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

JUMP, JIVE 'N' SWING GUITAR. Keith Wyatt. Learn styles of Freddie Green. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA SWING, CON CD. 

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

METODO PER CHITARRA .

By Keith Wyatt
SERIES: Jazz Masters Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD
In this book, Keith Wyatt leads you through all the techniques you need to play swing rhythm guitar. Keith covers blues progressions, swing chord voicings, comping patterns, rhythm feels, bass lines, horn-style riffs, and much more! The included CD contains full demonstrations of all the music examples, complete with a full swing band that you can play along with. All music examples are written in standard notation and tab. All you need is the Zoot suit!

Learn the styles of :

T-Bone Walker

Freddie Green

Gatemouth Brown

Brian Setzer

and all the Swing greats ....

Swing comping Techniques

2, 3, 4 note Swing Chord Voicing

Major and minor Swing blues progressions

Turnarounds

intro and endings

Freddie Green style

jump, jive and Swing Guitar. More than a studied technique, swing gets down to a feeling. It's how you play, how you move your whole body rhythmically in time with the band. In this book, you'll learn how to play with the band, understand what the band members are doing, and how the guitar fits in with them to create the rhythm section. A basic knowledge of chord voicings and some study of harmony and theory are essential; however, regardless of your level of ability, you will enjoy this exploration into the world of jump, jive and Swing Guitar. 

The Swing Rhythm Section IOne of the first steps to playing swing guitar is having some knowledge of the construction of the rhythm section. The role of the rhythm guitarist is to work with the other musicians: support the soloist and the singer and complement the drummer, pianist, and bass player. Listen how each individual band member plays his part in a typical Iz-bar blues in this CDtrack example. The basis of the whole rhythm section lies in the kick drum, which plays on every beat. The pattern played on the cymbal typifies the swing style, and in big band arrangements, the snare drum can accent various parts of the rhythm or can emphasize the steady swing feel to drive the band. In jump blues, the snare pattern is a hard-hitting backbeat. This is the groove that gave birth to rock 'n' roll. The role of the bass is to outline the notes of each chord in the progression with a note on every beat. This is called a walking line. The piano typically plays a walking line in the left hand, as the bass does, and plays upbeats in the right hand synchronizing with the drummer and the bass player to emphasize the swing feel. Horn sections supply the color and variety in swing or jump blues arrangements. There are endless variations on patterns like the simple punchy riff demonstrated here. I Nowthat you have heard each instrument individually, listen to them all together as a band. Listen how each part comes in and complements one another as they build up the groove for the guitarist to step in.

CONTENTS

Page CDTrack

INTRODUCTION

TUNING NOTES

PREFACE

SECTION ONE:

RHYTHM AND THE I2-BAR BLUES

Examples 1-2

Chord Voicings

Examples 3-6

SECTION TWO: THE RIGHT HAND 9

Examples 7-9

The I2-Bar Progression

Examples 10-12

Freddie Green

Examples 13-14

SECTION THREE: BLUES IN Bb

Example 15

SECTION FOUR: BLUES IN Eb

Examples 16-19

Example 20: Swing Blues in Eb

SECTION FIVE: . IMITATING THE PIANIST'S RIGHT HAND

Examples 21-22

Example 23: jump Blues in F

SECTION SIX: IMITATING A HORN SECTION

Examples 24-27

Example 28: Horn Section Blues in Bb

SECTION SEVEN: INNER STRING RIFFS

Examples 29-33

Example 34: Swing Blues in Bb

SECTION EIGHT: MINOR BLUES

Examples 35-37

Example 38: jive in G Minor

Example 39: jive in G Minor (Explained)

SECTION NINE: CLOSING 

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.). 

JAZZ GUITAR FAVORITES. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

6 titoli:

-All The Things You Are, Hank Garland

-I Hear A Rhapsody, Howard Roberts

-Oleo, Pat Martino

-Speak Low, Barney Kessel

-When Sunny Gets Blue, George Barnes

-Yesterdays, Wes Montgomery
 

Series: Guitar Collection
Medium: Softcover with CD
Arranger: Jack Grassel

Guitar transcriptions for these standards: All The Things You Are/Hank Garland - I Hear a Rhapsody/Howard Roberts - Oleo/Pat Martino - Speak Low/Barney Kessel - When Sunny Gets Blue/George Barnes - Yesterdays/Wes Montgomery.
40 pages

Table of contents :
All The Things You Are
I Hear A Rhapsody
Oleo
Speak Low
When Sunny Gets Blue
Yesterdays

INTRODUCTION

This publication represents a new format in jazz education which allows the learning improvisor and professional to access the benefits of studying classic guitar solos. Most transcription books require that the recordings (if available) be searched out, purchased, and only listened to since most players in the developmental stages of their playing would not have the technique to play the solos up to tempo. The solos in this book are:

