LIBRO CON CD BACKING TRACKS

ADAMS BRYAN, PLAY WITH (THE EARLY YEARS). Basi per voce e per chitarra. CD TABLATURE

LIBRO DI MUSICA ROCK CON CD DI BASI PER VOCE E CHITARRA E VOCE.

SPARTITI PER CHITARRA E VOCE. TESTI, ACCORDI, PENTAGRAMMA E TABLATURE.

Can't stop this thing we started -kids wanna rock -(everything I do) I do it for you -run to you -somebody -summer of '69. 

Learn the guitar parts and play along with the backing tracks for six of Bryan Adams' most enduring classics, including (Everything I Do) I Do It For You and Summer Of '69. The CD includes two demo tracks for each song - one with a full band so you can hear how it should sound and sing along, one with the guitar part omitted for you to play along with.

AC/DC, JAM WITH. TOTAL ACCURACY. Basi per voce e per chitarra, con la Tablature delle 2 tremende colonne portanti dell'hard rock. SHEET MUSIC BOOK WITH CD BACK TRACK & GUITAR TABLATURE . 

LIBRO DI MUSICA HARD ROCK.
SPARTITI PER CHITARRA E VOCE .
ACCORDI, PENTAGRAMMA E TABLATURE. 
BASI CD JAM TRACK PER VOCE E, VOCE e CHITARRA . 

Australian uber-rockers AC/DC have written some of the most recognizable and universally appealing rock standards with uplifting ear-crunching guitars and distinct vocals! Lead guitarist Angus Young's frantic fast fret mastery is evident on most of their tracks and his style has been much imitated by players the world over. Jam with AC/DC gives you the opportunity to learn 8 of their fierce, growling songs note-for-note and then jam with a professional session band! Includes the hits: Back in Black · Highway to Hell · Let There Be Rock · For Those About to Rock · Whole Lotta Rosie · all with full lyrics and vocal lines.

Basi con preascolto:

-For those about to rock

-let there be rock

-highway to hell

-hell ain't a bad place to be 

-sin city

-whole lotta Rosie

-back in black

-Hells bells

ANGUS YOUNG OF AC/DC
If It Ain't Broke, Don't Fix It!
Interview by Nick Bowcott

LAST MONTH, ANGUS STRESSED THE IMPORTANCE
of being able to play rhythm well and discussed the various aspects of tone. This month, the tone talk continues.

ANGUS YOUNG: The heavier your string gauges are, the bigger your sound is gonna be. Not just on rhythm, but on solos as well. With thick strings you can really get a nice, round, bluesy lead sound happening without having to use any pedals to help fatten things up. Because I've got such small hands, though, .010 to .048 [high to low] is about the heaviest set I can deal with. Malc's a different story altogether, though his gauges just keep getting heavier and heavier. He really likes those big, thick, "tram track" things and he's actually at the point where they don't make those gauges anymore. I couldn't tell you his exact gauges, but if you find out what the heaviest set of strings available is right now then that's what he's probably using. [Our most recent report indicates that Malcolm is using a Gibson 900M set, which is .012 to .056 with a wound .025 G string-GW Ed.]
A lot of idiots think, "thick strings are just a macho statement or something," but they're not. When we were growing up we couldn't get those "slinky" strings. We learned how to play on heavy gauge strings, almost bass strings! [laughs] When they started selling those Iighter strings, Mal tried a set and said, "Fuck, these things wobble too much. I've got no tone on my guitar!"

GUITAR WORLD: Talking about gear, your rig is quite simple and direct. 
YOUNG: Yeah, I've always kept it fairly simple right from the get-go. I just plug my guitar straight into a stack or .four [laughs] and start banging away; That's all you need, y'know-have fingers, will play! I've always felt that if you're on stage playing rock and roll and you've got too many toys hooked up, there are just too many things that can go wrong. My SG and Marshall combination has always worked well for me, so I stick with it. As the old saying goes, "if it ain't broke, don't fix it!"

