LIBRO CON CD

BUSTER B. JONES, JUST US: 14 Complete Notation & Tab Transcriptions. SHEET MUSIC BOOK WITH CD & TABLATURE .

LIBRO DI MUSICA ACUSTICA, CON CD.

SPARTITI PER CHITARRA FINGERPICKING CON: 

PENTAGRAMMA E TABLATURE.

Product Description:
Although his scorching fingerpicking was most impressive at first glance, a closer look at "Just Us" reveals that he is equally adept at what many musicians consider as a more difficult task: playing fewer notes... ones that mean more, and say more with less, as he does on album opener "A Simple Gift", title cut "Just Us", and "One Sad Clown".

"Just Us" is an album consisting largely of his own compositions inspired by his two main guitars "Merle" and "Pearl". Along the way we are treated to a barn-storming version of "Alabama Jubilee" (it must be tunes like this that caused Chet Atkins to say of Jones "He plays like he's double-parked"), "Collage-a-Reed" and "Clawin'" (each inspired by mentor Jerry Reed), while "Let the Sun Shine In" sounds like an instant fingerpicking classic that you could swear you have heard before, but haven't. Including detailed notation on 15 of Buster’s songs from "Just Us", this Book/CD lesson will challenge even the best players. Presented in standard notation and tablature.

Biography Buster B. Jones was a master of the guitar styles of Chet Atkins, Merle Travis and Jerry Reed. He explored their music, styles and techniques, but developed his own unique style and depth. Buster was known as a blazing fast and dynamic player, and was given the nickname "The Machine Gun" by admiring fans in France, but his original compositions expose a lyrical and gentler side to his musical personality. Raised in Ames, Iowa, Buster began playing guitar and mandolin at an early age, following in the footsteps of his older brother Ron, who Buster idolized as the "best left-handed guitarist ever." It became apparent however that by Buster's mid-teens he would have a special gift for music, and his musical ability exploded. Buster never took formal lessons, but developed his mastery of the guitar through sheer trial and error, and by diligently trying to learn the complex styles of players like Chet Atkins and Jerry Reed. "I touch on many different styles and approaches to playing lead and rhythm guitar. My goal as a player is to expand these perimeters and express what I feel musically," says Buster, who often played for other guitar players at conventions like the CAAS in Nashville and NAMM. 'Playing to a bunch of guitar players and fans is like watching Dawn of the Dead on video. They just stare 'ou slack-jawed, looking like they want to eat your brain. It's a wonderful feeling!" Buster B. Jones has several early albums, which are out of print and three CDs, Fingers in Flight, Guts and Steel and Just Us. He also has produced 12 teaching videos for Stefan Grossman's Guitar Workshop. Buster B. Jones lived in Eugene Oregon and performed regularly across Canada and the United States. He was the 1990 winner of the National Fingerpicking Championship held yearly in Winfield, Kansas. Buster was not just a great guitar player but a teacher and a friend to many. He spent countless hours sharing his knowledge and skills with young players and I am grateful to have had the opportunity to work closely with Buster on this CD. Tom Redmond

As a child, I grew up listening to such greats as Hank Williams, Jimmy Rodgers, Hank Snow and Merle Travis. My father Buster Jones was a great entertainer; and with my mom and big brother Ron played polkas and square dances. Dad even had a radio show of his own. He would do the weather and time and then play some music. Although my dad's playing ability was somewhat limited, his ability to capture an audience was what intrigued me the most. Dad said "Talk to the folks like they are old friends and they'll become old friends." I live by those words. I've never met a stranger. My dad Buster, mom Allene and Ron were my first influences, although in time I had many others, like Chet Atkins, Jerry Reed, Thorn Bresh and Nokie Edwards. In the game of life, however, I admire none more than my family: Dad and Mom Jones, Ron Jones, Collene McGlenn, Darlene Sanchez, Kay Anderson, and Roger and Gary Jones. This recording is dedicated to them, because I love and miss them.

