LIBRO CON CD

BACH JOHANN SEBASTIAN, TRANSCRIPTIONS FOR CLASSIC GUITAR, transcribed arranged Javier Calderon. LIBRO E CD

LIBRO DI MUSICA CLASSICA, CON CD,

SPARTITI PER CHITARRA CON PENTAGRAMMA.

CONTIENE LA FAMOSA  ''Chaconne in D Minor BWV 1004'' DI BACH. TRASCRITTA PER LA PRIMA VOLTA PER CHITARRA DA SEGOVIA.  

Product Description:
Absolute, universal, and harmonious - Bach's music is as profoundly satisfying and uplifting today as it was in his era. One of the most eloquent and expressive guitarists of our time, Javier Calderon, presents these timeless pieces, expertly arranged and transcribed for the classic guitar. Selections include: Sonata BWV 1001 (Adagio, Fugue, Siciliano, and Presto); Chaconne in D Minor BWV 1004; Prelude in D Minor, Prelude, Fugue, and Allegro BWV 998; Suite for Lute BWV 996 (Prelude, Allemande, Courante, Sarabande, Bourree, and Gigue); Prelude for Lute BWV 999; and Jesu, Joy of Man's Desiring. Written in standard notation only with minimal, unobtrusive left-hand fingering. The attached performance CD presents the author's exquisite rendition of every selection in the book.

Javier Calderon

J.S.BACH Transcriptions for Guitar

It is difficult to imagine how a composer of the stature of Johann Sebastian Bach (1685-1750) could have lived for 65 years, having written some of the world's most universally accessible and beautifully original compositions in every manner and for practically every instrument of the late Baroque period, in relative obscurity. Trained initially by his father and later by his elder brother, Johann Sebastian is now considered the greatest in a long line of noteworthy musicians and composers of the Bach family. Neither tormented by the specter of financial ruin nor obscured by less competent musical pedagogues, Bach was nevertheless no more well known than a host of other reasonably successful musical functionaries of his time. He was often influenced in his composing career more by external circumstances than by any driving internal impulse to create. And yet, the element of genius is indisputable evident in his music, a fact which elevates his work above that of his equally dedicated contemporaries. His music is as profoundly satisfying and uplifting today as it was in his own time, yet he fit in to his world as comfortably and as unremarkably as the average citizen of any era, he was no brooding outcast seeking to shatter the foundations of his own creative medium, an image that so often accompanies the notions of genius and artistry Indeed, what makes Bach's greatness especially recognizable is the extent to which it celebrates and improves upon the very spirit of his age. Absolute, universal, and harmonious, Bach's music reflects back the sum total of its essential parts, devoid of their imperfections. It is as though he had refined or purified the very elements that made up his world and, by doing so, crystallized them into their immortal expression. It is no wonder that, upon listening to his music, one is transported back to an age largely unfamiliar to him and yet simultaneously immersed in an intangible musical realm whose existence is everlasting. Bach, in this way, was not the artistic antithesis of his age but rather its ultimate revelation. If his music still recalls the religiosity of his day, it is no less as the sanctification of itself as the structure of musical perfection.

The Music

The Sonata, (BWV 1001) originally intended for solo violin was composed in 1720 in Coethen . It is well known that this piece was influenced by Bach's experience in composing for the lute, an instrument which, by Bach's time, had already seen its prime. Wistful, even reminiscent of early music, the Adagio begins with a slowness that is, at the same time, resolute - not yet echoing the multi-voiced scenarios that in large part define and punctuate Bach's vast musical repertoire. The Adagio is much more self-contained, without the obvious symmetry so pervasive in other pieces, suggesting a simpler composition.

