ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

METHENY PAT, QUESTION AND ANSWER. TABLATURE

LIBRO DI MUSICA, SPERTITI PER CHITARRA CON TABLATURE. 

Series: Guitar Recorded Version TABLATURE
Note-for-note transcriptions with tab, in a handwritten jazz-style font and supervised by Metheny himself. Includes all the songs from this 1989 album that the All Music Guide describes as "nine tracks of sheer jazz joy," calling Pat's playing "modernistic, highly fluid, almost liquid lightning." 144 pages

Songlist:

All The Things You Are
Change Of Heart
H & H
Law Years
Never Too Far Away
Old Folks
Question & Answer
Solar
Three Flights Up

MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.2. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ CON CD .

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .  

Product Description:
Mel Bay's Master Anthology of Jazz Guitar Solos Volume Two presents 11 challenging tunes, improvised solos and solo guitar arrangements designed to enhance the repertoire of the intermediate to advanced jazz guitarist. Some of the world's finest jazz guitarists are represented, including Chris Buzzelli, Corey Christiansen, Mark Elf, Jim Farquar, Dave Frackenpohl, Barry Greene, Randy Johnston, Bill Purse, Dave Stryker, Frank Vignola, and Craig Wagner. All of the pieces are in both standard notation and tablature with a biographical sketch of each performer. A companion stereo CD is included, making this an ideal sourcebook for serious students and professionals alike.

Mark Elfhas been on the Jazz scene for over 30 years. He was born in Queens, New York in 1949 and started playing the Guitar at the age of 11. He has played and or recorded with the Jazz Giants: Dizzy Gillespie, Clark Terry, Jimmy Heath & the Heath Bros., Wynton Marsalis & Jon Hendricks just to name a few. His first professional Jazz performance occurred around 1971 as a sideman at the Club Barron in Harlem, New York with Gloria Coleman and Etta Jones. This performance was a double bill with the George Benson Quintet. During the 1970's he toured with Lou Donaldson, Jimmy McGriff, Groove Holmes & Charles Earland and recorded a number of albums with them. He recorded his flrst album as a sideman with Jimmy McGriff & Groove Holmes in 1973 on the Groove Merchant Record label called "Giants of the Organ Come Together". In the late 1970's Mark worked with Junior Cook and Bill Hardman in New York City and also recorded with them on the Muse Label. In the 1980' s he toured Europe with Dizzy Gillespie, Clark Terry and other Jazz Luminaries and also recorded his flrst album as a leader in 1986 called the Mark Elf Trio Volume 1. In 1988 he recorded his second album as a leader ''The Eternal Triangle with Hank Jones, Jimmy Heath, Ray Drummond and Ben Riley. This album would be released in 1996 on Mark's Jen Bay Record Label. In 1993, Mark landed his fIrst overseas record deal with The Alerce Record Label and ''The Mark Elf Trio" was recorded in Santiago, Chile. This recording was marketed to radio in 1996 and went to #7 on The Gavin Jazz Chart. In 1995, Mark recorded for Telarc on the Jon Hendricks CD, Boppin' at The Blue Note with, Wynton Marsalis, Benny Golson, Al Grey & Red Holloway. This recording went to # 1 and opened up some radio doors just before the Alerce recording released in 1996. After forming his own record company in 1995, Jen Bay Records, he stunned the record industry with hit recordings on Jazz Radio. From 1996 to 2000 all seven of his recordings had flnished in the top ten on National Jazz Radio with flve of them going to #1 consecutively from 1997 to 2000! In 1996 he joined the Jimmy Heath band and also worked with the Heath Bros. During this time The Eternal Triangle was released and it went to #4 on The Gavin Jazz Chart. He recorded As We Were Saying with the Heath Bros. for Concord in 1997. This same year Mark's third recording as a leader, A Minor Scramble was released. This was the second for his own company and it hit #1 on The Gavin Jazz Chart. This was the flrst of 5 consecutive Chart Toppers! The other four were 1998 - Trickynometry (#1), 1999 - New York Cats (# 1) and 2000 - Over The Airwaves & Live At Smalls (# I)! From 1970 to the present, Mark has taught guitar and theory at independent studios, colleges and universities in the USA and abroad. His clinics are recognized as some of the fmest in the world as attested to by Clark Terry who hired Mark to teach at several of his jazz camps in the 1980' s and 1990's. Clark says, "The students love his no nonsense practical approach. He's a great clinician." Beside owning his own successful record label he also owns his own publishing company. He is sought after for his lectures on How To Succeed As An INDIE.

