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

GUITAR LESSONS WITH THE GREATS. SHEET MUSIC WITH CD & GUITAR TABLATURE . 

LIBRO DI MUSICA ROCK FUSION CON CD ,

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA E TABLATURE .

MIKE WILLIAMS, JOHN XEPOLAES

Prepare yourself for private guitar lessons with the most sought-after instructors in music today! Book and CD
In Guitar Lessons with the Greats, six major artists known for their innovative contributions to contemporary jazz, rock and fusion guitar share the vast knowledge and experience that keeps them on the cutting edge of the music world.
Via in-depth lessons containing over one hundred examples, John Abercrombie, Kevin Eubanks, Frank Gambale, Scott Henderson, Steve Lukather and Mike Stern reveal their secrets to soloing, comping, chord-melody playing, ear training and masatering modern harmonic concepts.
The accompanying CD contains examples from the book played by the actual artists. You can follow along and hear exactly how each written example should sound.
Co-written by guitarist/educator Mike Williams, Guitar Lessons with the Greats will give you teh necessary ammunition to take your playing to the next level.

Kevin Eubanks
Frank Gambale
Steve Lukather
Mike Stern
Scott Henderson
John Abercrombie

101 MUST-KNOW ROCK LICKS. CD TABLATURE

A Quick, Easy Reference for All Guitarists
Series: Guitar Educational
Softcover with CD - TAB
Author: Wolf Marshall

Now you can add authentic rock licks to your vocabulary. Here are 101 definitive phrases, plus a demonstration CD, from every major rock guitar era, neatly organized into easy-to-use categories. They're all here! Includes licks from the Early Rock era, and the '60s through the '90s, plus a listing of suggested recordings. 48 pages.

Inventory #HL 00695432

ISBN: 9780634013706
UPC: 073999142921
Width: 9.0"
Length: 12.0"
48 pages
 

EXERCISES, GUITAR REFERENCE GUIDE CHERRY LANE. TABLATURE

Exercises
Series: Guitar Educational
Publisher: Cherry Lane Music
Composer: Joe Charupakorn

An incredibly useful reference for guitarists, this book presents a wide variety of exercises designed to enhance not only technical ability, but also fretboard visualization skills. Unlike other giant books that cover only the most common exercises, this book presents every exercise type with numerous fingering options. Ideal for both beginners and pros, it includes: over 150 exercises, standard notation and tab, scales and arpeggios in all positions, diatonic and linear sequences, and much more.

Inventory #HL 02500331
ISBN: 9781575604022
UPC: 073999134803
Width: 9.0"
Length: 12.0"
242 pages

Guitar Reference Guide Exercises presents a wide variety of exercises for guitar that are designed to enhance not only your technical ability, but also your freboard visualization skills. Unlike other giant exercise books that cover only the most common exercises, this book presents every exercise type with numerous fingering fingering options. Guitar Reference Guide - Exercises is the ideal book for beginners seeking a well-organized, easy-to-follow guide and consummate professionals who need a reference of exercises for every possible musical situation. 

OVER 150 EXERCISES

STANDARD NOTATION AND TABLATURE

SCALES AND ARPEGGIOS IN ALL POSITIONS

DIATONIC AND LINEAR SEQUENCES

Guitar Reference Guides present the cornerstones of guitar knowledge in the clearest and most practical way. Comprehensive treatment is given to each subject, complete with easy-to-read charts and diagrams. Designed to give any player – beginner to professional – the most authoritative reference books ever.

PREFACE/ABOUT THE AUTHOR / ACKNOWLEDGMENTS

PREFACE
Technical studies are an important part of every musician's development. This book presents a wide variety of exercises for guitar-with several fingering options for each--designed to enhance not only your technical ability, but also your fretboard visualization skills. In addition to the exercises, there are three pieces from the classical violin repertoire in the last section of this book that will give you a truly challenging technical workout: The allegro assai from J.S. Bach's Sonata #5 for solo violin, Moto Perpetuo by Paganinni, and Wohlfahrt's Study #3.
This book is a good source for practice material and makes a perfect companion to the Guitar Reference Guide Scales and Arpeggios books.
-Joe Charupakorn

ABOUT THE AUTHOR
Joe Charupakorn is a guitarist, composer, and author. He earned a Masters of Fine Arts in Composition from Purchase Conservatory of Music at the State University of New York where he graduated Magna Cum Laude. Joe has also studied privately with many musical heavyweights, including jazz pianists Richie Beirach and Mike Longo, guitar legend Mike Stern, and contemporary classical composer Ruth Schonthal. He lives in New York City, where he is active as a performer, composer, and teacher.