1. Played in tune; many old recordings have been sped up to improve fidelity, raising the pitch as much as a whole step.

2. Recorded at an easy-to-play slow practice tempo.

3. Also recorded at a fast tempo slightly slower than the original, making performance attainable sooner.

4. Recorded on modern equipment with fidelity surpassing the original recordings with a modern rhythm section. Bass and drums are monophonic on both channels. Piano is on the right only. Guitar is on the left only.With your "balance control" you can choose what you want to hear. The solos are arranged in progressive order of technical difficulty.We chose performances that are most representative of each master's contribution to the development of jazz guitar.

Barney Kessel: This solo demonstrates his use of hard-driving melodic development and some of the first string bending on record by a jazz artist.

Wes Montgomery: The tone of the jazz guitar was forever changed by this man's thumb while adding to the post-bop vocabulary.

Howard Roberts: This early solo displays his formidable jazz talent which became unavailable to the public as Howard persued his pop hits, studio work and teaching careers in the late sixties.

Hank Garland: This Country-Western studio player shocked the jazz world in the early sixties with
his incredible jazz technique and swinging melodies.

George Barnes: With the use of almost every technique known to man, George uses bending, slides,
and hammer-ons to create a high level of expression seldom heard on the guitar.

Pat Martino: This solo is from the seventies after Pat had left his Wes Montgomery-influenced early
playing and developed his present polytonal-chromaticism, which is much different than the traditional jazz guitar approach.

The final form you see here is the result of an entire year of work; researching and choosing great solos, transcribing and proofreading for accuracy, countless hours of practicing and recording. Our motive is to increase the quality of jazz guitar playing and to preserve music which is or may become "out of print." Jeff Schroedl at Hal Leonard was a big help in developing and improving the book.

Up until starting this project I had avoided playing other's solos thinking that my own unique style of playing would be compromised. After spending a year with these masters, I've noticed that I have retained my original conception of guitar music, but have acquired a technical depth and more tools to play my music my way. So I now recommend this study to any jazz guitarist at any level.
Special thanks to the fine rhythm section who did their homework: Jim Sodke-keys, Del Bennett-drums, Tom McGirr-bass, and also Bill Littlefield-recording engineer.

GREEN GRANT, BEST OF. A step-by-step breakdown of the guitar styles and techniques of the jazz groove master. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Grant Green
Author: Wolf Marshall

Explore the many stylistic turns of one of the most influential guitarists in jazz! Renowned guitar educator Wolf Marshall takes you inside 13 of Grant Green's most popular tunes to examine his unique lines and musicality. Includes: Airegin - Born to Be Blue - Cool Blues - If I Should Lose You - My Favorite Things - Oleo - Sookie Sookie - Stella by Starlight - This Could Be the Start of Something Big - Tune Up , and more. The CD includes full demos. 88 pages

TiTLES :
Ain't It Funky Now, Pt. 2
Airegin
Born To Be Blue
Cool Blues
If I Should Lose You
Little Girl Blue
My Favorite Things
Oleo
Sookie Sookie
Stella By Starlight
This Could Be The Start Of Something Big
Tune Up
Wives And Lovers (Hey, Little Girl)

INTRODUCTION
Grant Green personifies the appellation "soul jazz." He is one of the most colorful
and exciting guitarists to have emerged from the genre, and his work remains the yardstick
by which subsequent practitioners are measured to the present day. In the early and
mid 1960s, Grant Green was a leading exponent of the burgeoning hard bop movement
and a studio stalwart of countless recording sessions that chronicled the rise of the art
form. In these productive years Green lent his singular blue-tinged touch and talents to
groups led by luminaries like Jimmy Smith, Herbie Hancock, Lee Morgan, Larry Young,
Art Blakey, Lou Donaldson, Jack McDuff, Stanley Turrentine, Hank Mobley, Baby Face
Willette, Johnny Hodges, Ike Quebec, and many others. Green was one of the most prolific
recording artists in the prestigious Blue Note stable. He recorded an unheard-of seventeen
albums in 1961 alone, his first year with the company. Between 1961 and 1965,
his classic jazz years, Green made more records than any other artist at Blue Note.
During this time, in addition to his many sideman sessions, he established a formidable
legacy with a substantial catalog of his own albums as leader.
By decade's end, Green had expanded his artistic vision to include the new
rhythm and blues hybrid dubbed "funky jazz." As a result, in the late 1960s and 1970s he
enjoyed a second prominent and influential career as performer and innovator and was
hailed as the quintessential "groove master" of jazz. Green's contributions in the medium
affected countless players on both sides of the jazz-rock divide. You can put George
Benson, Pat Martino, Henry Johnson, Stevie Ray Vaughan, Carlos Santana, Mark
Whitfield, Eric Gale, John Scofield, Joshua Breakstone, Andy Summers, Melvin Sparks,
Dave Stryker, Kevin Eubanks, and Peter Bernstein on the top of the list.
This is the first Signature Licks book/CD to explore the music, style, and playing
techniques of Grant Green in depth. The note-for-note transcriptions will provide you with
countless hours of revelation, and the matching audio will invite you to step into his musical
world to put the theory into practice-the way Green himself did in his formative years.
The selections reflect the diversity of Green's approach and are drawn from his various
musical epochs. You will find material from the hard bop and soul jazz genres, straightahead
standards and blues, modal jazz outings, and funky rock-influenced sessions, all
attesting to the many shades of Green that have endured to become a vital piece of the
mosaic we know and love as the American musical experience.