Frank Vignola is considered to be among the top rank of guitarists on the music scene today. Born on December 30, 1965, in Long Island, New York, he began playing guitar at the age of five. As his proficiency grew, he spent many hours listening to the music of legendary guitarists; Django Reinhardt, Joe Pass, and Johnny Smith. Frank not only gained a spiritual sort of inspiration from these guitarist's recordings, he also made an intricate study of the complexities of these guitar masters styles, slowing down his records to analyze many a solo. Frank's first teacher was his father, a semiprofessional banjo player. Later, Frank became the star pupil of guitarist Jimmy George, who was one of the original Dion and the Belmonts. At age 12, Frank took up the tenor banjo and swiftly burst upon the music scene in a way that would portend many of the accolades and milestones to come in his career as a jazz guitarist. Though obviously steeped in the traditional schools ofjazz, especially in the formative years, Frank would ultimately take inspiration from a wide arc of the musical spectrum. Guitarists such as Django, Charlie Christian, Wes Montgomery and Lonnie Johnson are obvious influences, but one might be surprised to learn that rocker Jimi Hendrix has also received the close scrutiny of Frank' s ear. Louis Armstrong, Lester Young, Thelonius Monk, Charlie Parker, Sonny Stitt, Antonio Carlos Jobim, Thad Jones and Duke Ellington have all had inspirational impact on the music of Frank Vignola. While still in his teens, Frank experienced the most effective music education possible-right on the bandstand as a working musician. Soon named among the top ranked musicians in New York, Frank performed and toured with such headliners as Max Morath and Leon Redbone. At age 23, he decided to lead his own group and formed his version of the famed Quintet of the Hot Club of France. Their debut at the New York cabaret, Michael's Pub, was a smash success and launched his career as a guitarist 'in the spotlight.' Tours of Europe, recording sessions, and an exclusive recording contract with the Concord Jazz label would all follow in short succession in a few short years. Frank would perform and/or record with such varied artists as Chet Atkins, Madonna, Jon Faddis, Woody Allen, Ringo Starr, Manhattan Transfer, Frank Wess, Elvin Jones, Lionel Hampton and countless legends from the golden age of jazz. Currently, Frank Vignola is the guitarist with the Mark O'Conner Trio' s tribute to Stephane Grappelli and also performs every Monday night with the Les Paul Trio at the Iridium in New York City. Frank is also the new guitarist in John Lewis' new group "Evolution".

