CHITARRA - GUITAR

EMMANUEL TOMMY BEST OF Guitar Recorded Version TABLATURE LIBRO BLUE MOON-Boogie Shuffle

EMMANUEL TOMMY, BEST OF. SHEET MUSIC BOOK with GUITAR TABLATURE . 

 

LIBRO DI MUSICA per CHITARRA acustica,

SPARTITI PER CHITARRA con :

ACCORDI, PENTAGRAMMA e TABLATURE. 


Series: Guitar Recorded Version TAB
Artist: Tommy Emmanuel
Product Details
Inventory: #HL 00690909
ISBN: 9781423431756
UPC: 884088166359
Width: 9.0"
Length: 12.0"
Page Count: 144 Pages


12 transcriptions from the versatile, award-winning Aussie guitarist, including, 141 pages

Blue Moon
Can't Get Enough
Classical Gas
Countrywide
Determination
Guitar Boogie Shuffle
Hearts Grow Fonder
The Hunt
Initiation
The Journey
Stevie's Blues
Up From Down Under

Prezzo: €39,99
€39,99

MARTIN JUAN ANDALUCIAN SUITE NO. 1 LIBRO CD TABLATURE CHITARRA SPARTITI FLAMENCO BULERIAS

MARTIN JUAN, ANDALUCIAN SUITE, NO. 1. CD TABLATURE

Product Description:
Four exciting concert solos for flamenco guitar from Juan Martín’s best-selling album ‘The Andalucian Suites’. This is the first of the four suites on the album. These suites are transcribed into standard notation and flamenco tablature (cifra), with introductory playing notes by Juan Martín. The four solos on the accompanying CD are performed by Juan.

The complementary and contrasting variety of styles and rhythms of the four solos provide a brilliant display of Juan’s artistry and the expressive capabilities of the flamenco guitar. Each solo is complete in itself. A powerfully evocative Zambra Mora is followed by the much-requested rumba ‘La Feria’, then a gently melancholic Milonga and finally a thrilling Bulerías, which combines modern elements with pure gypsy falsetas from Moron del la Frontera. These solos provide an exceptional opportunity to learn and enjoy the music of a master flamenco guitarist, whose two volumes of graded ‘Solos Flamencos’ are already Mel Bay best-sellers.
Format: Book/CD Set 48 pages

 

 

ANDALUCIAN SUITE No.1 THE FOUR SOLOS

These four solos are played as a sequence (or suite) to provide an interestingly varied group of pieces which show a range of flamenco guitar styles. Each solo stands as a complete composition which can be played by itself or in any chosen order. La Feria is particularly featured as a much-requested and popular solo.

 

EVOCACION DE LA INVASION ARABE AD 711

The opening movement of the suite recalls the Moorish invasion of Spain, when a small army arrived from North Mrica in the year 711 A.D. and landed at Gibraltar. The leader of the Moors was Jabal Tariq - 'he of the rock' - from whose name Gibraltar is derived. This small but efficient army, which arrived in Andalucia with its now famous Arab horses and brilliant horsemanship, took over much of Spain, a conquest which was to last nearly eight centuries. Cordoba and, larer, Granada were to become the Islamic capitals, dominating Spain until 1492. The music is based on the form of the Zambra Mora, flamenco's most Moorish dance form. It evokes that original menacing invasion and also reflects the beauty of the Moors' legacy in their art and architecture, with palaces such as the Alhambra in Granada and the great mosque at Cordoba.

 

Playing Notes

The 6th string is tuned to 0 for this piece, and no cejilfa (flamenco capo) is used. It starts wirh a free form (toque libre) cadenza in the style of the Moorish oud (a lute-shaped instrument with unfretted neck) with passages of ligado in which the nores are sounded by the left hand. The profusion of notes on the page may look daunting at first, bur the music lies quite easily under the fingers. In such a free and expressive passage without a definite rhythmic metre, the timing of the written notes has to be somewhar approximate. Listening to the CD will help to convey rhe correcr phrasing and emphasis. On the second page, the music changes to a regular 2/4 rhythm, which persists to the end of the piece, with later passages of rasgueo (strumming) and alzapua (a rapid three-srroke technique using down- and up-strokes of the thumb). Playets of classical guitars which are not fitted with golpeadores (tapping-plates) can omit the golpe taps. The solo concludes with a passage of continuous rasgueo (see Key to Symbols, following). The golpe on the penultimate beat is made with the middle finger striking the golpeador on the near side of the strings before the finger travels on to sound the strings with a down-stroke. The transcription is dedicated to the distinguished classical guitarist Eleftheria Kotzia, who incorporated the piece into her concert repertoire, as was heard in her virtuoso performance at London's South Bank Centre.