ACKNOWLEDGMENTS
I'd like to thank Arthur Rotfeld and Nick Russo, my editors, for their input, insight, and patience, and my parents (Chavalit and Boonchit), Sup, and all of my friends for their support. This book i dedicated to my mother.

INTRODUCTION/HOW TO USE THIS BOOK

INTRODUCTION
The best way to use this book is to create a practice strategy. This means choosing a few exercises (you don't have to learn every exercise in the book) and working on them daily until you feel you have technically mastered them. A good practice routine consists of starting out with some of the warm-up exercises, to get the blood flowing, then taking a scale pattern and playing through each fingering of the pattern. Do this slowly and try to visualize the shapes of the scales as you play the pattern. Work on the arpeggio patterns in a similar fashion.
Learn each exercise with all the fingerings given slowly and carefully, never sacrificing clarity and accuracy for speed. The goal is to develop an instinctive command of the fretboard. A metronome is a good tool to help chart your progress-be sure to get one if you don't already have one. Use it to keep track of tempo markings daily to monitor your progress. See what tempos you are comfortable with and what your upper limits are.

HOW TO USE THIS BOOK
This book is arranged as follows: First a presentation of the scales and arpeggios with several fingering options, then exercises based on these fingerings. Learn each fingering of the scales and arpeggios thoroughly before attempting the exercises. Try learning one scale and one arpeggio exercise per week and you will notice a significant improvement in your technical ability. At the end of the book are some etudes from the masters that will prove to be an extreme technical challenge. Don't be intimidated by these pieces; with consistent practice you will be able to play them. Start slowly, building up speed daily and using our metronome as a guide.

Warm-Up Exercises
The warm-up exercises consist of the 24 finger patterns possible using a one-finger-per-fret finger pattern scheme in first position. Keep your left hand fingers as close to the fretboard as possible to economize the finger movements (especially the pinky and ring finger).

Scales
The exercises in this book are based on the three most common scales-the major scale, the ascending or jazz melodic minor scale. and the harmonic minor scale. Four fingerings are given: fifth-position, seventh-position, eighth-position, and a three-notes-per-string fingering.

Scale Sequences
The scale sequences are based on the three scales and the four fingerings given. Study each fingering of the patterns and see how they relate to each other.

Arpeggios
II arpeggios from triads to seventh chords are presented with four different fingerings, just like the scales. These fingering are the most common fingerings and should be memorized.

Arpeggio Sequences
The arpeggio sequences are based on the four arpeggio fingerings presented in the arpeggios section.

Diatonic Arpeggio Sequences
Diatonic arpeggio sequences are presented in the key of C major. After learning them in C major, try these patterns using the C jazz melodic minor and C harmonic minor scales as a resource. Practice them in other keys as well.

Linear Diatonic Arpeggios
Linear arpeggios move horizontally across the fretboard rather than the position-based vertical fingerings presented earlier and are shown here in the key of C major (again, after learning them in C, try using the C jazz melodic minor and C harmonic minor). Learning these linear arpeggios will help solidify your knowledge of the fretboard and improve your technique.

Pieces
As a conclusion to the book, three challenging pieces from the violin repertoire are presented. The Allegro Assai from J .S. Bach's Sonata #5 for solo violin, Paganini's Moto Perpetuo, and Wohlfahrt's Study #3.
 

ROCK LEAD PERFORMANCE, MUSICIANS INSTITUTE. Tech, scales, soloing for guitar. centro tonale, i modi, le scale, bluesy, arpeggi, jam, 74 Esempi audio di rock song, con Nolan e Gill. SHEET MUSIC WITH CD & GUITAR TABLATURE

LIBRO METODO DI MUSICA ROCK CON CD. 

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.

TECNICA, 

Rock Lead Performance
Techniques, Scales and Soloing Concepts for Guitar
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Danny Gill
Composer: Nick Nolan

Techniques, scales and soloing concepts for guitar complete with a CD with over 70 full-demo tracks; in-depth study of modes; soloing over chord changes and modulations; harmonic minor, diminished and other scales; blues-based music; and much more!