Dave Stryker (3/30/57) grew up in Omaha, Nebraska and moved to New York City in 1980. After establishing himself in the local music scene, he joined organist Jack McDuffs group for two years 1984-85. When McDuff wasn't on the road (literally traveling by van all over the country) they worked a steady four-night a week gig at Dude's Lounge in Harlem. His fIrst break, this turned out to be an invaluable experience, paying his dues night after night with the soulful jazz organist. It was at Dude's Lounge that Stryker met tenor saxophonist Stanley Turrentine, who would occasionally sit in. Mter leaving McDuff, Turrentine asked Stryker to join his quintet. From 1986-1995 he played with the legendary saxophonist at all the major festivals, concert halls, and clubs throughout the world. He is featured on two Turrentine CD's (Stanley recorded Stryker's tune Sidesteppin). With Turrentine, Stryker was able to play with such jazz greats as Dizzy Gillespie and Freddie Hubbard. The ten years playing alongside the tenor legend helped Stryker realize the importance of having his own sound. (He continues to play with Stanley on occasion.) Stryker recorded his fIrst CD, First Strike (featuring Billy Hart) in 1988. Guitar on Top (featuring Mulgrew Miller and Victor Lewis) reached #13 on the Gavin Radio Chart and received 4 stars in Downbeat magazine. There have been articles in Downbeat, Guitar Player, Jazz Times, Swing Journal, and Jazz Life on Dave, and he has been awarded three jazz grants from The National Endowment For The Arts. In 1990 Dave began his association with SteepleChase Music. He has released twelve CDs on the label, including: Shades of Miles, Blue to the Bone II, All The Way, Big Room, Blue to the Bone, The Greeting, Nomad, Stardust, Full Moon, Blue Degrees, Passage, and Strikezone. Early on Stryker realized that as much as he loved playing standards and the jazz repertoire he had to have something of his own to give to the music. He feels that his writing combined with his playing is what shapes his musical expression. He has recorded and published over flfty of his own compositions. Eighteen of those compositions (from the flrst flve SteepleChase CD's) are compiled in the book: The Music of Dave Stryker (SteepleChase Music). Some of the other artists who have recorded his music are: Stanley Turrentine, Kevin Mahogany, Victor Lewis, and Steve Slagle. He is currently a featured member of vocalist Kevin Mahogany's working band, having written and arranged music for his Warner Bros. release Another Time, Another Place. Recent gigs have included Europe, Japan, Brazil, Poland and Carnegie Hall. He also works with Blue Note saxophonist Javon Jackson and pianist Eliane Elias. He has appeared on over twenty CD's as a sideman. As a producer, Stryker compiled the CD The Guitar Artistry of Billy Rogers which is the only existing record of the brilliant jazz playing of the late underground legend who was his friend, former teacher and member of the Crusaders. He also co-produced with partner Jim Eigo A Tribute to Grant Green on Evidence Music and is currently involved in producing some new releases. 

Product Number: 99554BCD
Format: Book/CD Set
ISBN: 0786660716
UPC: 796279076661
ISBN13: 9780786660711
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 5/15/2001

Format: Book/CD Set

Song Title: Composer/Source:
Eso Si Que Es - Chris Buzzelli
Got Milk? - Corey Christiansen
Guitar On Top - Dave Stryker
It Happened To Me - Barry Greene
Lenny's Song - Jim Farquar
Pat + Wes - Randy Johnston
Rain Forest - Bill Purse
Spiders - Craig Wagner
Tide Pool - Dave Frackenpohl
Trickynometry - Mark Elf
Vignette #1 - Frank Vignola

L'ESPRIT MANOUCHE. GIPSY GUITAR. ROMANE and Derek SEBASTIAN. Périple au pays de la guitare jazz 

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE

336 Pagine, 14 titoli completi di accordi, linee melodiche; arpeggi e scale diminuite, ritmi swing, il voicing e l'armonia, 98 midi files sul CD, partiture complete con contrabbasso di "valse à Django" di Reinhardt, e altri due pezzi. CD TABLATURE

Song Title: Composer/Source:
Arc-En-Ciel Romane
Chassés Croisés Derek Sébastian
Dans Le Regard De Laura Romane
Destinée Romane
Gypsy Fire Romane
Jo's Remake Romane
Manège Romane
Monticello Romane
My Foolish Heart arr. by Romane & Derel Sébastian
Ombre Romane
Pour Trois Pas Romane
Swing For Ninine Romane
Valsa à Patrimonio Romane
Valse à Django Django Reinhardt

This massive book offers a comprehensive study of the Gypsy jazz or Manouche guitar style as perceived by French guitarists Derek Sebastian and Romane, two of the finest modern day practitioners of the Django Reinhardt style.

Each of the book’s thirty-six progressive chapters consists of four parts: A.) Technique developed through exercises, chord progressions/diagrams, and illustrations of fingerboard positions; B.) A harmony lesson with leads in the Manouche style; C.) Soloing techniques based on the harmonic structure of a given theme; and D.) Self-testing materials with answers provided at the close of the book.

The companion CD for L’Espirit Manouche is unique in that it provides 98 play-along MIDI files that exactly parallel the order of the exercises, examples and pieces in the book as well as audio tracks of excerpts from eighteen Romane favorites from the Gypsy jazz repertoire. The MIDI tracks, which can be accessed via most audio players on PC or Macintosh computers, allow the student to play along with both short phrases and extensive rhythm tracks- at any desired tempo; The audio tracks on the companion disc can be played on any CD player.