The Fugue which follows begins the standard cascade of evenly patterned voices, livelier and yet balanced even as it breaks into centrally placed, almost rhapsodic variations that come into blossom throughout the movement. In the Siciliano we are met with an almost folksy, song-like melody, simple without yet being simplistic, sitting in the work itself like an island away from the more serious themes that dominate the prior and proceeding movements. In the final Presto, we encounter once again the lively exuberance of the Fugue. Full of energy and continuing the merriment of the Siciliano with a wilder, less introverted pacing, it is nevertheless neither hurried nor lacking in the synchronization that brings full circle the three prior episodes.

The Chaconne (BWV 1004) from Bach's solo violin Partita in D minor written in Coethen around 1720 and arranged for Lute, is one of the most famous works in this series. According to Donald Grout in A History of Western Music, Bach here "demonstrated his ability to create the illusion of a harmonic and contrapuntal texture by means of multiple stops or single melodic lines which outline or suggest an interplay of independent voices, a technique going back to the Lute composers of the Renaissance and related to the style of the French Lutenists and Clavecinists ofthe middle and late Baroque". The stillness of the full chords which announce this composition suggest the discipline and control which only mastery over this technique could produce. The Chaconne is neither morose nor worldly. In places practically devoid of emotion, removed from either joy or sorrow, it nevertheless breaks again and again into a beauty, haunting in its appeal. While both dramatic and outspoken, the repetition of movement to overtake the ...

Format: Book/CD Set

Contents:

SONATA BWV 1001 - ADAGIO -- J. S. BACH
SONATA BWV 1001 - FUGUE -- J. S. BACH
SONATA BWV 1001 - SICILIANO -- J. S. BACH
SONATA BWV 1001 - PRESTO -- J. S. BACH
CHACONNE IN D MINOR BWV 1004 -- J. S. BACH
PRELUDE IN D MINOR -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - PRELUDE -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - FUGUE -- J. S. BACH
PRELUDE - FUGUE & ALLEGRO BWV 998 - ALLEGRO -- J. S. BACH
SUITE FOR LUTE BWV 996 - PRELUDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - ALLEMANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - PRELUDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - ALLEMANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - COURANTE -- J. S. BACH
SUITE FOR LUTE BWV 996 - SARABANDE -- J. S. BACH
SUITE FOR LUTE BWV 996 - BOURREE -- J. S. BACH
SUITE FOR LUTE BWV 996 - GIGUE -- J. S. BACH
PRELUDE FOR LUTE BWV 999 -- J. S. BACH
JESU, JOY OF MAN'S DESIRING -- J. S. BACH

GROSSMAN STEFAN, EARLY MASTERS OF AMERICAN BLUES GUITAR: DELTA BLUES GUITAR.

LIBRO DI MUSICA BLUES, CON CD DELLE REGISTRAZIONI ORIGINALI.

SPARTITI PER VOCE E CHITARRA CON :

ACCORDI, PENTAGRAMMA E TABLATURE. 

14 songs da 7 chitarristi blues del Mississippi Delta. WILLIE BROWN: (Future Blues; M&O Blues; Ragged and Dirty); SON HOUSE: (Dry Spell Blues; My Black Mama); SKIP JAMES: (Devil Got My Woman; Hard Time Killin' Floor; Special Rider); HAMBONE WILLIE NEWBERN: (Roll and Tumble Blues); CHARLIE PATTON: (Screamin' and Hollerin' the Blues; Stone Pony Blues; 34 Blues); ARTHUR PETTIS: (Good Boy Blues); ROBERT WILKINS: (That's No Way to Get Along). CD TABLATURE

The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 14 songs from seven pivotal early blues guitarists from the Mississippi Delta. In addition to Stefan's expert transcriptions, the book includes a CD containing the original artist's recordings so you can hear and feel the music, as it was originally performed. Artists featured: WILLIE BROWN: (Future Blues; M&O Blues; Ragged and Dirty); SON HOUSE: (Dry Spell Blues; My Black Mama); SKIP JAMES: (Devil Got My Woman; Hard Time Killin' Floor; Special Rider); HAMBONE WILLIE NEWBERN: (Roll and Tumble Blues); CHARLIE PATTON: (Screamin' and Hollerin' the Blues; Stone Pony Blues; 34 Blues); ARTHUR PETTIS: (Good Boy Blues); ROBERT WILKINS: (That's No Way to Get Along).