 

LA FERIA

In the same year, 1492, that Ferdinand and Isabella forced the Moors to leave Spain, Cristobal Colon (Christopher Columbus) sailed from the small port of Palos on the west coast of Andalucia on his voyage of discovery to Ametica. That voyage forged a cultural link with the Americas which has its effect within flamenco music. South American rhythms have returned to Spain with soldiers and musicians and have been absorbed into flamenco, undergoing a change in identity yet retaining an obvious Latin-American aire (atmosphere and feeling). It is clearly evident in this Rumba, an immensely popular style today. The solo is named The Fair, a time of uninhibited celebration.

Playing notes

The 6th string of the guitar is tuned to E. The cejilfa is placed at the second fret. The Rumba starrs with rhythmic strumming, using the characteristic slapping rechniques (see Key). For the first 8 bars the strings are damped with the fingers of the left hand so that they provide a percussive sound without musical vibration. The approximate positions of the left hand fingers as they damp the strings are shown in the music and cifra (flamenco tablature), initially in a chord shape over the lower frets and then over higher frets. The notes of the chord are not sounded, but the change in hand position alters the pitch of the percussive sound made by the damped strings. The piece also includes passages of alzapua, left and right hand apagado damping to cut short the sound of chords and, at the end, a repeated three-stroke rasgueo of thumb up-stroke followed by middle finger and thumb down-strokes. middle finger golpes on the near-side golpeador are used before a final up-stroke with the thumb ends the solo.

Contents:

Biographical Note
The Four Solos, with playing notes
Key to Symbols and Notation
Evocación de la Invasión Árabe AD 711 (Zambra Mora)
La Feria (Rumba)
Alborada (Milonga)
Gitanos (Bulerías)

Prezzo: €25,99
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FLUID SOLOING BOOK 1 ARPEGGIOS FOR LEAD ROCK GUITAR Tim Quinn CD TABLATURE CHITARRA

FLUID SOLOING BOOK 1, ARPEGGIOS FOR LEAD ROCK GUITAR. Tim Quinn. CD TABLATURE

Product Description:
A modern arpeggio handbook and comprehensive training manual for developing fast, flowing arpeggio runs that connect the entire fretboard. Emphasis is on developing fluid, non-shifting arpeggio patterns (across the neck) using hammer-ons and pull-offs for speed and fluidity; and also on developing smooth position-shifting arpeggios (along the length of the neck) using slides. These two types of motion are then connected and combined in an extensive collection of soloing etudes for full assimilation. The result is a complete system of arpeggio pathways that connects every part of the fretboard and facilitates maximum speed, fluidity, and range. Complete whole-neck connections are presented for major 7th, dominant 7th, minor 7th, minor 6th, half-diminished, diminished 7th, major triadic and minor triadic arpeggios.

This book is for all guitarists who are serious about improving their ability to solo over chord progressions using arpeggios, in any style of music; including rock, jazz, fusion, blues, country or pop. Having the ability to instantly outline any chord in a song with a fluid arpeggio run (no matter where your hand is on the neck) is immensely valuable for every guitarist. This book methodically teaches you the skills that make this possible. Loaded with melodic arpeggio passages that can be applied to your music immediately, this is perhaps the most practical and powerful arpeggio book ever written. CD included. Standard notation and Tablature.
Format: Book/CD Set

