STERN MIKE, ULTIMATE PLAY-ALONG FOR GUITAR. Basi complete. 2 CD. SHEET MUSIC BOOK with GUITAR TABLATURE.
LIBRO DI MUSICA FUSION CON 2 CD.
CD CON BASI JAM TRAX PER CHITARRA.
SPARTITI PER CHITARRA CON :
ACCORDI, PENTAGRAMMA, TABLATURE.
Ultimate Play-Along for Guitar
By Mike Stern with Askold Buk
SERIES: Ultimate Play-Along Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs
Ultimate Play-Along for Guitar has been developed so that the beginner to intermediate level guitarist can practice in different styles along with all-star musicians including Mike Stern on guitar, John Patitucci on bass and Dave Weckl on drums. This book and CDs package contains two CDs: the first disc contains seven complete rhythm tracks with the guitar melodies and solos, and the second CD contains the rhythm tracks minus the guitar. The book features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as tear-out "roadmap" charts for each tune.
One of the most important considerations to take into account when playing a tune is how to interpret a written melody line. You want to get your "voice" on the tracks, but at the same time, you have to be true to the composer's intent. Here's how I try to approach this. There are times when I get asked to play on a session where the rhythm tracks (bass, drums and piano) are already recorded. My job would then be to overdub the melody. I try to prepare for this beforehand by getting the music ahead of time. Then, I generally learn the notes as written and try to get as comfortable as possible playing them (figuring out positions, etc.). Once I'm more comfortable with the melody, I try to take a few liberties with it. I might find a few spots were I can put in a personal stamp, be it playing a fill or two, bending a few notes or adding some vibrato. This adds a bit of my personality to the tune and, hopefully, makes it come more alive. If you have the chance, it's good to check with the composer ahead of time to make sure that your interpretation goes along with his original intent. This was the case in recording the songs on this project. Before I laid down my parts, I talked with Dave and John (the composers) and made sure that they liked the direction I was going to take. My approach to this tune was to play the melody so it would breathe and sing a little bit. I tried to play the melody pretty much as written, but in my own way, I wanted to lay back, make some of the notes a little longer and add a few embellishments. For example, in the very beginning of this tune (bars 4-7), I threw in a couple of fills that weren't originally written (refer to FIGURE 1- the actual chart given to me for the session). That's because I felt that the tune needed something extra in this space. Using embellishments such as slurs, vibrato and bends brings the individual's personality into interpreting a melody. You're still responsible to play what's written - you don't necessarily change the pitches - but at the same time, you don't want your performance to be stiff. So, in some cases, you could take more liberties. Obviously, the idea is to make these choices on an intuitive, instinctive level - so that it just feels good. Be careful, because you can overthink things. You don't want to get so selfconscious that you'll play like a robot. Let's look at some examples of the stylistic interpretations that I made in the music. As you can see, I didn't adhere strictly to the note values written in the original chart. For example, though the E in bar 14 in the original chart ends at the second beat, I chose to extend the value for the duration of the measure (see measure 12 in the transcription) - it just sounded better to me! I also chose to slide into the B in bar 14, though no slide was notated in the original chart. There's also a long slide at the end of bar 22. Rather than making the A a 16th-note, I slid it down the neck for a more dramatic effect. You can also see that even though no vibrato is indicated in the original chart, I freely use it whenever I think the tune calls for it. A note about rhythm playing: you've got to be careful that your rhythm part works with whatever the soloist is playing, yet doesn't clash with the other rhythm instruments. Otherwise, leave it out. Over the keyboard solo, I just played a single-note "scratch" part throughout, consisting of a D at the 7th position. D was a common tone for all the chords. A common tone is one that fits harmonically through all the changes. Upon analysis, you can see that D is the 9th of C, the flatted 7th of E and the 5th of G. On a session, you also have to be prepared for any unexpected changes in the chart. For example, though an Emll chord was originally written in bar 71, the keyboard player played an E7#9 instead. When I heard that E7#9 chord on the track, I thought it was a strong substitution, so I played it as well. When overdubbing, you should always listen for musical surprises and react to them accordingly.
The best way to practice is to have fun while you learn; and that is exactly what the ULTIMATE PLAY-ALONG series is all about. Every musician has learned by playing along with records, and now with Ultimate Play-Along you can practice with great recorded music as if you were a member of the band. That's because you get eaach track mixed without your instrument. You also get to hear the music with the featured instrument as well, for reference.
ULTIMATE PLAY-ALONG has been developed so that the beginner to intermediate bassist can practice in different styles along with all-star musicians including Mike Stern on guitar and Dave Weckl on drums, John Patitucci on Bass. This book/CD package contains 2 CDs; the first disc contains the full 7 rhythm tracks with the guitar and the second CD includes the rhythm tracks minus the guitar. The seven CD tracks cover a wide range of syles including: Straight Eighths, Shuffle (Blues), Sixteenth-Note Feel, Hip-Hop (Jazz Funk), Pop Ballad, Reggae (Shuffle), and Rock.
This book and CDs package contains two CDs: the first disc contains seven complete rhythm tracks melodies and solos, and the second CD contains the rhythm tracks minus the guitar. The book features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as tear-out 'roadmap' charts for each tune.
The book features roadmap charts for each tune, as well as a step-by-step discussion of each section. John also gives you a variety of options you can use for both groove and fill ideas. Each section concludes with a 'talk down' of the chart, similar to what you'd encounter on a session or at a rehearsal. Each chart comes perforated so it can be easily removed for use on a music stand. The play-along charts will help improve your reading, time, feel and confidence. So, put on some headphones, turn up the music and work out with the ULTIMATE PLAY-ALONG!
ULTIMATE PLAY-ALONG FOR GUITAR, Features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as "roadmap" charts for each tune. Every chart comes perforated so that it can be easily removed and placed on a music stand. In each chapter, Mike focuses on a specific musical style and explains in depth how he approaches playing in that idiom. He also offers practice tips, soloing suggestions and exercises to help you master each style. Playing along to the tracks will inprove your reading, time and feel and working on the transcriptions will certainly enable you to axpand your improvising vocabulary. So put on some headphones, crack up the music and work out with the ultimate play-along. For guitarists.
Contents:
Introduction
guitar Notation Guide
Straight Eighths
Shuffle (Blues)
Sixteenth-Note Feel
Hip-Hop (Jazz Funk)
Pop Ballad
Reggae (Shuffle Style)
Rock
Closing Thoughts & Discography
Charts
Italiano
English