Inventory #HL 00695278
ISBN: 9780793590582
UPC: 073999952780
Width: 9.0"
Length: 12.0"
80 pages

GUITAR SECRETS: HARMONIC MINOR REVEALED. by Don Mock. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA CON CD. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Guitar Secrets: Harmonic Minor Revealed

By Don Mock
Item: 00-0055B
UPC: 029156658286
ISBN 10: 076920029X
ISBN 13: 9780769200293

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Legendary guitarist and educator Don Mock exposes the closely-guarded "secret" soloing techniques of jazz and rock giants, revealing easy ways to create ultra-cool sounding lines and patterns by substituting simple harmonic minor patterns over dominant 7th chords. These book/CD packages each contain over 60 music examples, lines, licks and patterns. All music is written in standard notation and tablature. 

MOCK REVEALS

SECRETS OF THE THE MASTERS !

FAMED GIT INSTRUCTOR EXPOSES TRICKS OF THE TRADE

Legendary guitarist and educator Don Mock exposesthe closely guarded "secret" soloing techniques of jazz and rock giants, revealing easy ways to create ultra-cool sounding lines and patterns by substituting simple harmonic minor patterns over dominant 7th chords.

Containing over 60 music examples, lines, licks and patterns, this book/CD package approaches the potentially complex topics of soloing and scale substitution from a player's perspective; immediately presenting useful lines and patterns that you can use now. All music is written in standard notation and tablature and all the music examples are contained on the included CD.

• New Sounds! New Ideas!

• Over 60 lines, licks and music examples!

• Learn soloing and scale, substitution from a player's perspedive!

• CD included!

• Standard notation and tablayure!

"I DID IT FOR THEMONEY" MOCK ADMITS

ISBN 0-7692-0029-X

9 780769 200293

WARNER BROS. PUBLICATIOS

15800 Avenue Miami

Coming Soon by Don Mock: Guitar Secrets/ Melodic Minor Revealed

Foreword

Learning how to play and use scales has always been a large part of every guitar player's practice schedule. Players have spent countless hours practicing scales up and down all over the guitar, sometimes with great success and sometimes with frustration as the end result.

Those of you that know me from my books and videos, or years at the Guitar Institute of Technology (GIT), know I've been involved in guitar education for a long time. I've seen hundreds of students struggle with the same problems that I faced when going through the process of learning how to play and use scales. After many years of experience, both playing and teaching, I've become a big believer in cutting through the B.S.in learning, and getting to the point of it all, which is playing music.

The presentation and ideas in this book are definitely from a "player's" perspective. We're not going to get too in-depth into the history and "classical theory" of the harmonic minor scale. We'll focus more on its uses in contemporary styles like rock, jazz and fusion. Don't get me wrong; there will be no shortcuts here when it comes to modern music theory. As far as I'm concerned, all guitar players must have a good working knowledge of harmony and theory and the ability to read music, even if it's only simple chord charts.

Three Steps to Success Learning to improvise can be thought of as a three step process. The first step istypically the learning of scales. Using either the "key center" approach or the "modal" approach, students should learn at least a few useful fingerings of the major scale and be able to play them in all keys. Also, in this first step, players need to learn about harmony and theory to help them understand which scale fits over which chord. Armed with some theory knowledge, students can immediately begin playing over even difficult chord changes by simply switching to the "correct" scale or key center for the given chord.

Most players, after a period of time, will begin to find this first step limiting. They may say that they can't seem to make their solos sound like the chords, that they sound too "scaler." Moving on to step two, we introduce arpeggios as a tool to create chord sounds. Mixing arpeggios with our scales starts making our solos more harmonically intelligent.

Step three isthe "final frontier" of improvising, as we now start really learning music. So far, we've been using scales and arpeggios, but may not have been able to make our solos sound melodic. Now it's time to learn melodies. Most of us need to learn a repertoire of melodic lines to use when we improvise. Almost every one of our favorite players have, at one time or another, learned lines by copying recordings or transcriptions. I've met many student who tell me they don't want to sound like anyone else and feel they shouldn't copy other players.

They soon realize that the road to "originality" goes through the land of copying licks, phrasing and concepts used by favorite players. Eventually, these "influences" merge together into your own original style.

One last thing. A common misconception about improvising isthe phrase: "Playing what you hear." Many players say they do this, leading students to think that they simply make music up on the spot. What they are really saying they are doing is "playing what they know."

Improvising isthe spontaneous performance of ideas that come to you in the midst of soloing. You may not know ahead of time what you are going to play, but armed with scales, arpeggios, melodic ideas and theoretical concepts, you can playa creative and spontaneous improvised solo.