heartfelt thanks goes out to all the teachers who profoundly impacted my own playing and learning ... thank you jack Petersen, Dan Haerle, Rich Matteson, and Tom johnson at the University of North Texas, as well as to my teachers at Berklee College of Music.To the musicians who have been so inspiring ... Steve Morse, Pat Martino,john Coltrane, Eric johnson, Chick Corea,jimi Hendrix, Frank Zappa, Barney Kessell,Wes Montgomery, Stevie RayVaughan,Albert King,jeff Beck, Steve Vai, Dexter Gordon, Cannonball Adderly, joe Satriani, Igor Stravinsky, Eddie Van Halen,AI DiMeola, Greg Howe, joe Pass, Robben Ford,Vinnie Moore,Allan Holdsworth, and Carlos Santana; for the teachings of Paramahansa Yogananda; to Bill Bay and the fine staff at Mel Bay Publications, Inc.; to Bruce Saunders for his caring engraving; to Dave Austin and George Sanchez for their generous assistance; to josquin DePres at Track Star Studios for much inspiration and guidance; to the many students who have been indispensable in helping me streamline these materials; to my parents who provided the music education and encouraged the young performer; and especially to my wife, Mari, who lovingly tolerated the thousands of hours with me at the guitar while I formulated these concepts ... thank you. The title of this book is "Fluid Soloing:Arpeggios for lead Rock Guitar". Its purpose is to teach you how to solo over chord changes using strictly arpeggios only, as opposed to using scales. Section I of this book presents a special collection of non-shifting arpeggios for the guitarist, designed for developing blistering speed and maximum range while keeping the fretting hand in one location on the neck. These are the fundamental arpeggio components, necessary to facilitate the eventual connection of arpeggios. So, please understand that the activities of connecting arpeggios really begin on page 37. Go right there and beyond for arpeggio connections at any time you wish. Do understand, though, that most of Section I of this book is in itself a practical manual of arpeggio non-shifting fingerings for every guitarist. In order to develop the connection of arpeggios, we must start with these basic non-shifting shapes. It is all about understanding the anatomy of the guitar fretboard and its inherent arpeggio shapes. You will be instructed in how to connect them in activities beginning on page 37 and beyond. But you needn't learn all the shapes in Section I before moving on to Section 2. just begin by practicing a few of the shapes between pages 8-36. But then jump ahead, too! For instance, try pages 38,49,67,84,88 or 90 for some challenging fun, while you continue to pursue the material between pages 8-36. There is enough material in this book to keep you busy for the next two years or more. This is truly a wizard's handbook to arpeggio usage. 

ARPEGGIO CONNECTIONS is a unique collection of 164 cyclically repeating arpeggio studies, designed to provide the guitarist with a logical and effective method for developing fast, fluid arpeggio runs that move freely across the entire fretboard while outlining specific chordal harmonies. The two-fold concept is simple: Section I) to develop the ability to play fast and powerful arpeggios ACROSS THE NECK using hammer-ons and pull-offs for fluidity (non-shifting motion where the fretting hand stays in one area of the fretboard); and Section 2) to develop the ability to play smooth and fast arpeggio runs while the fretting hand shifts ALONG THE NECK using slides (which I like to call "horizontal" motion, since the hand is moving sideways, parallel to the earth's horizon) By developing complete non-shifting arpeggio control, and also developing complete position-shifting arpeggio control, the resulting effect is whole neck fluid motion that freely weaves together an established matrix system of arpeggio patterns and pathways. The design of the material in this book is highly scientific, having been developed through many years of shaping and crafting this concept. What you are holding in your hands is a manual for developing smooth, flowing arpeggio movement on the guitar, which is useful to ALL GUITARISTS in pursuit of virtuosity in ANY STYLEof music. The student should feel free to go directly to the studies anywhere in the book, but is encouraged to eventually read and understand the ideas discussed in the appendix. The goal is to play blistering, continuous streams of fluid melodic lines that outline specific chords. The appendix addresses certain issues that are fundamental to this type of virtuosic control (such as how the organization of strict alternate picking is affected by hammers, pull-offs and slides). By playing the patterns and exercises herein on a regular basis for weeks, months, and years, the player's control over the instrument will continue to unfold and to grow ever more formidable and fierce. This book is the first book in the 'FLUID SOLOING SERIES',a unified set of books that explain different aspects of whole neck fluid motion on the guitar. The soloing etudes marked "Comprehensive" are included to demonstrate some of the techniques from the other three books, as well as the techniques presented in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns. If you like the content of this book, check out the other books in the series as well.

introduction

section one: RAPID FIRE ARPEGGIOS
NON-SHIFTING - Fast & fluid arpeggio patterns for Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(b5), Minor 6, Major Triadic, Minor Triadic chords. Arpeggios are presented in seven different sets. Each set is identified by a number that indicates the string with the lowest root and the finger that plays it in that set (for example, Set 5-1 arpeggios have the root on the 5th string fretted with the 1st finger).Set 5-1 Arpeggios
Set 6-1 Arpeggios
Set 5-4 Arpeggios
Set 6-4 Arpeggios
Set 4-1 Arpeggios
Set 6-2 Arpeggios
Set 5-2 Arpeggios

Practice Suggestions
Soloing Etudes
section two: EXTENDED ARPEGGIO RUNS
POSITION-SHIFTING - Fluid, melodic exercises for whole-neck motion.