GW: I take it you're not a big fan of effects devices.
YOUNG: Nah, I'm my own effect! [laughs] To be honest, I've always looked at effects as being a bit like a video remote control you' re always trying to work out what the hell they are! I grew up at a time when effects gadgets were being used a lot and pretty much every guitar player had a pile of 'em in front of him. Every time you walked into a guitar shop you'd see all these people stepping on pedals and going "wah-wahwah." That got so common, it cured me pretty quick. My whole approach is to get the amp happening and then just plug in and play. Then, if I want to hear something different, I try and get it with my guitar. The trouble with these effects units is sometimes you can walk awayfrom your gear for a few minutes and people who don't know any better start plugging stuff in for you. I remember once we were playing the Donnington Festival in Britain and I went down the day before the show and they had this gadgetry up there-it looked like Space Station #9! Anyway, I think Van Halen were on the bill too and Eddie Van Halen came up and said, "Jeez, what's all this?" One of the guys who'd built the thing explained it to him and when he was done I said to Eddie, "Do you like it?" Eddie went, "Yeah, it's nice," so I said, "Do me a favor mate, take the fuckin' thing with ya! I'm sticking with me Marshalls-simple is better."

GW: Marshalls have pretty much always been your amp of choice.
YOUNG: Yeah. I've experimented with different makes of amp, but I eventually came to the conclusion that the Marshall 100-watt stack was the best way to go. I love 'em because they're great rock and roll ampsthey' re road-worthy and they're noisy, too (in a good way)! I think if you're into rock music, that's the amp you should be using. Live I
normally use four stacks hooked up in a series via splitter boxes. [On the Ballbreaker tour Angus used four Marshall reissue 1959SLP Plexi heads driving eight Marshall straight-fronted 4x12 cabs loaded with 25W Celestion Greenback speakers: "the noisy ones! ']

GW: And is everything turned up to 11?
YOUNG: Nah! [laughs] A lot of people think that with Marshalls you've gotta run everything full up and drive the buggers to death. I don't do that; I pretty much have everything on around half. To my ears, if you go over half it starts to get a little bit mushy. I like to get a natural sustain that cuts; I don't like playing lead with that false, Tonebender
[fuzz] type sound. It's funny, people hear us and automatically think we play really loud. Well, we don't-mind you, we're not exactly quiet either!

GW: Although you use 100-watt stacks on stage, I believe you have an old Marshall JTM45 miked up under the stage and also use JTM45s in the studio.
YOUNG: You're right, my main amp for recording is an old JTM45 head and I also use it live-I have it underneath the stage with a single 4x12 cabinet and an isolation box. I use a 100-watt head in the studio every now and then, too. It just depends on what I'm after. The 100s are thicker-sounding, have more bottom end and are cleaner and louder. The JTM45 (a 45-watt amp) has a smoother sound and is much easier to overdrive.

GW: And your primary guitar has always been a Gibson SG, right?
YOUNG: Yeah. When I was in school in Sydney, Australia, a friend of mine had a Gibson guitar catalog, and as soon as I saw the SG I went, "Jeez, that looks great, I want one." I always liked the shape of it and the double cutaway is great because if I'm playing high up the neck I don't have to reach around anything like you have to do on aLes Paul. I also like the weight and the size because I'm a little guy, On most people an SG looks pretty small-like a violin. On me, though, it looks like a pretty big guitar and it balances well, too. Oh, Ilike the sound of 'em too!

GW: Have you ever played Strats or Les Pauls? .
YOUNG: I tried Fenders but they were too heavy and they just didn't have the ballsy sound I was looking for. I tried a Les Paul when I was younger and nearly dislocated my hip because the fucking thing was so heavy! You've gotta have muscles to playa Les Paul and if you've ever seen me with my shirt off you'd know that I'm not exactly Arnold Schwarzenegger! 

ULTIMATE PLAY-ALONG, JUST CLASSIC JAZZ GUITAR 1. SHEET MUSIC BOOK WITH CD JAM ALONG & GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD.

CD DI BASI PER CHITARRA. 

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.

Ogni titolo è arrangiato in: CHORD-MELODY SOLO, GUITAR SOLO CON TABLATURE, LEAD SHEET.

Basi: Body and soul -days of wine and roses -star dust -invitation -over the rainbow -'round midnight -Laura -when I fall in love -in a sentimental mood. CD TABLATURE

JAZZ GUITAR FAVORITES. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

6 titoli:

-All The Things You Are, Hank Garland

-I Hear A Rhapsody, Howard Roberts

-Oleo, Pat Martino

-Speak Low, Barney Kessel

-When Sunny Gets Blue, George Barnes

-Yesterdays, Wes Montgomery
 

Series: Guitar Collection
Medium: Softcover with CD
Arranger: Jack Grassel

Guitar transcriptions for these standards: All The Things You Are/Hank Garland - I Hear a Rhapsody/Howard Roberts - Oleo/Pat Martino - Speak Low/Barney Kessel - When Sunny Gets Blue/George Barnes - Yesterdays/Wes Montgomery.
40 pages

