CHITARRA - GUITAR

ACOUSTIC FUSION. GUITAR SCORE. SHEET MUSIC BOOK WITH TABLATURE

LIBRO DI MUSICA FUSION ACUSTICA.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

14 Titoli:

-Rio funk (Ritenour) - FROM THE ALBUM ''LEE RITENOUR IN RIO''

-rainbow (Ritenour) - FROM THE ALBUM ''LEE RITENOUR IN RIO''

-sun Juan sunset (Ritenour) - FROM THE ALBUM ''LEE RITENOUR IN RIO''

-living inside your love (Earl Klugh) - FROM THE ALBUM ''LIVING INSIDE YOUR LOVE''

-Catherine (Earl Klugh) - FROM THE ALBUM ''FINGER PAINTINGS''

-dance with me (Earl Klugh) - FROM THE ALBUM ''FINGER PAINTINGS''

-minute by minute (Larry Carlton) - FROM THE ALBUM ''DISCOVERY''

-mediterranean sundance, per due chitarre (Al di Meola) - FROM THE ALBUM ''ELEGANT GYPSY''

-Rene's theme (Lary Coryell) - FROM THE ALBUM ''SPACES'' 

-early autumn (Mezzoforte) - FROM THE ALBUM ''FORTISSIMOS''

-columbia (acoustic alchemy) - FROM THE ALBUM ''ARCANUM''

e altri. 

ULTIMATE PLAY-ALONG BLUES GUITAR TRAX. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA BLUES CON CD. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE.

JAM WITH Robben Ford, Scott Henderson, Steve Trovato, Keith Wyatt, Willie Scoggins, Pedro Wyatt.

Per ogni pezzo troverete nelle diverse tonalità, schemi della scala pentatonica maggiore, della scala pentatonica minore, della scala Blues, della variazione della scala pentatonica minore (Hybrid), con la tonica sulla sesta corda suonata con l'indice e suonata con il mignolo, sulla quinta corda, sulla quarta corda , sulla terza corda, sulla seconda corda. All'inizio di ogni titolo dopo la presentazione un Suggest Voicing con gli accordi da usare. Modelli dell'arpeggio di settima dominante. 

Ship, Captain, Crew - Ginger Pepper - Deja Blue - I Do What I Want - Funky Blues - 3's Wild - Never Ending Blues - Drop Dead Blues - Clear Road Blues - Vinda's Place - Bad Dog Blues - Sunset Saloon. 

12 Burning Blues play-along Trax
Live Rhythm section featuring Musicians Institute Staff Artists
Demo Solos by Monster Guitarists
Complete Rhythm charts and Solo Transcriptions with TABLATURE

The Musicians Institute, home of the Guitar Institute of Technology, is proud to introduce a new and different concept in "play-along" recordings. Drawing on over 15 years of experience as the leader in guitar education, MI has developed Master Trax, the most dynamic, educational and entertaining series of its kind. The complete tape/cd series was conceived to provide the aspiring guitarist with the opportunity to play-along with some of the finest musicians in the world. The combination of a live rhythm section made up of MI staff artists, and demo solos recorded by GIT specialists such as Steve Trovato. Keith Wyatt. Nick Nolan, and Paul Hanson plus guest artists like Paul Gilbert, Albert Lee. Jeny Donahue, Scott Henderson and Robben Ford make this the most exciting, authentic and useful play-along series ever created.

The accompanying books contain both an analyses of each progression and a transcription of each demonstration solo. Fingerings for some practical scales are diagramed and located nearby for easy access. To maximize your efforts we suggest that you spend some time practicing all of the scale patterns presented. We hope you enjoy this series and above fun !

The Authors

Steve Trovato is one of the premier educators at the Musicians Institute in Hollywood, CA. He has authored and produced several instructional books and videos. Steve performs regularly at night clubs, also doing clinics, seminars and TV dates. He is currently working on a solo album. Steve currently holds a position as lecturer at the University of Southern California.

Paul Famen has been on the BIT faculty since 1981 and has held the Department Chairman position since 1986. His album credits include both jazz and R & B and has written and performed on several documentary films (HBO) and commercials. He has also been involved in clinics in the U.S., Japan (Yamaha and T.C.A.) and Europe.

The Players

Robben Ford has played with everyone from Joni Mitchell to Miles Davis, with his new group The Blue Line, featuring Roscoe Beck and Tom Brechtlein, Robben has established himself as one of the premier blues guitarists of our era. Robben has several videos and books w/audio available from CPPlBelwin, Inc.

Keith Wyatt, the Department Chairman at GIT,is credited with three instructional videos, two book/cassette instructional collections, and is a bi-monthly columnist for "Guitar School Magazine." Keith has performed with Ginger Baker, Jack Bruce, Tim Bogert, Albert Collins, Harvey Mandel, Mick Taylor, and has toured extensively in Japan and Sweden.