Figure4-010
Green's two-chorus solo in "If I Should Lose You" is one of the finest of his early
years, a superb example of his hard-bop improvisation in a moderate swing tempo.
Throughout, he cultivates a relaxed soulful feeling distinguished by thoughtful melodic
invention and an ever-present rhythmic congruence.
Green plays unmistakable blues-based licks in Bb minor over the song's minormode
areas to begin each A section in measures 1-3, 17-19, 33-35, and 50-51.
Moreover, his cadential lines at the end of each sixteen-measure section, beginning with
the opening break, are harmonically active bop melodies that emphasize the movement
to and arrival in Bb minor. Green also imbues the crucial secondary dominant-seventh
sections of the song with related minor-mode sounds. In measures 13-14 and 45-46, he
applies characteristic Bb minor lines to Eb9, and approaches each phrase with an altered
dominant melody based on F, the V chord of Bb minor, in measures 12 and 44.
Green favors swing-oriented ideas and generally simpler, more diatonic bop lines
during the contrasting but tonally related major-mode portions (in Gb and Dbmajor) of the
tune. Check out measures 4-11,21-27,36-43, and 53-58. These measures contain a
mixture of scalar and arpeggiated patterns shaped into memorable solo phrases. A case
in point is the voice-leading figure in measures 8-10, a well-known and favorite Green
cliche. This trademark phrase implies an Ebm7-Ab7-Dbmaj7 progression with a descending
minor-seventh arpeggio (Db-Bb-Gb-Eb), disguised chromatic motion arranged in a
familiar zigzagging pattern of Eb-Bb-D-Bb-Db-Bb-C, a rising 9th chord arpeggio
(C-Eb-Gb-Bb), stepwise descent (Bb-Ab-Gb), and a resolving target figure (Gb-E-F).
Green pursues and develops a simple motive in measures 37-39 with an
inescapable logic. Note the melodic expansion and rotation in this three-part phrase.
Green was a master of this sort of melodic invention, and was able, on the fly, to harness
the same elements and procedures used by great classical composers to produce similar
thematically coherent results in improvisation.
Green plays signature raked arpeggio patterns in measures 20, 57, 60, and
62. These short, crammed figures are articulated with sweep picking in both ascending
and descending motion. Green applies side-slipping (in this instance "slipping" a half step
higher) in measures 46-47 to momentarily suggest the remote key center of A minor over
Eb7 and Ebm7. The phrase is made more striking with his barrage of crammed triplet
rhythms. Green's prevalent use of eighth-note triplet rhythm patterns in the solo further
energizes important phrases throughout, most notably in measures 27-28, 32, 43-44,
47-48, and 63-64. Another ear-catching highlight is the funky double-stop figure in measures
51-52. Here Green combines an anchoring pedal tone (Db)with a descending chromatic line.
 

BILL EVANS, THE GUITAR BOOK. di Sid Jacobs. Funkallero -Laurie -Letter to Evan -My Bells -Orbit -Peace Piece -Peri's Scope -Remembering the Rain -A Simple Matter of Conviction -Time Remembered -Turn Out the Stars -The Two Lonely People -Very Early -Waltz for Debby. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

by Sid Jacobs
Series: Guitar Solo
Softcover with CD - TAB
Artist: Bill Evans
Composer: Sid Jacobs

In this book/CD pack, Musicians Institute instructor Sid Jacobs, who organized the school's Jazz Guitar elective, translates the playing of quintessential jazz pianist Bill Evans for guitarists to enjoy. Includes music, instruction and analysis of 14 Evans' pieces, all in their original keys and with full demonstration tracks on the accompaniment CD.
"Sid's marvelous transcriptions of Bill Evans' tunes for solo guitar have just raised the guitar to a new level. This is contemporary guitar at its harmonic best." Diorio

48 pages