Arpeggio Runs with a 16th Note Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triadic, Minor Triadic)
Arpeggio Runs with a Triplet Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triad, Minor Triad)

Practice Suggestions
Soloing Etudes

Appendix: "Guide For Using This Book"
Tablature Symbols Key
106 PAGES

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YOU CAN PLAY JAZZ GUITAR, Mike DeMicco 3 DVD Mike Stern, Tal Farlow, John Coltrane

YOU CAN PLAY JAZZ GUITAR, Mike DeMicco. 3 DVD

You Can Play Jazz Guitar
3-DVD Set
Series: Instructional/Guitar/DVD
Publisher: Homespun Video
Format: DVD
Author: Mike DeMicco

This comprehensive method is clear, accessible and highly informative. Mike DeMicco has devised the essential series that's perfect for anyone eager to play jazz guitar. This complete method contains an enormous amount of information, from improvising on II-V-I chords to arranging a complex jazz standard. Mike teaches scales, modes, voicings and other important basics, then shows how to put them to use. Mike then presents dozens of examples to show how to create dazzling solos over chord changes. He uses styles developed by Mike Stern, Tal Farlow, John Coltrane and others to explain how to use solo lines, passing tones and other devices to create personalized improvisations. Starting with his bebop-oriented tune “Boptology,” Mike shows how to build creative solos, challenging players to find their own voice. The melody of this tune is a complete study tool as it illustrates a compelling synthesis of several jazz styles. Mike then takes apart the classic Victor Young standard “Love Letters” to fully discuss chord melodies and new ideas for soloing. Over 3 hours.

Inventory #HL 00641959
ISBN: 9781597731409
UPC: 884088061715
Publisher Code: DVDDEMGT29
Width: 5.25"
Length: 7.5"

Prezzo: €79,99
€79,99

STERN MIKE THE BEST OF Guitar Recorded Version TABLATURE LIBRO SPARTITI CHITARRA ACCORDI

STERN MIKE, THE BEST OF. SHEET MUSIC BOOK with GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ .

SPARTITI PER CHITARRA .

ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Guitar Recorded Version TAB
Artist: Mike Stern

17 guitar transcriptions with tab from this jazz guitarist who got his start playing with Miles Davis in the '80s. Includes: Chromozone - Little Shoes - Mood Swings - Nardis - Sunnyside - There Is No Greater Love - Wing and a Prayer - and more. 184 pages

TiTLes: 
Chromozone
Jigsaw
Like Someone In Love
Little Shoes
Mood Swings
Nardis
Odds Or Evens
Play
Sunnyside
Swunk
That's What You Think
There Is No Greater Love
Time In Place
Tipatina's
Upside Downside
What I Meant To Say
Wing And A Prayer

Prezzo: €99,99
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60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR Bach Handel Mozart Beethoven Brahms CD TABLATURE

60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR, Featuring the Music of the World's Greatest Composers: Bach, Handel, Mozart, Beethoven & Brahms. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO DI MUSICA CLASSICA PER CHITARRA CON CD.

SPARTITI PER CHITARRA CON : PENTAGRAMMA E TABLATURE.

 

60 PROGRESSIVE SOLOS FOR CLASSICAL GUITAR
Featuring the Music of the World's Greatest Composers: Bach, Handel, Mozart, Beethoven & Brahms
Series: Guitar
Publisher: Cherry Lane Music
Format: Softcover Audio Online – TAB
Arranger: Mark Phillips

Most classical guitar folios feature compositions by the lesser-known “guitar” composers. This collection, however, exclusively features music by the world's most renowned composers. The works of Johann Sebastian Bach and George Frederick Handel represent the culmination of the Baroque era. Wolfgang Amadeus Mozart stands at the summit of the Classical era. Ludwig van Beethoven straddles the Classical and Romantic eras, and Johannes Brahms is the giant of the Romantic era. For educational purposes, the pieces have been organized in order of difficulty within each composer's section. In addition, complete performances of all pieces can be heard on the accompanying audio. Enjoy! Includes: Jesu, Joy of Man's Desiring • The Harmonious Blacksmith • Ode to Joy • Lullaby • and more.

Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Inventory #HL 02500584
ISBN: 9781575606286
UPC: 073999887044
Width: 9.0"
Length: 12.0"
120 pages

 

Air - Composed by Johann Sebastian Bach

Bourree - Composed by Johann Sebastian Bach

March from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Minuet 1 - Composed by Johann Sebastian Bach

Minuet 2 - Composed by Johann Sebastian Bach

Minuet 3 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Minuet 4 - Composed by Johann Sebastian Bach

Minuet 5 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Minuet 6 from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Air (Originally Untitled) from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

A Child Is Born in Bethehem - from Cantata n.65 - Composed by Johann Sebastian Bach

Chorale from the notebook for Anna Magdelena - Composed by Johann Sebastian Bach

Jesu, Joy Of Man's Desiring - Composed by Johann Sebastian Bach

Jesu, Meine Freude (Chorale) - Composed by Johann Sebastian Bach

The Harmonious Blacksmith - Composed by George Frideric Handel

Gavotte - Composed by George Frideric Handel

Sarabande - Composed by George Frideric Handel

Minuet - Composed by George Frideric Handel

Adagio 1 - Composed by George Frideric Handel

Adagio 2 - Composed by George Frideric Handel

Adagio 3 - Composed by George Frideric Handel

Bourree 1 - Composed by George Frideric Handel

Bourree 2 - Composed by George Frideric Handel

Bourree 3 - Composed by George Frideric Handel

Allegro 1 - Composed by George Frideric Handel

Allegro 2 - Composed by George Frideric Handel

Andante - Composed by George Frideric Handel

Theme - Composed by Wolfgang Amadeus Mozart

Minuet 7 - Composed by Wolfgang Amadeus Mozart

Trio 1 - Composed by Wolfgang Amadeus Mozart

Trio 2 - Composed by Wolfgang Amadeus Mozart

Andante 1 - Composed by Wolfgang Amadeus Mozart

Andante 2 (2nd Movement) From Piano Concerto n.20 - Composed by Wolfgang Amadeus Mozart

Andante 3 (2nd Movement) From Piano Concerto n.15 - Composed by Wolfgang Amadeus Mozart

Allegro (1st movement theme) from Piano Concerto n.13 - Composed by Wolfgang Amadeus Mozart

Russian Folk Tune - Composed by Ludwig van Beethoven

Pretty Minka - Composed by Ludwig van Beethoven

German Dance 1 - Composed by Ludwig van Beethoven

German Dance 2 - Composed by Ludwig van Beethoven

Ecossaise - Composed by Ludwig van Beethoven

Country Dance - Composed by Ludwig van Beethoven

Landler (Tyrolean Air) - Composed by Ludwig van Beethoven

Ode to Joy - Composed by Ludwig van Beethoven

Dance - Composed by Ludwig van Beethoven

Bagatelle 1 - Composed by Ludwig van Beethoven

Bagatelle 2 - Composed by Ludwig van Beethoven

Lullaby - Composed by Johannes Brahms

Symphony No. 3 (3rd Movement) - Composed by Johannes Brahms

Waltz 1 (Op. 39, No. 02) - Composed by Johannes Brahms

Waltz 2 (Op. 39, No. 15) - Composed by Johannes Brahms

Like a Melody - Composed by Johannes Brahms

 

I pezzi di questo libro sono ordinati per difficoltà crescente.

Prezzo: €27,99
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SANTANA LATIN ROCK KEY OF Gm Guitar Quick Licks Stuart Bull DVD LEZIONE CHITARRA MUSICA

SANTANA, LATIN ROCK KEY OF GM, Guitar Quick Licks, Bull. DVD

DVD DI MUSICA PER CHITARRA, LEZIONE PER IMPARARE A SUONARE NELLO STILE DI CARLOS SANTANA.  

Product Description:
Learn Latin rock licks in the style of Carlos Santana, whose blend of salsa, rock, blues and jazz fusion, made him one of the most acclaimed guitarists of our time! Also includes guitar jam track. Lessons by Stuart Bull.

Each Quick Licks DVD includes an arsenal of licks in the style of your chosen artists to add to your repertoire, plus backing tracks to practice your new licks and techniques. 62 minutes.

Prezzo: €32,99
€32,99

MORSE STEVE BEST OF BAND AND DIXIE DREGS Cherry Lane Music Play It Like It Is TABLATURE GUITAR

MORSE STEVE, BEST OF BAND AND DIXIE DREGS. SHEET MUSIC BOOK with GUITAR TABLATURE. 

 

ARTIST APPROVED edition

 

LIBRO DI MUSICA ROCK.

SPARTITI PER CHITARRA:

ACCORDI, PENTAGRAMMA, TABLATURE .