Table of contents :
All The Things You Are
I Hear A Rhapsody
Oleo
Speak Low
When Sunny Gets Blue
Yesterdays

INTRODUCTION

This publication represents a new format in jazz education which allows the learning improvisor and professional to access the benefits of studying classic guitar solos. Most transcription books require that the recordings (if available) be searched out, purchased, and only listened to since most players in the developmental stages of their playing would not have the technique to play the solos up to tempo. The solos in this book are:

1. Played in tune; many old recordings have been sped up to improve fidelity, raising the pitch as much as a whole step.

2. Recorded at an easy-to-play slow practice tempo.

3. Also recorded at a fast tempo slightly slower than the original, making performance attainable sooner.

4. Recorded on modern equipment with fidelity surpassing the original recordings with a modern rhythm section. Bass and drums are monophonic on both channels. Piano is on the right only. Guitar is on the left only.With your "balance control" you can choose what you want to hear. The solos are arranged in progressive order of technical difficulty.We chose performances that are most representative of each master's contribution to the development of jazz guitar.

Barney Kessel: This solo demonstrates his use of hard-driving melodic development and some of the first string bending on record by a jazz artist.

Wes Montgomery: The tone of the jazz guitar was forever changed by this man's thumb while adding to the post-bop vocabulary.

Howard Roberts: This early solo displays his formidable jazz talent which became unavailable to the public as Howard persued his pop hits, studio work and teaching careers in the late sixties.

Hank Garland: This Country-Western studio player shocked the jazz world in the early sixties with
his incredible jazz technique and swinging melodies.

George Barnes: With the use of almost every technique known to man, George uses bending, slides,
and hammer-ons to create a high level of expression seldom heard on the guitar.

Pat Martino: This solo is from the seventies after Pat had left his Wes Montgomery-influenced early
playing and developed his present polytonal-chromaticism, which is much different than the traditional jazz guitar approach.

The final form you see here is the result of an entire year of work; researching and choosing great solos, transcribing and proofreading for accuracy, countless hours of practicing and recording. Our motive is to increase the quality of jazz guitar playing and to preserve music which is or may become "out of print." Jeff Schroedl at Hal Leonard was a big help in developing and improving the book.

Up until starting this project I had avoided playing other's solos thinking that my own unique style of playing would be compromised. After spending a year with these masters, I've noticed that I have retained my original conception of guitar music, but have acquired a technical depth and more tools to play my music my way. So I now recommend this study to any jazz guitarist at any level.
Special thanks to the fine rhythm section who did their homework: Jim Sodke-keys, Del Bennett-drums, Tom McGirr-bass, and also Bill Littlefield-recording engineer.

FUSION GUITAR, IMPROVISE MASTERTRACKS. CD

Alfred MasterTracks Fusion [Guitar]
Music by Steve Houghton and Tom Warrington

UPC: 038081084381

ISBN 10: N/A
ISBN 13: N/A
CATEGORY: Instrumental Series
FORMAT: Book & CD
INSTRUMENT: Guitar

The music selected for Alfred MasterTracks is intended to provide a broad range of improvisational material for soloists of all skill levels. An improviser needs to feel comfortable in a variety of musical settings, so we have designed a series that addresses a number of different styles, tempos, and keys. Therefore, this book will also serve as a very up-to-date listening reference for many popular Jazz, Latin, and Fusion grooves. In undertaking this project, we decided that we would try to appeal to a wide variety of musicians, from the most raw, beginning improviser all the way to the most advanced improviser. As a result, we have provided charts that indicate a basic structure of harmony and rhythm, plus some very basic melodies for beginning improvisers to play around with, since one good starting point for improvisation is the melody. (These melodies are not recorded on the tracks, however.) More advanced players may want to disregard these melodies completely and dig into blowing over the tracks, worki ng on whatever materials they are currently practicing. It is beyond the scope of this book to present a complete manual for improvisation. Rather, we chose to present some varied harmonic and rhythmic situations that would allow improvisers to practice their craft.