GUITAR SOLOING, LA CHITARRA SOLISTA. IN ITALIANO. LIBRO CON CD E TABLATURE DELLA CHITARRA.

LIBRO DI MUSICA CON CD, METODO,
SPARTITI PER CHITARRA. ACCORDI, GRAFICO DELLA TASTIERA, PENTAGRAMMA E TABLATURE. 

Guida contemporanea all'improvvisazione.

Una risorsa completa per imparare l'arte del SOLOING e dell'improvvisazione melodica.

il CD include oltre 30 tracce dimostrative e basi per esercitarsi.

Scale, modi, arpeggi, tecnica e esercizi di visualizzazzione della tastiera

Rock, Blues, Jazz, e altri stili

Sequenze, frasi e licks

Concetti essenziali - studiato per i programmi del MUSICIANS INSTITUTE.

Una risorsa completa per imparare l'arte della nota singola e dell'improvvisazione melodica. Il CD include oltre 30 tracce dimostrative e basi per esercitarsi. Scale, Modi, Arpeggi, Tecnica ed esercizi di visualizzazione. Rock, Blues, Jazz e altri stili. Sequenze, frasi e licks. Questo libro è una guida per imparare e gestire l'arte dell'improvvisazione sulla chitarra nella musica popolare. Due dei migliori insegnanti del M.I. hanno tracciato un metodo intuitivo e progressivo per sviluppare le capacità di esecuzione di assoli di qualità professionale in qualsiasi stile. Ciascun capitolo offre diagrammi, esercizi, tecniche, licks e alcuni suggerimenti sulla loro applicazione pratica. Il Cd allegato contiene delle basi molto belle che aiutano all'esercizio nell'applicazione delle tecniche qui presentate. Vi sono anche 36 licks, ciascuno all'inizio di ogni traccia. Questo libro offre delle solide basi per comprendere e usare il manico della chitarra in modo creativo. Prendete tutto il tempo che occorre e lavorate su ogni capitolo quanto è necessario. 160 Pagine.

Questo libro è una guida per imparare e gestire I'arte dell'improvvisazione sulla chitarra nella musica popolare. Due dei migliori insegnanti del M.1. hanno tracciato un metodo intuitivo e progressive per sviluppare Ie capacità di esecuzione di assoli di qualita professionale in qualsiasi stile. Ciascun capitolo offre diagrammi, esercizi, tecniche, licks, e alcuni suggerimenti sulla loro applicazione pratica. II Cd allegato contiene delle basi molto belle che aiutano all'esercizio nell'applicazione delle tecniche qui presentate. Vi sono anche 36 licks - ciascuno all'inizio di ogni traccia. Questo libro offre delle solide basi per comprendere e usare il manico della chitarra in modo creativo. Prendete tutto il tempo che occorre e lavorate su ogni capitolo quanto è necessario.

A proposito degli Autori

Daniel Gilbert è un chitarrista di New York che lavora presso il Musician Institute dal 1979. Ha scritto la maggior parte del curriculum per chitarra della scuola, inclusi "L'improvvisazione sulla corda singola", "La chitarra ritmica funf(', e "La tecnica applicata". Insieme con la sua produzione in sala di registrazione, Daniel continua a fare serate nei locali, jam sessions, seminari in California, ed anche in Giappone, Europa e la costa Orientale. Sta attualmente lavorando al suo secondo album di musica strumentale jazz, rock e blues. (II suo primo album, "Mr. Invisable", è distribuito in  Europa).