 

Series: Play It Like It Is

Publisher: Cherry Lane Music TAB
Artist: Dixie Dregs
Artist: Steve Morse Band

I always consider the beginning of a new year a good time to think about what has worked well and what could stand some improvement. Since I've spent most of the last year seeing the world with Deep Purple, my perspective is definitely different now. Let me tell you some of the things that stick out as great foundations for new motivation. I'll put them in two categories. Things To Improve. Practicing habits. While I generally can find enough time in noisy environments to do some technical warmup and things that don't require too much concentration, I have found that my only truly quiet time is late after the gig in my hotel room. I should find a way to set aside more quiet time during the day to be with my guitar. My theory is that two small but effective sessions a day can be more productive than one longer single session. Sometimes when I'm having a problem getting ready to start a run of dates, I find that practicing twice a day provides more benefit than the total number of minutes spent might suggest. A more balanced diet. I definitely ate too much pizza in too many countries. But, on the other hand, it was the only thing I could recognize in many places. I should be more amazed at life itself instead of having to experience a nearly perfect gig to feel uplifted on the road. Many people within the group had friends or family fall ill or even die during the course of the last year. Since it eventually happens to everyone, I guess all of us get somewhat dulled to the fact that just being alive is miraculous. And often, the more you see someone and the more time you spend with them, the more you take them for granted. Sleep. I really must figure out how to get sleep like a normal person. Changing time zones as often as tempos from song to song just flips out my internal clock. On the other hand, I should look at the positive side of being a very light sleeper-I could be a great guard dog. I must remember what a reasonably priced nation the U.S. is. Everywhere else I go constantly reminds me of that fact. I will try hard to remember that this year, as I quickly adjust back to normal outrage at the prices of things today. Amazingly, the things that are available in the U.S. that come from abroad are almost always less expensive here. Our social interaction. Many other countries seem to have safe streets, where residents enjoy community events with no fear of walking or riding bikes in any part of their cities. It's up to us to say enough is enough. Writing a sentence about it won't change much, but what if everyone just suddenly knew that it didn't have to keep on getting worse? Someone once told me that we get what we settle for. Hmmrn .... Things That Were Cool. Getting to talk to my five-year-old son every day. He is at an age where he can entertain me on the phone with his unique views on the way things are. My favorite time was when he asked me to hold on while he got something to eat. I thought he was just going to grab something and come right back to the phone. But since I was paying the Moscow rate of eight dollars a minute from the hotel because of some problem with my carrier, of course he just forgot to return to the phone. After holding for ten minutes then trying back until they hung up the phone, he then requested that I make up another story to tell him. Well, I never will get tired of doing that. I have been surrounded by great, supportive people in the group. I will never again underestimate the importance of good chemistry between people. Two nights ago I had a terribly frustrating technical problem all through the show and I was not handling it very well, especially at first. Everyone was surprisingly helpful in getting me past the point of ruining the show for myself. Instead of getting upset at me for showing some frustration, vocalist Ian Gillan came over and said that he's really glad that I have that much passion for what I am doing. That made all the difference in the world. One minute life sucks, the next I'm feeling thankful. Everyone knew exactly what I was going through and naturally chose to help up one of their wounded. That's good chemistry, and I still don't know if it's luck or destiny or effort that makes it happen, but I'm glad it does. There's also plenty of stories like that from every group I've worked with. When I was a kid wanting to start a band, that was the main reason I was drawn to it. You know, the total really is greater than the sum of its parts. Foreign exchange. If you ever went to a club gig of the Dregs or my band, you could almost always talk to me afterwards. It's kind of normal to be somewhat accessible when you're playing clubs, especially if you're in a band that's doing multiple sets. I got into the habit of greeting those who stuck around after the show because of a guitarist who spent some time talking to me when I was a kid at one of my first shows. In the process of this last year, I've met and learned about a lot of people from many places, backgrounds, and professions. It has been some of the most valuable education in my whole life. Good will. I've met busloads of Croatians traveling a long way to see the show, and other hard-working people in nearly every country who travel great distances to be a part of it. People everywhere have brought gifts, good wishes, enthusiasm, and energy to those large places that our fearless crew has seen every day at setup time. I've seen opening bands bust their butts to get on and off stage on time after driving all night. I've seen people plan their vacations around the tour because they love the energy of live music. Yeah, again and again, I always have to agree that music can strike pretty deep.

13 rockin' guitar transcriptions of Steve's playing in Dixie Dregs and the Steve Morse Band. Plus a bio and notes from Steve Morse. 112 pages


Country Colors
Cruise Control
Flat Baroque
General Lee
Highland Wedding
Ice Cakes
Point Counterpoint
Punk Sandwich
Refried Funky Chicken
Road Expense
Southern Steel
Take It Off The Top
Twiggs Approved

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MATTHEWS DAVE BAND Guitar Legendary Licks 1994-2001 CD TABLATURE Ants Marching-The Best of What's Around-Crash into Me-Crush-Don't Drink the Water-I Did It-Satellite-So Much to Say-Stay (Wasting Time)-Too Much - What Would You Say.