- Buster B. Jones (2007)

Song Title: Composer/Source:

A Second Glance
A Simple Gift
Alabama Jubilee
Be Like Dad
Collage-A-Reed
Flight Path
Just Us
Last Request
Let the Sun Shine In
One Sad Clown
Pierpaolo
Still Live Five
The Thoughts of One
Thom's Thumb

FLUID SOLOING, BOOK 3, CHORD-LEAD SOLOING FOR GUITAR, Tim Quinn. CD TABLATURE

LIBRO METODO DI MUSICA ROCK, CON CD.

SPARTITI PER CHITARRA:

ACCORDI, PENTAGRAMMA E TABLATURE. 

Product Description:
Chord-Lead Soloing for Guitar is a complete method for developing fluid double-stop chord melody. This style of playing can be heard most notably in the playing of Jimi Hendrix (in songs such as The Wind Cries Mary, Little Wing, and Castles Made of Sand), as well in the music of the guitarists he influenced, including Steve Vai, Eric Johnson, and Stevie Ray Vaughan. Chord-lead style playing bridges the gap between straight lead and strictly rhythm, because it is simultaneously chordal (implying a specific major or minor chord) and melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm into one flowing melodic chordal texture. This is accomplished through a comprehensive collection of chord-lead phrases, each of which is presented in at least three different fingerings (important for whole-neck flow). These phrases are then assembled into soloing etudes that demonstrate practical application over different chord progressions

Chord-lead playing can be adapted to every style of music, including rock, jazz, blues, alternative, funk, R&B, country, and pop. Mastering chord-lead soloing also greatly increases a guitarist’s ability to "stand alone"; that is, to play by himself unaccompanied by other musicians, mixing and switching between chording and lead improvisation. This book is perhaps the most definitive guide ever written for mastering this highly sought after (yet elusive) style of playing. CD included. Standard notation and tablature.

Chord-Lead Soloing presents a complete method for developing whole-neck, fluid chord-melody motion using two-string "double-stops", such as in the recordings of guitar legends Curtis Mayfield, Steve Cropper, Jimi Hendrix, Stevie Ray Vaughan, Eric Johnson, and Steve Vai This style of guitar playing is simultaneously chordal (implying a specific major or minor chord), and at the same time melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm guitar into one flowing melodic chordal texture. Hendrix took double-stop chord-melody to an unprecedented level and prominence in the songs "Little Wing", "Castles Made of Sand", "The Wind Cries Mary", and "Electric Ladyland", although he was likely heavily influenced by Mayfield's work with the Impressions (and perhaps Cropper's work with Otis Redding) in developing this aspect of his playing. All three should be acknowledged historically as being among the originators of this style. However, for most of the guitarists who later developed this "chord-lead" style, including Stevie RayVaughan, Steve Vai, and Eric Johnson, the primary inspiration was Jimi Hendrix. Double-stop chord-melody playing can be adapted to every genre of music; whether it's jazz, hard rock, alternative, funk, R&B, country, pop, salsa, reggae, Irish folk, or whatever! Mastering chord-lead technique greatly increases a guitarist's ability to "stand alone"-that is, to play by himself, unaccompanied by any other musicians, mixing and switching between chording and lead improvisation. This is an important, highly sought after skill for the accomplished, professional guitarist. Chord-Lead Soloing presents a complete and thorough method for developing this crucial style of playing. This book is the third book in the 'Fluid Soloing Series', a unified set of books that develop different aspects of whole neck fluid motion on the guitar. The three "Comprehensive" soloing etudes at the very end of this book are included to demonstrate some of the techniques from the other three books in the series, as well as the techniques presented in this book, all used in combination. The varied combinations of soloing techniques in these etudes create an exciting whole-neck soloing style that is flowing and varied in its melodic content. If you like the content of this book, check out the other books in the series as well. May you absorb the riches in this book, and may you play beautiful guitar music! Peace and harmony, friends.

Contents:

Introduction

I Section One: Chord-Lead Basics

The Concept of Suspension

Major Triad Sets; Triads in 2-String Pairings

Demonstrations of Possible Moves on 2-String Pairings

Major Pentatonic Scale Played in Fourths

II Section Two: Chord-Lead Licks

Each lick is shown in at least THREE different fingerings

III Section Three: Soloing Etudes

Demonstrating practical application of the licks

Appendix: "Guide For Using This Book"

Tablature Symbols Key

JAMAICA, GUITAR ATLAS. LIBRO CD E TABLATURE

LIBRO METODO DI MUSICA REGGAE, SKA, CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE . 

