work till midnight." This description of a guitar "department" is
certainly optimistic. Most people who saw the "metal building" remembered it as a tin
shack hastily and cheaply assembled behind Leo's radio store. Doc continued his
account: "I used to assemble all our instruments and string them up and playa few
steel licks, and Leo used to say he could tell how production was coming along by
counting the tunes I was playing." 3
Leo met another significant person at this early stage, one who would become a
key contributor to the later success of the Fender company. Don Randall was general
manager of Radio & Television Equipment Co (known as Radio-Tel),based in Santa Ana, just
15 miles south of Fullerton. One of Randall's customers was the Fender Radio Service.

FENDER ELECTRIC INSTRUMENT CO.
Leo had not served in World War II, because of a childhood illness that cost him his
right eye. Randall, who spent three years in the army, said that Leo was able to expand
his shop's trade in those war years. Randall recalled: "During that period there weren't
too many people about to do that kind of business. When I got out of the service I
came back and started doing business with Leo again, selling parts and equipment."
It was around this time that Leo and Doc Kauffman decided to split. "It seems Doc
was afraid to carryon with the business," said Randall.4
Leo was happy to work into the
middle of the night at the tin shack making the K&F lap-steel guitars and amps, but
Doc wasn't so keen to spend long hours locked away from the world.
Leo said later: "It costs a lot of money to get into large-scale production, and the
1930s depression was still fresh in Kauffman's mind, so he didn't want to get involved.
He had a ranch or farm ... and he was afraid [thatJ if we got over-extended on credit
he might lose it. He thought he'd better pullout while he had a full skin, so in February
of '46 he left it all with me."s
According to one colleague, Doc - who remained lifelong friends with Leo - was
asked later if he resented selling out, given the subsequent success of the Fender
business. "And Doc said no, he was never sore, because Leo would have killed him
before he got through with it anyway," referring to the exhausting hours. "Doc liked
to spend time with his family, he didn't like staying down the shack till 10 or 11 at
night, seven days a week. Anyone that worked with Leo had a hard time not over-
working, because Leo expected you to be on call all hours."