MATTHEWS DAVE BAND Guitar Legendary Licks 1994-2001. CD TABLATURE

Dave Matthews Band Guitar Legendary Licks 1994-2001
Series: Guitar Educational
Publisher: Cherry Lane Music
Format: Softcover with CD - TAB
Artist: Dave Matthews Band
Author: Lois Dilivio

The Legendary Licks series presents the music of a band or artist in a comprehensive play-along package. Each book contains note-for-note transcriptions and detailed performance notes on how to play with a multitude of classic licks, fills, riffs, and solos – complete with recorded demonstrations on CD. Slowed-down versions are also onthe CD for the fast and tricky passages. This pack teaches 12 of DMB's best: Ants Marching - The Best of What's Around - Crash into Me - Crush - Don't Drink the Water - I Did It - Satellite - So Much to Say - Stay (Wasting Time) - Too Much - What Would You Say.

Inventory #HL 02500374
ISBN: 9781575604497
UPC: 073999185140
Width: 9.0"
Length: 12.0"
64 pages

gear setup

Ants Marching
The Best Of What's Around
Crash Into Me
Crush
Don't Drink The Water
I Did It
Satellite
So Much To Say
The Space Between
Stay (Wasting Time)
Too Much
What Would You Say

Introduction

The 12 singles represented here reveal the depth and breadth of the Dave Matthews Band's ideas and sounds from Under the Table and Dreaming to Everyday. From the philosophical "The Best of What' Around," to the pop perfection of "Too Much," to the soulful "Stay (Wasting Time)," straight on into the plugged-in and stripped-down "I Did It," the Dave Matthews Band has proved time and again the true nature and level of their artistty, as well as their personal drive to express themselves via whatever means necessary.
Dave Matthews Band has collectively walked a career path very different from many of its contemporaries.
Dave himself was born in South Africa in 1967 and grew up in not just that part of the world, but in England and Westchester, New York, as well. While the family was residing in Westchester, Dave's father John, a physicist, died; his mother Val moved the family back to South Africa not long after. Dave continued to reside there until he was called to serve in the army of the Apartheid government. Rather than join this army, he returned to the States, passing through New York before finally joining his family in Virginia.
After spending some time in a community college, Dave found himself working as a bartender at Miller's, a bar in Charlottesville. He had played some piano as a child, and had begun to play the guitar at about age nine. He was inspired by the musicians he heard and met in the community-Peter Griesar, Carter Beauford, Stefan Lessard, LeRoi Moore, and Boyd Tinsley. He also met guitar whiz Tim Reynolds, who would become a virtual "sixth" band member, contributing heavily to the first four albums as well as eventually touring with Dave as a duo. Dave wrote several songs, and with the encouragement and guidance of friends, he cut a demo with five of the local musical heavyweights. These musicians "clicked" from day one.
It soon became clear that the combination of Dave on vocals and guitar, Carter Beauford on drums, Stefan Lessard on bass, LeRoi Moore on sax, and Boyd Tinsley on violin was formidable-the Dave Matthews Band juggernaut had started to roll. The band made it dear that they allowed and even welcomed the bootlegging of their shows. In return, their fans rewarded them with devotion. At the time they were about to release their independently produced Remember Two Things in ovember of 1993, the band's reputation had grown so great that they essentially had their pick of major label deals. They signed with RCA.
The 1994 release Under the Table and Dreaming entered the Billboard charts at #34, went to #11 on the Billboard 200, and received a Grammy nomination for "What Would You Say." Two years later, Crash debuted atfr'2 and received Grammy nominations for the album itself and for the songs "So Much to ay."
"Crash into Me," and 'Too Much." Steve Lillywhite was the producer of these two releases plus the next- Before These Crowded Streets-which shipped at #1 on the Billboard charts.
In January of 2000, the band assembled to record. In June, three months behind schedule, the band and the record company listened to the material and agreed that they needed to rework their efforts. To paraphrase Dave, they were songs about dying, not songs about living. regardless of the fact that we're all going to die. Dave was subsequently introduced to Glen Ballard who had interned with Quincy Jone and produced for Alanis Morrissette, No Doubt, and Aerosmith, among many others. Dave and Glen holed themselves up for ten days and wrote the 12 new songs that became Everyday. It debuted at #1 on the Billboard charts, selling more than 700,000 copies in its first week of release.
Jot content to confine their activities to the musical area, the Dave Matthews Band established the Barna Works Foundation, an institution through which the band contributes to charities such as the American Diabetes Association, the Boys and Girls Clubs of America, the Southern Environmental Law Center. And various Charlottesville-area clinics and community centers.