Your passport to a new world of music
By Raleigh Green

SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Jamaican music is loved throughout the world for its laid-back feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles, from reggae rhythms in the songs of popular bands like The Police, to ska beats in the music of groups such as The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-inspired style popular in the 1950s) to modern styles like dub (an electronic form of reggae). You’ll learn about the spiritual influence of the Rastafarian religion and explore the work of numerous Jamaican musicians, including Lord Flea, Count Lasher, The Maytals, The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin, and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.

The CD demonstrates all the examples and compositions featured in the book.

Guitar Atlas Jamaica. (Your passport to a new world of music). By Raleigh Green. For Guitar. Guitar Method or Supplement; Method/Instruction. National Guitar Workshop: Guitar Atlas. Multicultural; World. Book & CD. Published by Alfred Music Publishing (AP.33486). ISBN 0739062816. Multicultural; World.

Guitar Atlas:jamaica is an introduction to the rich musical tradition of
jamaica. From a guitarist's perspective, there is much to love in jamaican
music, especially the guitar-centric styles of mento, ska, rocksteady, and
reggae. In this book, the most important jamaican musicians, guitarists, styles,
and techniques are demonstrated through numerous musical examples. Most of these
examples are meant to be played with a pick, although there is some fingerpicking as
well. You will get the most from this book if you have experience reading standard
music notation and/or TAB, as well as some experience with common open chords,
barre chords, and basic guitar technique. The Notation Guide on page 3 should help
you with any unfamiliar notation. Welcome to Guitar Atlas: jamaica, and let's begin our journey!

Jamaican music is loved throughout the world for its laidback feel as well as its intense, lively rhythms. Its influence is apparent across many musical styles-from reggae rhythms in the songs of popular bands like The Police to ska beats in the music of groups like The Mighty Mighty Bosstones and The Toasters. Even rap music evolved from the Jamaican vocal style called "toasting," and the influence of Bob Marley is evident throughout the world of music and pop culture.

Guitar Atlas: Jamaica teaches many of the styles that make Jamaican music so unique, from early movements like mento (the calypso-like style popular in the 1950s) to modern styles like dub (an electronic form of reggae).You'll learn about the spiritual influence of the Rastafari religion and explore the work of numerous Jamaican musicians, including Lord Flea,Count Lasher,The Maytals,The Skatalites, Lynn Taitt, Bob Marley, Black Uhuru, Ernest Ranglin,and many others. With a wealth of chordal and melodic ideas for the guitar, this book will improve your technique, increase your knowledge, and make you a more well-rounded musician.
The CD demonstrates all the examples and compositions featured in the book.

JAMAICAN HISTORY
The island of jamaica is located in the Caribbean Sea. It is situated 90 miles south of
Cuba and is a part of the Greater Antilles, a group of islands that also incluJe~ Puerto
Rico and Hispaniola. With a tumultuous history of slavery, war, poverty, and natural
disasters, jamaica is a true melting pot of mixed ethnicities. jamaica is smaller than the
state of Connecticut, however, the global impact that this Caribbean island has had on
the rest of the world is enormous.
When Christopher Columbus first arrived to jamaica in 1494, the native Arawak people
(also known as Taino Indians) had already been there since 650 A.D. Sadly, soon after
Spain's occupation of the country began in 1509, the indigenous population was wiped
out by slavery, disease, and war. By 1655, Britain seized jamaica and soon, through
intense colonization and a booming slave trade, Jamaica became the largest producer
of sugar in the world. After many uprisings, slavery was abolished in 1838. In 1872,
Kingston became the capitol, and in 1962, jamaica became an independent nation.