Beth Marlis insegna al Musician Institute dal 1987. Insegna Improvvisazione su corda singola, Lettura, Chitarra Ritmica, Storia della Musica, e Open Counselling (Consigli per gli Studenti - n.d.t.). Durante il suo stage, ha ricevuto un Master (una laurea) dall'U.S.C., e ha suonato con diversi artisti come Harold Land, Brownie Mc Gee, Louis Bellson, Helen Reddy. Ha partecipato inoltre a diversi video musicali, progetti in studi di registrazione e film, mantenendo la sua carriera come professionista a Los Angeles.

Suggerimenti per la pratica

Avrete bisogno di trovare il "posto giusto" per I'allenamento quotidiano. Gli ingredienti necessari per un ambiente ideale sono:

a) Una sedia comoda, per aiutarvi nella postura ottimale (non appendetevi alla chitarra!) dovete

rimanere rilassati e concentrati. Potete anche suonare in piedi (per simulare un'esperienza tipica dal vivo ...).

b) Un posto tranquillo dove non sarete disturbati (questo a volte è difficile!)

c) Un banco, un leggio, o qualcosa di simile all'altezza giusta dove posizionare questo libro, un metronomo (o una drum machine, o un sequencer), della carta, e un registratore.

d) Anche una buona illuminazione è importante per eliminare sforzi e fatiche agli occhi.

e) Questo è il vostro laboratorio Sebbene non sara sempre possibile esercitarvi nel luogo ideale, dovreste tentare di trovare questi elementi dovunque vi allenerete.

Indice

Introduzione

Suggerimenti per la pratica .

Capitolo 1 Iniziamo .

Le scale maggiori e loro sequenze .

Le scale maggiori e gli arpeggi

La scala pentatonica maggiore

Le scale pentatoniche maggiori e i bending

La scala minore .

Arpeggi su scale minori .

La scala pentatonica minore .

Frasi costruite sulle pentatoniche minori

Scale maggiori con tre note per corda ..

Economizzare la pennata sulle scale minori: litre note per corda" .

Arpeggi maggiori .

Arpeggi minori e sweep picking.

Collegare tutti gli schemi ..

Scale su tre ottave

Cromatismi e note di passaggio .

Suonare i centri tonali .

La Modulazione .

II blues

Varianti blues

Blues minore

La scala Dorica

La scala Dorica e sue varianti .

La scala Misolidia .

Frasi Misolidie .

Arpeggi di 7a maggiore .

Arpeggi di 7a minore .

Arpeggi di 7a dominante.

Arpeggi di 7a minore b5 .

Combinare Ie scale maggiori con gli arpeggio .

Combinare Ie scale minori con gli arpeggio

La scala minore armonica ....

Suonare sulle tonalita minori ..

Suonare ancora in tonalita minori

Improwisare su progressioni di accordi

Improwisare su una canzone .

Epilogo

Guitar Soloing
The Contemporary Guide to Improvisation
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Beth Marlis
Composer: Daniel Gilbert

A comprehensive source for mastering the art of single note, melodic improvisation. The CD includes over 30 tracks for demonstration and play-along. The topics covered include: scales, modes, arpeggios, technique and visualization exercises; rock, blues, jazz, and other styles; and sequences, phrases, and licks.

Inventory #HL 00695190
ISBN: 9780793581863
UPC: 073999951905
Width: 9.0"
Length: 12.0"
160 pages

Description
A comprehensive source for mastering the art of single-note, melodic improvisation by Daniel Gilbert and Beth Marlis. Covering scales, modes, arpeggios, technique and visualisation exercises, rock, blues, jazz and other styles, sequences, phrases and licks, this is an effective and well constructed method from the Musicians Institute Essential Concepts series. The included CD features over 30 tracks for demonstration and playalong.

Musicians Institute Press is the official series of Southern California's renowned music school. MI instructors, some of the finest musicians in the world, share their vast knowledge and experience with you, no matter what your current level. 