Dave Matthews Band 1994-2001

The Legendary Licks series presents the music of a band or artist in a comprehensive play-along package. Each book contains note-for-note transcriptions and detailed performance notes on how- to playa multitude of classic licks. fills. riffs. And solos-complete with recorded demonstrations. Slowed-down versions are also on the CD for the fast and tricky passages.

- NOTE-FOR-NoTE TRANSCRIPTIONS
- CD WITH RECORDEDDEMONSTRATIONS
- PERFORMANCE NOTES
- GEAR SETUPS

CHERRY LANE MUSIC COMPANY
 

Prezzo: €20,99
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101 TIPS & TRICKS FOR BLUES GUITAR. Chris Hunt CD TABLATURE

101 TIPS & TRICKS FOR BLUES GUITAR. CD TABLATURE

Series: Guitar Educational
Publisher: Cherry Lane Music
Softcover with CD - TAB

Educational director / project supervisor: Susan Poliniak

Author: Chris Hunt

54 corti Licks ispirati dai maestri del Blues e del Rock. 

From tips on performing with a band to improving your tone to copping the essential techniques of the blues greats and beyond, this book is chock full of pointers to help everyone from the beginning student to the seasoned pro. Here, you'll learn how to: play with the band - become a strong rhythm player - use the full range of the guitar's natural tone - find the right kind of pickup - and much more. You'll also learn a multitude of techniques, licks and riffs. The CD includes demonstration tracks. 44 pages.

THE BLUES APPROACH

EQUIPMENT TIPS

BLUES GUITAR ESSENTIALS

CLASSIC LICKS AND RIFFS

START PERFORMING TONIGHT

Nothing pumps the adrenaline like performing in front of an audience. When you play live you find yomself

doing things you didn't know or think you could do. Find as many performing opportunities as possible,

and use them to really stretch out. If you feel you aren't ready for an audience, get over it-nobody really ever

feels ready-and just leam to be in the momento

BE A SUPPORTIVE PLAYER

Remember to be a supportive player when it isn't yom tum to solo. Put as much thought and effort into yom

rhythm playing as you do into your lead playing, and do ir ar an appropriate volume. Create an environment

where other soloists can sound good, feel comfortable, and thrive. Always listen to what rhey're trying to say.

If you do, folks will enjoy playing with you and you'll find yourself increasingly in demando Besides, one of

rhe grear joys of making music is blending with an ensemble. The whole is always greater rhan rhe sum of its

parts.

PLAY WITH THE BAND, NOT AGAINST IT

Don't be one of those guys who "noodles" between songs either ar a performance or in a rehearsal. Ir's unprofessional.

When rhe tune starts, be conscious of yom volume and yom tone whether you're playing lead or

rhyrhm. Try to tune out the noise in both the room and yom own head, ignore the attractive members of the

opposite sex in the audience (or in the band), and put yom focus on the needs of the ensemble. Never stop

listening, even when you're taking the lead. The best soloists respond to what the rhythm section is doing,

and vice versa, rather than simply tuning them out and wailing over the top.

BUILD YOUR SOLOS

Let a solo develop. The audience needs something to anticipate, so don't give it all away at once. If you begin

yom solo at maximum intensity, you will wear out yom welcome before you're halfWay through. "Pacing" a

solo may be as simple as starting out in a lower register and gradually moving higher. Or, it may mean leaving

longer spaces between phrases early on, and then slowly getting busier. You may also play at a lower volume

to start with, and then add the grit later. Any combination of these can help you to develop some "architectme"

to yom solo. Taking your time will allow the listener to digest what they've just heard, and can give

you a moment to hear where you'd like to go next as well.

DON'T OVERPLAY

The blues is avocaI tradition. People were singing the blues long before anybody got the notion to play a

blues lick on the guitar, and when they finally did, it was hardly with virtuoso technique. Keeping in mind

that a singer must take regular breaths between phrases, don't feel compelled to fill all of the available space

with yom solos. In the blues, the "feel" of yom solo is much more important than the number of notes it

contams.

Prezzo: €13,50
€13,50
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