L’Espirit Manouche not only makes Gypsy jazz accessible; it offers an opportunity to master the Manouche style. While many exercises and tunes appear in both standard notation and tab, not to mention chord or fretboard diagrams, standard notation is predominant.

LESPRIT MANOUCHE
A Comprehensive study of Gypsy Jazz Guitar

INTRODUCTION
L'Esprit Manouche consists of 36 chapters, containing 6 to 8 pages each. The degree of difficulty . increases progressively. You can expect to finish each chapter in about one to two weeks, depending on your speed of study. Each chapter is divided into three sections.

PART A
In section A you will develop your guitar technique with the aid of exercises, specifie chord progres sions /diagrams and illustrations of fingerboard positions.
Practice these exercises and the melodies for about 30 minutes. Then, while going through each chapter ,put them together with the other exercises given in this book.
This way, rather than doing the same thing 200 times, you get into the habit to put ail your exercises and melodies together, thus ending up with one single melody that can last as long as you want.

PART B
1) Section B1 should, reasonably, take approximately 45 minutes. Here we will study the theory of various chord progressions and how to use these most of the time, such as the Il - V - 1 major and minor progressions, the anatole, etc. In other words, we will study harmony.
While doing this. you should neverforget to learn these chord progressions weil,so that you can develop your own improvisations and compositions. For instance, you can learn many ways how to use various triads, arpeggios and scales with the Vl-Im progression.
With this in mind, 1 strongly suggest that you first record the rhythm guitar track (while using a metronome!) so that you can practice with it. This way you will, ideally, learn to keepgood time.

2) Section B2 should take about 15 to 45 minutes to finish. Here we will include the proper leads, in the style of Manouche, and look at its harmony. This is done with the use of chord diagrams. This section lets you automatically master the indispensable style of Manouche.

PART C
ln the third part, we will practice solos. Here we will put together and apply the actual harmonie structure of a given theme. This will include technical diagrams, note embellishments, typical melodies, speed effects, virtuosity exercises, keeping in time, etc.
The study of this part takes between 1to 4 hours. It will mainly consist of guitar solos taken from the original compositions that you can find on my CDs. These are shown, note-for-note, in the traditional music notation and in tablature. These solos come complete with harmonie symbols that coincide with the improvised melodies.

TEST
ln the last chapter, you are given the opportunity to test yourself by taking a comprehensive test (answers located in the back of the book). Here you can test your newly acquired skills. Wehope that you can correct any hidden mistakes that may appear while playing. Remember it doesn't matter at which level you play, mistakes will always be a handicap. Derek Sebastian and 1 encourage you to study, and wish you great success. 

Arc-En-Ciel Romane
Chassés Croisés Derek Sébastian
Dans Le Regard De Laura Romane
Destinée Romane
Gypsy Fire Romane
Jo's Remake Romane
Manège Romane
Monticello Romane
My Foolish Heart arr. by Romane & Derel Sébastian
Ombre Romane
Pour Trois Pas Romane
Swing For Ninine Romane
Valsa à Patrimonio Romane
Valse à Django Django Reinhardt

Romane and Derek Sebastian have put together a fine collection which is an excellent comprehensive study of gypsy jazz guitar. It is a book to be savored, and enjoyed.
Complete with a play-along CD, the book contains illustrations and photographs. The English translation is by Vincent Michael.

The glossary and introduction are followed by thirty-six chapters that run the gamut of what gypsy jazz guitar is about. The index offers ready reference points.

As a reference book, this is something you may also want to have your local Public Library order for its jazz patrons, and for those interested in jazz guitar.

This is a fine collection, one of the best around. There is much to learn about gypsy jazz guitar, and this is the book to learn it from!

JAZZ LICKS ENCYCLOPEDIA. 280 frasi. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO DI MUSICA JAZZ CON CD .

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .

By Jody Fisher
ITEM: 00-19420
UPC: 038081184524
ISBN 10: 0739011189
ISBN 13: 9780739011188
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Nearly 300 useful jazz guitar licks organized by chord type. Examples are shown in easy-to-read TAB and standard music notation. Four voicings are given for each chord type along with easy-to-read chord diagrams. Licks for common progressions such as ii-V-I are shown. Includes sections on Important Scales for Improvisation, Articulation, "Feel" and other important topics.

GUITAR
OVER 280 USEFUL JAZZ GUITAR LlCKS

- Organized by chord type
- Four voicings given for each chord type with easy-to-read chord diagrams
- Examples in TAB and standard music notation
- Includes sections on important scales for improvisation, articulation, "feel" and other important topics
- Licks for common progressions such as ii-V-I
JODY FISHER
 

CONTENTS:

ABOUT THE AUTHOR
INTRODUCTION
PART I: LICKS FOR CHORDS

MAJOR 6 CHORDS (MAJOR 13 CHORDS)
Chord Formula & Voicings
One-Bar Licks for 6 Chords
Two-Bar Licks for 6 Chords

MAJOR 7 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj7 Chords
Two-Bar Licks for Maj7 Chords

MAJOR 9 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj9 Chords
Two-Bar Licks for Maj9 Chords

MINOR 6 CHORDS (MINOR 13 CHORDS)
Chord Formula & Voicings
One-Bar Licks for min6 Chords
Two-Bar Licks for min6 Chords

MINOR 7 CHORDS
Chord Formula & Voicings
One-Bar Licks for min7 Chords
Two-Bar Licks for min 7 Chords

MINOR 9 CHORDS
Chord Formula & Voicings
One-Bar Licks for min9 Chords
Two-Bar Licks for min9 Chords

MINOR I I CHORDS
Chord Formula & Voicings
One-Bar Licks for Min I I Chords
Two-Bar Licks for Min I I Chords

DOMINANT 7 CHORDS
Chord Formula & Voicings
One-Bar Licks for 7 Chords
Two-Bar Licks for 7 Chords

DOMINANT 9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 9 Chords .
Two-Bar Licks for 9 Chords .

DOMINANT II CHORDS .
Chord Formula & Voicings .
One-Bar Licks for I I Chords .
Two-Bar Licks for I I Chords .

DOMINANT 13 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for I 3 Chords .
Two-Bar Licks for I 3 Chords .

DOMINANT 7b5 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7b5 Chords .
Two-Bar Licks for 7b5 Chords .

DOMINANT 7#5 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7#5 Chords .
Two-Bar Licks for 7#5 Chords .

DOMINANT 7b9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7b9 Chords .
Two-Bar Licks for 7b9 Chords .

DOMINANT 7#9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7#9 Chords .
Two-Bar Licks for 7#9 Chords .

DOMINANT 7b5b9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7b5b9 Chords .
Two-Bar Licks for 7b5b9 Chords .

DOMINANT 7#5#9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7#5#9Chords .
Two-Bar Licks for 7#5#9Chords .

DOMINANT 7b5#9 CHORDS
Chord Formula & Voicings
One-Bar Licks for 7b5#9 Chords
Two-Bar Licks for 7b5#9 Chords

DOMINANT 7#5b9 CHORDS
Chord Formula & Voicings
One-Bar Licks for 7#5b9 Chords
Two-Bar Licks for 7#5b9 Chords

MAJOR 7#5 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj7#5 Chords
Two-Bar Licks for Maj7#5 Chords

MAJOR 7#11 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj7#11 Chords
Two-Bar Licks for Maj7#11 Chords

DOMINANT 9#11 CHORDS
Chord Formula & Voicings
One-Bar Licks for 9#11 Chords
Two-Bar Licks for 9#11 Chords

PART 2: LICKS FOR PROGRESSIONS

ii-V7 -I
Example Progressions i
Two-Bar Licks for ii-V7-I i
Four-Bar Licks for ii-V7-I.. i

MINOR ii- V7-i
Example Progressions j
Two-Bar Licks for ii-V7 -i
Four-Bar Licks for ii-V7 -i

ii- V7-1- VI7
Example Progressions
Two-Bar Licks for ii-V7 -I -VI7
Four-Bar Licks for ii-V7 -1-VI7

iii- VI7-11- V7 S
Example Progressions
Two-Bar Licks for iii-VI7 -ii-V7
Four-Bar Licks for iii-VI7 -ii-V7