Unit 7: Using Harmonic Minor Arpeggios

How to use arpeggios when improvising can be a pretty big subject. Generally speaking, arpeggios are used to create chordal sounds (one note at a time) and add more melodic variety to musical lines. They're great for breaking up scales and for moving from one register to another. There are basically two approaches to choosing which arpeggio to use at a given time. The first isto use the arpeggio of the chord. For example, if the chord is C7, you simply playa C7 arpeggio; or if the chord isCm 11, use a Cm 11 arpeggio, etc. Thisapproach requires that you know an arpeggio for every chord. Think about how much work that could be. Not a very practical way to go. The other approach only requires that you know triad and seventh chord arpeggios.

The trade off isyou need to became a wizard at chord substitution. By superimposing various arpeggios over the basic chord you can create just about every chord sound imaginable. A quick example, that you may already know, is playing a Cmaj7 arpeggio over an Am7 chord. By doing this, you end up creating the sound of Am9 without actually playing an Am9 arpeggio. Thisconcept can be taken a long way allowing you some very sophisticated harmonic possibilities.

There are many ways to use the arpeggios of the harmonic minor scale. One approach isto think of all seven of the arpeggios as four-note "clusters of sound" that can be used anytime the scale can be used. For example, if you are playing over an E7, resolving to Am, experiment with superimposing all the arpeggios from A harmonic minor over the E7.The trick to this isyou need to be able to phrase the arpeggios in a way that still communicates to your listener the "sound" of E7. With practice, this can be a powerful way to create layers of harmonic minor sounds.

But, before we go crazy, randomly playing a bunch of arpeggios, let's first take a look at the chord sounds that are the result of playing the seven arpeggios over a dominant chord.

An important thing to remember isthat not all dominant 7th chords that we come across in tunes are V7 chords in a minor key. In fact, most dominant 7th chords we deal with are actually in major keys. The harmonic minor scale may not be the best choice in these situations (but feel free to experiment). Harmonic minor sounds best when played over a 7th chord resolving to a minor. The scale has a tendency to "lead" your listener signaling that a minor chord isto follow.

The following list shows the result of superimposing each of the seven arpeggios derived from the harmonic minor scale over a dominant chord. You will find that some sound stronger than others, but by connecting them together and mixing them with the scale, you'll eventually be able to use all seven easily.

Arpeggio Resulting Sound

Am(maj7) E7(#5,11)

Bm7 (b5) E7(b9,11)

Cmaj7(#5) E7(#5)

Dm7 E7(#5, b9, 11)

E7 E7

Fmaj7 E7(#5, b9,11)

G#dim7 E7(b9)

Here are a few useful arpeggio sequences that will help reinforce the two master arpeggio positions. Although I've indicated the name of each arpeggio, these lines are meant to be "thought of" as dominant (all A7).

Guitar Secrets - Harmonic Minor Revealed

Contents:

Unit 1: Harmonic Minor Scale History

Examples 1A - D

Examples 2 - 3

Unit 2: Fingerings of the Harmonic Minor Scale.

Example 4

Unit 3: How to learn and Practice the Scale

Examples 5A - D

Unit 4: Transposing the Scale to Other Keys.

Examples 6A - C .

Example 7 .

Unit 5: The Harmonic Minor Scale Harmony .

Examples 8A - B

Unit 6: Arpeggios From Harmonic Minor .

Examples 9A - G

Examples 10A - G .

Unit 7: Using Harmonic Minor Arpeggios.

Examples 11A - C ".

Unit 8: The Minor II - V - I ,

Examples 12A - F ,

Unit 9: Harmonic Minor in a Blues?

Example 13 .

Unit 10: The IV and VI Chords in Harmonic Minor

Example 14 .

Unit 11: The Diminished 7th Chord in Harmonic Minor .

Example 15

Unit 12: Static and Functioning Dominant 7ths .

Examples 16 - 17 .

Example 18

Unit 13:The Classic Use of the I Chord in Harmonic Minor,

Example 19

Unit 14: Some Special "Thinking" Tricks.

Examples 20A - D .

Examples 21A - B

Unit 15: Horizontal Harmonic Minor Scale Fingerings

Examples 22A - B

Examples 23A - D

Examples 24A - B

Unit 16: The licks .

Examples 25 - 26

Examples 27 - 29

Examples 30 - 31

Examples 32 - 33