CHORD TONE SOLOING A GUITARIST'S GUIDE TO MELODIC IMPROVISING ANY STYLE LIBRO CD TABLATURE BOOK

CHORD TONE SOLOING, A GUITARIST'S GUIDE TO MELODIC IMPROVISING IN ANY STYLE. MUSICIANS INSTITUTE. CD TABLATURE

LIBRO METODO DI MUSICA CON CD,

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

A Guitarist's Guide to Melodic Improvising in Any Style

Barrett Tagliarino
Editore: Musicians Institute Press

La guida per chitarra per le improvisazioni melodiche in qualsiasi stile.


Scopri con questo libro e CD come i professionisti creano assoli meravigliosi! Il Cd allegato contiene 68 tracce di esercizi, frasi, esempi di solos e play alongs. include tutto il materiale necessario di base, le istruzioni dettagliate su come e che cosa allenare; concetti essenziali per musicisti di ogni livello; sviluppa "riflessi melodici" in tempo reale; assoli in qualsiasi progressione e in qualsiasi stile musicale, usare gli accordi come una sorgente infinità di idee e molto altro. 112 pagine.

 

Chord Tone Soloing
A Guitarist's Guide to Melodic Improvising in Any Style
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD
Author: Barrett Tagliarino

Learn how the professionals create monster solos with this easy-to-use book/CD pack! The accompanying CD includes 68 tracks of exercises, licks, solo examples, and play-alongs. Includes all necessary foundation materials; detailed instructions on how and what to practice; essential concepts for players at every level; developing your real-time melodic reflexes; soloing over any progression in any style of music; using chords as an endless source of ideas; and more.
Inventory #HL 00695855
ISBN: 9780634083655
UPC: 073999958553
Width: 9.0"
Length: 12.0"
112 pages

 


A Guitarist's Guide to Melodic Improvising in Any Style

INCLUDES:
All Necessary Foundation Materials
Detailed Instructions on How and What to Practice
Essential Concepts for Players at Every Level
Developing Your Real-Time Melodic Reflexes
Soloing Over Any Progression in Any Style of Music
Using Chords as an Endless Source of Ideas
Standard Notation and Tablature

Learn how the professionals create monster solos with this easy-to-use book/CD! The accompanying CD includes 68 tracks of exercises, licks, solo examples, and play-a longs.


MUSICIANS INSTITUTE PRESS
is the official series of Southern California's renowned music school, Musicians Institute. MI instructors, some of the finest musicians in the world, share their vast knowledge and experience with you nomatter what your current level.

Whether your instrument is guitar, bass, drums, vocals, orkeyboards, MI PRESS offers the finest music curriculum for higher learning through avariety of series:

Essential Concepts – designed from MI core curriculum programs

Master Class - designed from MI elective courses

Private Lessons - tackle a variety of topics "one-on-one" with MI faculty instructors

Video-in-depth lessons with many of Ml's well-known instructors

ISBN 0-634-08365-


Introduction

What It Is
In any style, solos and melodies make use of the notes in the chords that are being played. In this book, we IIstart from scratch and learn to find both the chord tones and the correct scales to go with them in any spot on the fretboard.
Part I is a very simple preview to show you where the book is going. Then all the scales, arpeggios, and theory you need are presented, explained, and drilled in Part II with exercises that have a rhythmic focus. This all serves to prepare you for the longer chord-tone soloing routines in Part III. Pick up a guitar magazine or book and you'll find music being explained with a slew of numbers: "In measure 18, (insert amazing player here) sneaks in a stunning major 6th over the AD,resolving to the 3rd of the I chord." Ever wonder if great players actually think of those numbers, or is it all just theoretical justification dreamed up afterwards? The answer is yes, they do think that way, even if they don't know all the terms used by the guy who writes about it later. Be it crude or sophisticated, much musicality comes from knowing how notes relate to the underlying chords. The numbers (and letters) are the language used to express this chord-related, or harmonic, information. You might pick this up by trial and error, by relying on your ear, and/or by copying other players. This is necessary and desirable, and the way we all learn in the end, but you can cut down the time it takes to reach a professional level (where you're always ready to play something that fits the music) by applying harmonic theory to your practice. In other words, rather than reinvent the wheel, just steal it and run over those who came before you.