JAMAICAN MUSIC OVERVIEW
In the early 19th century, when the percussive musical traditions brought over by West
Mrican slaves mixed with the music of the European quadrille (a precursor to the square
dance), the jamaican folk music style called mento was born. Mento was jamaica's most
popular music throughout the 1930s and 1940s; however, during this period, American
jazz also became immensely popular in jamaica. By the 1950s, mento was still alive,
but American R&B had largely taken hold of the jamaican popular music scene. In
the 1960s, all of these various influences came together to create a unique jamaican
musical style called ska.
The quick tempo of ska was a reflection of the upbeat mood in jamaica after gaining
independence in 1962. jamaicans soon observed, however, that serious social problems
remained, and in 1966, the music changed with the mood. A new style called rocksteady
emerged, replacing the upbeat pace of ska with a much slower feel. A short-lived
movement, rocksteady was only around for two years when jamaica's most famous
musical style, reggae,was born. From the late 1960s to the mid-1980s, reggae became
a worldwide sensation. During this time period, the Rastafari (those belonging to
the religious and cultural Rastafari movement covered on page 33) garnered a strong
association with reggae due to the international fame of Bob Marley and others. English
bands like The Clash and The Police started to incorporate reggae sounds into their own
music. By the latter half of the 20th century, a wide array of reggae subgenres developed,
including dancehall, toasting, dub, raggamuffin, reggaeton, 2-tone, and lovers rock, just to
name a few. Despite being a small island, jamaica and its varied musical traditions have
greatly inspired and influenced musicians and music lovers throughout the world.

A compact disc is included with this book. Using it with the book can make learning Track easier and more enjoyable. The symbol 1 shown at the left appears next to every example that is on the CD. Use the CD to help ensure that you're capturing the feel of the examples and interpreting the rhythms correctly. The track number below the symbol corresponds directly to the example you want to hear. Track 1 will help you tune to this CD. Enjoy!

Raleigh Green, based in the Boston area, is known for his versatility
as a guitarist and his expertise as a music educator. Proficient in
many styles of music, Raleigh is the author of The Versatile Guitarist
(Alfred/National Guitar Workshop #28243). He teaches guitar at
Phillips Academy in Andover, Massachusetts and is a long-time
instructor for the National Guitar Workshop and DayJams. Raleigh
teaches online guitar lessons at WorkshopLive.com and is endorsed
by D'Addario strings. After receiving a B.F.A. from the University
of Missouri with a concentration in art and computer-aided
multimedia, Raleigh attended the Berklee College of Music where
he graduated summa cum laude and was awarded both the Quincy
Jones Award and the Professional Music Achievement Award.
Raleigh lives in Medford, Massachusetts with his wife, Laura, their
son Cole, and an Australian cattle dog named Max.

ACKNOWLEDGEMENTS
Very special thanks to Laura and Cole, Ken and Linda Green, the Breretons, and all of my friends, students, and colleagues at Phillips Andover Academy; David, Barbara, and Jesse Smolover; Burgess Speed, and everyone else in the Workshop family. Also thanks to Kevin "K-Don" Michaels, Wayne Marshall, and Carl Johnson for research assistance; D'Addario & Co.; and Pete Sweeney and Matthew Liston for playing great music on the CD.
This book is dedicated to Cole Leven Brereton-Green.

NOTATION GUIDE
H = Hammer-on.
P = Pull-off.
SL = Ascending slide.
= Descending slide.
P.M. = Palm Mute.
= Fermata. Pause, or hold note longer than its indicated duration.
> = Accent. Emphasize the note or chord.

1,2,3,4,0 = The left-hand fingers starting with the index finger;
0= open string. Thelen-hand fingers are indicated under the TAB.
rit. = Abbreviation for ritardando. Become gradually slower.
Swing 8ths = Eighth notes written like straight eighth notes, but played with a long-short rhythm that produces the shuffie feel.When Swing Bths appears at the beginning of a piece, eighth notes are played like triplets with the first two eighth notes tieden =.en).
= 185 = Tempo marking. In this case, there are 185 quarter nores, or beats, per minute. (If you have a metronome, set it to 185.
4x = Play four times.
D.S. al Fine = Dal Segno al Fine. Go back to the symbol .. and play to the Fine, which is the end of the piece.

= Staccato. Make note shorter than its indicated duration.
= Chuck. Muted, percussive, unpitched nore.
p, i, m, a = The right-hand fingers starting with the thumb.

= Repeat signs. Repeat music between the two symbols When only the end repeat sign is present, repeat music from the beginning.