Willie Scoggins, originally from Ft. Worth, Texas, has been playing blues for 2S years and has played numerous blues gigs in the Los Angeles area for the last 10 years. Willie says" ...go ahead and learn the licks on this tape because they're the only ones I know (well... sorta'). He now makes his home in Austin, Texas.

Scott Henderson has performed and recorded with Jean -Luc Panty, Chick Corea, Joe Zawinul, Players, and Jeff Berlin. He has recorded six albums with his own group Tribal Tech. Scott is the author of two instructional videos and one song book. He is a columnist for Guitar Player, Guitar World and Guitar For The Practicing Musician. Scott's latest album is "Blues for Dogs."

Pedro Wyant has recorded with Lou Rawls, The Beach Boys, David Axelrod, Joe Sample, Howard Roberts, Earl Palmer, and Carol Kaye. He has also performed with Albert Collins, Lonnie Brooks, Buddy Guy, Big Jay McNelly,Joe Houston, Joanie Sommers and Willie Dixon Blues Band.

Gary Hess, the drummer for this session, is a freelance musician. He has performed in clubs all over the U.S. and Canada, on television with John Davidson, and is also the author of PIT Sight Reading Curriculum.

Henry Brewer, the keyboardist for this session, is a working L.A. Professional. He has worked on mm soundtracks, recorded jingles, and can be seen on Earth, Wmd and Fire bassist Verdine White's instructional video. He teaches at KIT and authored KIT's Voicings curriculum. He is currently working with The Emotions.

Ship, Captain, Crew - STEVE TROVATO - SOLO BY ROBBEN FORD - 1994

Ginger Pepper - STEVE TROVATO - 1994

Deja Blue - STEVE TROVATO - SOLO BY ROBBEN FORD - 1994

I Do What I Want - STEVE TROVATO - SOLO BY KEITH WYATT - 1994

Funky Blues - STEVE TROVATO - SOLO BY KEITH WYATT - 1994

3's Wild - STEVE TROVATO - SOLO BY WILLIE SCOGGINS - 1994

Never Ending Blues - STEVE TROVATO - 1994

Drop Dead Blues - STEVE TROVATO - SOLO BY ROBBEN FORD - 1994

Clear Road Blues - STEVE TROVATO - SOLO BY KEITH WYATT - 1994

Vinda's Place  - STEVE TROVATO - SOLO BY SCOTT HENDERSON - 1994

Bad Dog Blues - STEVE TROVATO - 1994

Sunset Saloon - STEVE TROVATO - SOLO BY PEDRO WYATT - 1994

ULTIMATE PLAY-ALONG COUNTRY GUITAR TRAX. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

LIBRO DI MUSICA COUNTRY CON CD. 

CD DI BASI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Steve Trovato, Albert Lee, Jerry Donahue, Brett Garsed. Basi. 

SERIES: Ultimate Play-Along Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD
The Ultimate Play-Along series places the aspiring guitarist with some of the finest musicians in the world. Ultimate Play-Along: Country includes ten hot country play-along trax, a live rhythm section, demo solos by monster guitarists, complete rhythm charts, and solo transcriptions with tab.

SHRED JAM TRAX GUITAR. 12 Jam sulla scia di Steve Vai, Joe Satriani, Yngwie Malmsteen, Paul Gilbert, John Sykes. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO DI MUSICA ROCK METAL CON CD.

CD DI BASI PER CHITARRA.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

SYSTEMATIC STUDIES FOR FLAMENCO GUITAR. Serrano. 447 Pagine, 10 sevillana, 10 alegrial por arriba, 10 alegrias por medios, 10 bulerias, 10 colombianas, 10 fandangos, 10 farrucas, 10 granainas, 10 romeras, 10 siguiriyas, 10 soleares, 10 tangos, 10 tarantas. SHEET MUSIC BOOK WITH 2 CD & GUITAR TABLATURE. 

447 PAGES !

LIBRO DI MUSICA FLAMENCO CON 2 CD.

SPARTITI PER CHITARRA : 

PENTAGRAMMA, TABLATURE. 

447 PAGINE .

A FALSETA ANTHOLOGY 

Product Description:
This masterful, comprehensive book presents ten Sevillanas plus ten falsetas of each of the following popular and traditional flamenco forms: Alegrias por Arriba, Alegrias por Medio, Bulerias, Columbianas, Fandangos, Farrucas, Granainas, Romeras, Siguiriyas, Soleares, Tangos, and Tarantas. This landmark text presents the systematic development of Flamenco tech- nique. Each of the dance forms contains performance notes & a brief history. In English & Spanish and written in standard notation and tablature. Includes companion 2-CD set.