HOW TO USE MASTERTRACKS

After we recorded Essential Styles, Books 1 & 2 (a play-along series for bass and drums), many players said that they would've enjoyed a similar series for other instruments. With that idea in mind, Alfred MasterTracks was born, completely devoted to being a contemporary instrumental play-along for all instruments, not a bass/drum method. These tracks, rather than being designed as a cross section of styles, are more of a collection of varied harmonic and rhythmic situations that melodic improvisers will encounter. For example, in the jazz book, you will find three different versions of the blues. They are obviously the same form and general style, but in different keys and at various tempos in order to provide a more thorough blues "workout." All of the selections in the Alfred MasterTracks Series were professionally recorded and mixed at Chick Corea's Mad Hatter Studios and are of the highest quality. Piano and bass players will be interested to note that the recording is mixed with the piano on the right channel and the bass on the left, so that either of these two rhythm section players can dial out their respective instruments and play accompaniment parts along with the tracks, in addition to soloing with them. Although it is true that the term "improvisation" is foreboding for some young musicians, the selections in these texts have been structured with easy melodic lines which can be used as a point of departure for even the most inexperienced improvisers. The idea here is to have some good-sounding tracks to play along with, and to have some fun! So, without becoming completely encumbered with a lot of intellectual baggage regarding improvisation, young players might simply put on the CD or cassette and start trying to play along by ear. Or they might read the simple melodies that have been provided as a means of gaining some understanding of the form and harmonic content, and proceed from there. By playing portions of the melodies, and then embellishing them slightly, young players will soon find themselves creating their own melodies using the given material as the springboard. Some of the tracks are played in such a way that the harmonies are not extremely complex; altered chords and polyrhythms in the comping have been minimized. On other tracks, these elements are more fully utilized, creating a nice range of intensity levels. The idea is that, while there is an abundance of material here for beginning improvisers, there is also plenty to challenge advanced players. So, have fun with these tracks. We hope they will be a valuable tool in your quest for musical excellence.

FUSION

Foreword / How to Use the Alfred MasterTracks Series

The Soloist and the Rhythm Section .

Thoughts on Improvisation

Understanding Chord Symbols

Understanding Rhythm

Creating Your Own Style

Harmonic Overview - Fusion

Contemporary Fusion-iv- V-Isus (3 :07) 10

CD Track Concert Key

#1 A Major K.C. Blues-bright blues (2:53) .

#2 F Major Blues Shuffle-medium tempo (3:51)

#3 G Major Slow 12/8 Blues Shuffle (4:02)

#4 C Major Contemporary Fusion iv – V -Isus

#5 D Major Up-Tempo Rock & Roll Blues-straight 8ths (2:49)

#6 F Major Half-Time Rock Ballad (3:31)

#7 E minor Medium Funk-minor blues (3:41)

#8 B~minor ii-V Funk Shuffle (5:05)

#9 E minor Techno Funk-8-bar minor blues (3:09)

#10 D Major Early Funk (3:10)

#11 C minor Swing 16ths (2 :56)

#12 F minor Hip-Hop Funk with 16 bar section/solo with guitar & drums (2:53)

About the Authors

Note: All tracks were recorded and mastered at A440.

You may need to make tuning adjustments to match the playback speed of your audio equipment.

Bill Cunliffe, Keyboards

Paul Viapiano, Guitar

Tom Warrington, Bass

Steve Houghton, Drums

Brian Kilgore, Percussion

Recorded and mixed at Mad Hatter Studios, Los Angeles

Engineered and mastered by Talley Sherwood

Exciting play-along tracks for beginning or advanced improvisers!

Digitally recorded and mastered, these top-quality play-along tracks on CD or Cassette provide an invigorating way for you to broaden your improvisation skills while experiencing what it's like to play with a hot rhythm section. The recordings are highly effective as a listening guide to many of today's most popular grooves. Numerous styles are covered in the series, including blues, minor blues, ballads, modal tunes, bebop, rock & roll blues, blues shuffle, funk shuffle, fusion, techno funk, hip-hop, bossa nova, baion, samba, son go, Latinfusion and more.

Also Available for the following instruments:

• C Treble Clef (Flute, Vibes, Oboe, Violin)

• Bb (Clarinet, Trumpet, Soprano Saxophone,

Tenor Saxophone, Baritone T.c.)

• Eb (Alto Saxophone, Baritone Saxophone)

• C BassClef (Trombone, Baritone B.C., Bassoon, Tuba, Cello)

• Guitar (Acoustic or Electric)

• Keyboard (Electronic Keyboard, Synthesizer, Acoustic Piano)

• Bass (Acoustic or Electric)

Book & CD

Alfred Publishing Co., Inc.