Product Description:
This comprehensive method book is best suited to an intermediate to advanced six string guitarist who is learning the seven string guitar. Included are sections on scale and arpeggio fingerings as well as an extensive section on chord voicings. All examples are presented in both tablature and standard notation, with diagrams also included where appropriate. The seventh string is tuned to a low A throughout. The included CD contains play-along tracks with full rhythm section, single note studies with accompaniment (in split-track format), and unaccompanied solo studies. Most examples can be played either finger style or with a pick. 144 PAGES


six strings hard enough? Of course, they are. You can obviously make a lot of great music on a six-string guitar. Early in the 20th century, the four-string guitar and the four-string banjo were very popular and a lot of music has been played on those instruments as well. Having only four strings doesn't seem to bother violinists or cellists either, and there's certainly nothing easy about those instruments. still you don't see many six-string guitarists cutting off two strings because "four are hard enough." To ask this question is really missing the point of the seven-string guitar. The seven-string guitar is simply an enhancement of the six string guitar. Not only does it give the instrument some extra range (which is handy for walking bass lines, etc.), but it will allow you to play chords with a greater "spread." One can play a low F and a high "E" on a six-string guitar, but not at the same time. On a seven-string guitar, this can be done easily. Whether or not the seven-string guitar is for you depends on the type of playing you like to do. Most guitarists who play seven-string will tend to use it in any musical setting. Remember, there is virtually nothing you can play on a six-string that you can't play on a seven-string. But, the seven string really shines as a solo instrument trument, in duos, with other guitarists, vocalists, or other instruments, and even larger groups without a bass. So if you enjoy playing in this type of setting, or hope to in the future, then seven-string guitar might be for you. ThiS book is designed for guitarists who already play six-string guitar but have an interest in delving into the increasingly popular and satisfying world of the seven-string guitar. It is geared toward the intermediate to advanced student. Those who already have an understanding of scale and chord construction, and other basics of jazz guitar playing, will probably benefit the most from this book. In order to offer the most comprehensive view possible of the seven string guitar, only topics that are unique to the seven string guitar will be covered. Any student that needs a more general approach should consult Mel Bay's Complete Jazz Guitar Method by Mike Christiansen, or one of the other jazz guitar books offered by Mel Bay Publications. The book will be divided into three parts: Part One will cover scales, Part Two arpeggios, and Part Three chord voicings. The parts may be studied in any order, or concurrently, but within each part, the chapters should be taken in order as each chapter will build on the previous ones. While examples and diagrams will be numerous, no attempt will be made to provide every possible scale fingering, arpeggio fingering, or chord voicing, as that would fill many books the size of this one. Instead, the most common and useful examples will be provided along with a clear and concise explanation so that the student can apply the concepts presented here in whatever directions they choose.

The tuning used throughout this book is that of a standard six-string guitar tuning, with the addition of a low "A" string (an octave below the fifth string). This is the tuning that is, by far, the most popular among seven-string jazz guitarists. It is used by Bucky Pizzarelli, Howard Alden, Jimmy Bruno, Ron Escheté, Fred Fried, many others, and the father of all seven string jazz guitarists, George Van Eps. Actually, later in his career, Van Eps tuned his guitar a step low, but the string relationships were the same, so all of the fingerings and diagrams in this book would still apply to his tuning, but the pitches would be a step lower.

Format: Book/CD Set


Part One: Scales

Introduction to Scales .

Major Scales .

Pentatonic Scales .

Blues Scales .

Harmonic Minor Scales .

Diminished Scales .

Whole-Tone Scales .

Melodic Minor Scales .


PartTwo Arpeggios

Basic Arpeggios .

Extended Arpeggios .

Polychord Arpeggios .


Part Three Chord Voicings

Chord Voicings I .


Adding the seventh above

Chord Voicings I .

Dropping the seventh

Chord Voicings III .

Raising the third ,

Chord Voicings IV .

Raising the seventh

Chord Voicings V .

Open Triads & Barre Chords


Appendix A

An Explanation of Inversions .


Appendix B

An Explanation of Voicing Types .



Playalong lead sheets


Prezzo: €41,99