INTRODUCTION

All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4,4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compas with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.
The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.
Almost all of the flamenco aficionados know which is the compas of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.
This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms: I
i Sevillanas, Alegrfas por Ar1iba, Alegr{as por Medio, Bulerfas, Colombianas, Fandangos, Farrucas.
Granainas, Romeras, Siguiryyas, Soleares, Tangos and Tarantas .
All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.
There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.
It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.
Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.

SYMBOLS
• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.
• The letters P - I - M - A - S signify the fingers of the right hand.
• The Roman numerals designate the position, I - II - III etc.
• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.
• The numbers in circles designate the strings. For example, a three in a
circleG)
means the
note played on the third string, a four @) fourth string etc.
TRANSLATIONS FOR MUSIC AND TABLATURE
Freestroke ----Tirando
Reststroke ----Apoyando
Scale ------Picado
 

Format: Book/2-CD Set

Contents:
01) Introduction --
02) Sevillanas --
03) Alegrias Por Arriba --
04) Alegrias Por Medio --
05) Bulerias --
06) Colombianas --
07) Fandangos --
08) Farrucas --
09) Granainas --
10) Romeras --
11) Siguiriyas --
12) Soleares --
13) Tangos --
14) Tarantas

INTRODUCTION

All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4, 4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compus with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.

The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.

Almost all of the flamenco aficionados know which is the compus of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.

This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms:

Sevillanas, Alegrias por Arriba, Alegrias por Medio, Bulerias, Colombianas, Fandangos, Farrucas,

Granamas, Romeras, Siguiras, Soleares, Tangos and Tarantas

All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is

recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.

There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.

It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.

Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.

SYMBOLS

• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.

• The letters P - I - M - A - S signify the fingers of the right hand.

• The Roman numerals designate the position, I - II - III etc.

• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.

• The numbers in circles designate the strings. For example, a three in a

circle G) means the note played on the third string, a four 4 fourth string etc.

TRANSLATIONS FOR MUSIC AND TABLATURE

Freestroke ----Tirando

Reststroke ----Apoyando

Scale ------Picado

SEVILLANAS

Sevillanasare one of the most popular forms of the flamenco music. One complete Sevillana set is composed of four coplas; that is, four different Sevillanas-ealled 1st, 2nd, 3rd, and 4th. The reason is that the Sevillanas are danceable and each of them is adapted to the choreography of the dance. The complete dance is divided into four parts. The choreography of the dance is based on the rhythm, not the melody, therefore the order of the 4 Sevillanas that are in the composition can be interchanged.

This section is composed of 10 different Sevillanas in tone and melody. The order is in a progressive form in technical difficulty (advancement).

It is recommended learning all of the 10 Sevillanas; then playing the four that are liked best and interchanging them in any order. It is also recommended that the second not be attempted until the first is mastered and so on.

although the compas and the musical form of all of the Sevillanas are the same, the techniques and melodies are completely different in each one of them; therefore when the 10 Sevillanas are learned, it will be much easier to master the rest of the falsetas that make up this book.

The Sevillanas are measured in 3/4. A flamenco compas has 6 beats equivalent to 2 measures of 3/4.

SEVILLANAS

Las Sevillanas son unas de las formas mas populares entre la musica flamenca. Una composici6n completa de sevillanas consiste en cuatro copIas, 0sea, cuatro Sevillanas diferentes que se les llama primera, segunda, tercera y cuarta. La razon es porque las Sevillanas son bailables y cada una de elIas esta adaptada a la coreograffa del baile.

La danza completa esta dividida en cuatro partes. Las coreograffas del baile estan basadas en el ritmo y no en la melodia. Por 10 tanto, el orden de las cuatro Sevillanas que se esten usando en la composici6n puede ser cambiado a la conveniencia del guitarrista que las interprete.

Esta eccion de Sevillanas se compone de diez Sevillanas diferentes en tonos y melodfas. El orden esta en una forma progresiva en dificultad tecnica.

recomiendo que los estudiantes aprendan las diez Sevillanas y asf podran tocar las cuatro que mas les gusten y podran cambiar el orden a su conveniencia y gusto. Tambien recomiendo que hasta que no hayan aprendido bien la primera, no empiecen con la segunda y 10 mismo con todas las siguientes.

Aunque el compas y la forma musical de todas las Sevillanas es igual, las tecnicas y las melodfas son completamente diferentes en cada una de elIas. Por 10 tanto, cuando hayan aprendido estas diez Sevillanas les sera mucho mas facil el aprendizaje de todas las demas formas que componen este libro.

todas las Sevillanas se miden en tiempo de 3/4. El compas flamenco se compone de seis tiempos equivalente ados compases musicales de 3/4.