Who It's For
This book is for players of any style, at all but the most beginning levels. I'll only assume you know the most basic techniques like strumming chords and picking single notes (techniques like bending strings, hammer-ons, and pull-offs are not needed for the program). Everything beyond that is explained in detail, from basic harmony and theory on up. But there's no mistaking that by the end of Part III the material is advanced, and you can expect to continue to use this book for years to come.
Once you have enough basics from Part II under your fingers, the routines in Part III will produce noticeable differences in your playing in just a few weeks. After a year of applying the method, you'll know how to solo melodically over anything but the most challenging chord progressions. With the concept in hand, you can then make sense of those magazine transcriptions, attack other books with intelligence, and use what you learn from them in your own music.

Where It Came From
Students hear me soloing over tunes in different styles-rock, country, whatever. Sometimes they stop me and say, "Show me THAT lick!" I'd like to, but often I can't. There is not a giant mental library of licks that I simply plug in one after another. There are some licks to learn, of course, but there's more to it-some way of picking out notes on the fly so that they flow in a musical way, all in less time than it takes to think about it.
Then they might ask, "What scale did that come from?" or "Was that an arpeggio?" I explain that it's
neither scale nor arpeggio, but sort of both at the same time, which leads us into a productive course of study, the refinement of which you now have before you.


PRIVATE LESSONS
By Barrett Tagliarino
Table of Contents
Introduction .
About the CD .

Part I: A Preview to Chord-Tone Soloing .
Chapter 1: Let's Jam .
Chapter 2: Chord-Tone Targets on a Basic Blues .

Part II: A Solid Foundation .
Chapter 3: Getting Serious About Practicing .
Chapter 4: Timing .
Chapter 5: The Five Patterns .
Chapter 6: Major Scales .. '': .
Chapter 7: Intervals ~ .
Chapter 8: Chords and Arpeggios .
Chapter 9: Diatonic Harmony .
Chapter 10: Finding Key Centers .
Chapter 11: Minor Scales and Keys .
Chapter 12: Modes .
Chapter 13: Extensions .
Chapter 14: Modal Interchange, Secondary Dominants, and Modulation .

Part III: Chord-Tone Soloing Exercises .
Chapter 15: 3rds and 7ths .
Chapter 16: The Frosty Fretboard .
Chapter 17: Arpeggiation .
Chapter 18: Targeting 1, 3, 5, or 7 ,
Chapter 19: Steady Eighth-Note Lines .
Chapter 20: Scalar Connection to Any Chord Tone .
Chapter 21: Ascending Arpeggios and Descending Scales .
Chapter 22: Choosing Your Targets .
Conclusion .
About the Author .
Acknowledgments

ISBN 0-634-08365-1

 

Conclusion
I suggest keeping some type of tone-targeting exercises as set forth in Part III of this book in your
practice regimen on a long-term basis. Add more challenges as you go:
• continue to target chords that change on beats beside beat 1 or 3 of the measure
• play lines consisting of triplets (three notes per beat), sixteenth notes (four notes per beat), or a mixture of the two
• use scale sequences and melodic ideas that fit or overlap chord phrases
• target chord tones over progressions that use odd time signatures
• apply phrasing ideas you've learned from other players
• think of some of your own ideas and practice until you can toss them in at will
An idea for a song may pop up while you're exploring a new exercise. It's also important to continue
learning and analyzing solos and melodies by other players, so you can absorb the pacing, phrasing, and structure, as well as the fun part: stealing the licks.
It's been a pleasure for me to work on this book, and I sincerely hope these practice routines help you as much as they have me and my students. Good luck.

About the Author
Barrett Tagliarino has been an MI instructor since 1987 and was Rock Department Head at Hohner
MusikSchule in Vienna, Austria, in 1994. This is his fourth book for the Hal Leonard Corporation. Barrett has recorded TV and radio commercials and a Starlicks instructional video, Classic Rock Guitar Soloing.
Barrett has also written articles in magazines like Guitar Player and Guitar One, and released an independent CD, Moe's Art. Find out more at his website, monsterguitars.com.

Acknovvledgllnents
I'd like to thank Tommy Gunn for playing the drums and Jason Moussa for testing this book. Thanks also to everyone at the Hal Leonard Corporation.
 

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112