III7- VI7-117- V7
Example Progressions
Two-Bar Licks for III7- VI7-II7-V7
Four-Bar Licks for III7-VI7-II7-V7

CHROMATIC PROGRESSIONS
Example Progressions
Two-Bar Licks for Chromatic Progressions
Four-Bar Licks for Chromatic Progressions

APPENDIX
Articulation and "Feeling"
Revamping Licks
Rhythmic Displacement
Important Scales for Improvisation

The CD that accompanies this book can make learning with the book
easier and more enjoyable. The symbol shown above will appear next to
every example that is on the CD. Use the CD to help insure that you are
capturing the feel of the examples, interpreting the rhythms correctly, and
so on. The track numbers below the symbols correspond directly to the
examples on that page. Track I will help you tune your guitar to this CD.

Introduction
There are many factors that go into a good jazz solo. Understanding music theory, along with the
ability to execute numerous scales, patterns and arpeggios, is just part of the picture. You must also
develop a sense of melody. Jazz students go about this by spending quite a bit of time studying the
improvised solos of others-specifically, "lifting" nice melodic ideas for use in their own solos, or at
least to influence their own playing in some way. These short melodic ideas become their "licks." This is perfectly acceptable.
In the long run, everything you have studied and listened to blends together to become your "sound:'
Problems arise when a player uses licks as the only tool for creating solos. Stringing an assortment of licks together is not improvising. Improvising is expressing the moment with spontaneously created ideas (as much as possible). Most of these ideas are based on things you have already learned, studied and heard.
Ideally,when improvising, we are combining these things in new and exciting ways. So, it makes sense to expose yourself to a lot of nice melodies. Learning a variety of tunes will help and so will learning licks-the ones you transcribe from recordings and the ones you get from books like this one.
This book has two main sections. The first part deals with licks that will work over specific chords.
Most types of chords are represented. For each type of chord, you will be shown the chord formula (as derived from a scale) and four sample voicings. In this section, there are four one-measure licks and six two-measure licks that will work well over the chord. When you find a melodic idea you like, memorize
it and learn to play it in all keys. Then practice inserting the idea into your own solos. Always look
for ways to vary the lick and make it your own.
The second section deals with licks that work over entire chord progressions. Many of the most common progressions are shown with longer melodic ideas. You will find two- and four-measure licks. Once again, when you find one you like, memorize it, transpose it and then start using it (or pieces of it, anyway).
At the end there is a short Appendix. In this section, you'll find ideas to help you get more mileage out of the licks you have learned. There is also a list of scales from which most of the licks in this book were mined. Eventually, you should know these scales in a few different fingerings.
The idea is to develop a strong musical vocabulary. Think of a scale as an "alphabet." Licks are some of the "words" you can create using that alphabet. Learning licks can help you to understand the scales you are studying by showing you some of the musical sentence possibilities.
I hope the examples in this book will open a few melodic doors for you!

NOTE:
All of the eighth notes in this book are swing Bths (played unevenly, long-short). However, it's always a good idea to try playing musical ideas straight, too. Experiment. On the CD that is available for this book, they are played as swing 8ths. 

HENDERSON SCOTT, THE BEST. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA ROCK - JAZZ, FUSION.
SPARTITI PER CHITARRA, BASSO E SYNTH. IN PENTAGRAMMA.
ACCORDI, PENTAGRAMMA E TABLATURE

GRIGLIA DEGLI ACCORDI .

CHITARRA: TABLATURE
BASSO: PENTAGRAMMA.
SINTH: PENTAGRAMMA.

TITOLI: 

- Black Cherry

- Jakarta

- Revenge Stew

- Root Food

- Slidin' Into Charlisa

- Stella By Infra

- Red High Particle Neutron Beam

- Susie's Dingsbums

-The Crawling Horror

-Torque

- Worlds Waiting.

Chitarra TABLATURE, Basso (no Tab.).