ABOUT THE AUTHOR
Acknowledgements
otation Guide

INTRODUCTI0N
Jamaican History
Jamaican Music Overview .

CHAPTER I-Mento
History of Mento
Mento Strumming
Lord of the Fleas
Mento Mama
Men to Lead Melodies
Facing Forward
Check YtJurPockets
Papaya Paradise
Mento-Calypso
Color Me Calypso

CHAPTER 2-Ska
The Beginnings of Ska
Jamaican Lady
The Skank
Straight Ahead
Fountain ofYtJuth
Ska Horn Lines
Strum It Up
Tie the Knot
The Skatalites
Skanks for the Memories

CHAPTER 3-Rocksteady
History of Rocksteady
Slow It Down
Rude Boyfriend
Slow Skank
Keep It Muted
Chill Out Rude Boy
Steady Sixteenths
Stay Steady
Alphabet Soup

CHAPTER 4-Reggae
Early Reggae
Jamaican Peach
Roll with the Punches
All Aboard
The Rastafari Movement and Roots Reggae
The "Bubble"
Never Forget
African Riddim
Reggae Rhythm Embellishment
Back Alley Dreadlock
Dub-Style Effects
The Question

CHAPTER 5-Bob Marley
In the Style of "Stir It Up"
Natty Dreadlock
In the Style of "Rasta Man Chant" .
Nyabinghi Beat
In the Style of "I Shot the Sheriff" .
Dread Man "Walking
In the Style of "Exodus"
On the Run
In the Style of "Redemption Song" .
Rasta Farewell

CHAPTER 6-Ernest Ranglin .
The Journey Begins .
Conclusion
 

SWING GUITAR, Fred Sokolow. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ SWING, CON CD.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE   

A String Of Pearls -Choo Choo Ch' Boogie -Go Daddy-O -I Ain't Got Nobody (And Nobody Cares For Me) -In The Mood -It Don't Mean A Thing (If It Ain't Got That Swing) -Jersey Bounce -Jump, Jive An' Wail -Just A Gigolo -Route 66 -Sentimental Journey -Since I Don't Have You -Take The 'A' Train -Tuxedo Junction -Zoot Suit Riot. Basi Jam play-along. 

Series: Guitar Educational
Softcover with CD - TAB
Author: Fred Sokolow

Learn to play swing rhythm and lead guitar in the style of the masters! With this book/CD pack you get: transcriptions of 15 original hit recordings from the classics of the 1930s and '40s to the revival of the '90s; performance notes to help you understand the solos; instruction in comping patterns and chord embellishment; a history of swing guitar; and more. Songs, The accompanying CD includes full-band demos of all the songs, with guitar parts isolated. 80 pages

The Swing Era and the Swing Revival

TiTLES :

Choo Choo Ch' Boogie - Louis Jordan and The Tympany Five, 1946
Go Daddy-O - Big Bad Wodoo Daddy, 1995 
I Ain't Got Nobody (And Nobody Cares For Me) - Spencer Williams, 1956
In The Mood - Glenn Miller Orchestra, 1939
It Don't Mean A Thing (If It Ain't Got That Swing) - Duke Ellington - Sophisticated Ladies, 1932
Jersey Bounce - Benny Goodman, 1942
Jump, Jive An' Wail - Brian Setzer Orchestra - Louis Prima, (1956) 1998
Just A Gigolo - Leonello Casucci, 1930 
Route 66 - Nat Cole Trio, 1946
Sentimental Journey - Les Brown and his Orchestra, 1943
Since I Don't Have You - Brian Setzer Orchesta, (1959) 1988
A String Of Pearls - Glenn Miller Orchestra, 1942
Take The 'A' Train - Duke Ellington - Billy Strayhorn - 1941
Tuxedo Junction - Glenn Miller Orchestra, 1940
Zoot Suit Riot - Cherry Poppin' Daddies - 1997 - Steve Perry

MODERN JAZZ CONCEPTS FOR GUITAR, Innovative Improvisation Techniques. Sid Jacobs. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO DI MUSIC JAZZ CON CD.

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLTURE . 

METODO

Modern Jazz Concepts for Guitar