BLUEGRASS GUITAR, Wayne Henderson. 10 titoli. CD TABLATURE

Series: Guitar Solo
Softcover with CD - TAB
Composer: Various Composers
Arranger: Wayne Henderson

This book/CD pack contains

10 classic solos for flatpicking and fingerstyle in standard notation and tablature.

Each tune includes the main theme along with creative variations. The CD features renowned picker Wayne Henderson performing each tune note for note. Includes: Black Mountain Rag - Fisher's Hornpipe - John Hardy - Leather Britches - Lime Rock - Sally Ann - Snowflake Reel - Take Me Out to the Ball Game - Temperence Reel - Twinkle Little Star. 56 pages.

This book provides intermediate and advanced guitar players-both flatpickers and fingerpickers-with ten classic Bluegrass tunes that can be played either solo or with backing musicians. These aren't "hot licks" or canned solo breaks; they're complete tunes, with intros, themes, variations on the melody, and endings. They should help you both build your repertoire of songs and learn some new playing and arranging techniques. Compared to other traditional guitar styles, guitar as a lead or solo instrument in Bluegrass music has a relatively recent history. Don Reno and Doc Watson were early prominent players of lead guitar on fiddle tunes in the late Fifties and early Sixties, followed by notable players such as Clarence White, Dan Crary, Norman Blake, Tony Rice, Charles Sawtelle, Russ Barenberg, and many others. These players not only used the guitar to play the melody of the tune, but were known for the "hot breaks" they played when it came time for instrumental solos. They used the tune's melody as the basis for creative variations and, in some cases, departed entirely from the melody to improvise solos from scratch. This was more akin to jazz-style soloing than traditional Bluegrass playing. The growing importance of Bluegrass lead guitar was reflected in, and likely reinforced by, the rise of Bluegrass guitar contests in venues such as the Walnut Valley Festival in Winfield, Kansas and the Old Fiddler's Convention in Galax, Virginia. Anew generation of skilled players-including Wayne Henderson, Steve Kaufman, David Grier, Bryan Sutton, Steve Lewis, Robin Kessinger, Scott Fore, Allan Shadd, and many others-are both carrying on the tradition of lead Bluegrass guitar and continuing to push its boundaries. Relatively few notable Bluegrass guitarists have recorded as solo performers, a format that requires the player to subtly or radically vary the melody, register, or his or her picking techniques in order to maintain energy and interest over the course of the performance. Norman Blake recorded a few solo f1atpicked instrumental pieces on his seminal Whiskey Before Breakfast in 1976. More recently, David Grier released the highly acclaimed I've Got the House to Myself, an all-instrumental solo flatpicking recording (with the exception of some low-key second guitar on two tunes). In 2005, Wayne Henderson released a recording of solo Bluegrass/Old-time/Folk guitar performances called Made & Played. The tunes in this book and the accompanying CD were chosen from the Made & Played release and the session outtakes as the best examples of solo Bluegrass-style guitar. Wayne grew up listening to the fiddle playing of his father and the guitar playing of neighbors, who skillfully accompanied their own vocals and other instrumentalists. He was heavily influenced by the lead playing of Doc Watson, whom he still calls his musical hero, and his playing shares Doc's hard-driving energy and clean articulation, even at break-neck tempos. Also like Doc, Wayne uses variations on the melody as the foundation for many of his solos and enjoys playing "up the neck" to provide more energy, melodic variation, and interest for the listener. Unlike Doc Watson and most other Bluegrass lead guitarists, Wayne uses a thumbpick and metal fingerpicks instead of a flatpick. However, the arrangements we chose for this collection work equally well for flatpicking or fingerpicking. As shown in the following musical excerpt, his picking technique on these tunes follows the same down-up pattern that flatpickers use with their picks. Wayne picks the downstrokes with his thumbpick (p) and the upstrokes with his index finger (i). (continua)

Titoli:

Black Mountain Rag
Fisher's Hornpipe
John Hardy
Leather Britches
Lime Rock
Sally Ann
Snowflake Reel
Take Me Out To The Ball Game
Temperence Reel
Twinkle Little Star

CREATIVE GUITAR 1, CUTTING-EDGE TECHNIQUES, GUTHRIE GOVAN. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

MANUALE DIDATTICO, STUDIO, ARMONIA, 

Book/CD set. The aim is to help rock guitarists who feel stuck in a rut. Focuses on refining playing techniques, explaining the nuts and bolts of theory, how to practice efficiently, and includes lots of licks. Promotes a self-sufficient approach to learning. The CD has detailed examples of pentatonic patterns, minor arpeggios and backing tracks. Note/tab. 117 pp.

By Guthrie Govan. For Guitar. Creative Guitar Series. Rock. Level: Intermediate. Sheet Music and Audio CD. 104 pages. This Creative Guitar Series aims to provide frustrated rock guitarists with new directions to explore their art. Armed with the accompanying CD, featuring detailed examples of pentatonic patterns, minor arpeggios and backing tracks, you will be able to do much more than simply learn solos and licks note for note. This book also contains a thorough explanation of music theory.
 

The Creative Guitar series aims to provide the frustrated rock guitarist with new directions in which to explore his art. This book focuses on how you can expand your potential by refining your playing techniques, allowing you to tackle more complex riffs and solos. Creative Guitar 1: Cutting-Edge Techniques also addresses the much-feared topic of music theory, explaining the basic principles and demonstrating how they can actually be applied in real musical situations. Armed with the accompanying CD featuring detailed examples of pentatonic patterns, minor arpeggios and backing tracks, you can do much more than simply learn solos and licks note for note; the expert step-by-step instructions featured here can be applied to your own individual style of playing to make you a better, more creative musician. Guthrie Govan has been playing guitar for all but three years of his life, and during that time he has played everything from jazz and blues to all-out metal. A member of noted prog-rock outfit Asia, he also plays with The Fellowship and instrumental trio Erotic Cakes. He also writes for Guitar Techniques magazine and teaches at the Brighton Institute of Modern Music.

INTRODUCTION

As a guitar teacher, I meet a lot of guitarists who have reached the same roadblock in their playing: they've had some playing experience, they know a bit of the traditional rock/blues vocabulary, they have a grasp of the basic techniques ...but they're frustrated. Some might express this frustration as 'I'm sure there's other stuff I could be practising; I wish I'd learned properly!' or, indeed, 'People say I play pretty well on a good night, but I feel like an impostor, because I don't really know what I'm doing.' If you've ever felt that all you ever practise is the same old stuff, playing it faster and cleaner but ultimately not coming up with anything new or anything you can get really excited about, then you might just like this book. It attempts to show you some new avenues to explore, by explaining some important aspects of theory or technique and looking at how you can incorporate such knowledge into your own playing style. I've tried to arrange this information so that it can be of value to as many players as possible. Theory-wise, I've explained things from first principles, so even if you have no grounding in theory, you'll be able to grasp the necessary concepts without undue suffering (although some concentration might be required from time to time!). In general, whenever you think a chapter has taken you out of your depth, it's probably best to put the book down for a while and spend some time assimilating what you've learned so far. This stuff is all meant to be used, so I would recommend incorporating each idea into your playing at your own pace. Conversely, those of you who already have some grounding in music theory could quite happily dip into these pages at random. Bear in mind, however, that some chapters might well be worth reading even if they appear to be covering stuff you've already learned. It never hurts to have more than one way of looking at things, and you never know, certain concepts might turn out to be more useful and far-reaching than you thought they were. The book is divided into five chapters, each with a different angle:

• In Chapter 1, 'General Stuff, I've tried to answer all of the FAQs (Frequently Asked Questions) that keep cropping up when I teach people. Some of it might seem a little too philosophical and weird to be of immediate use to you, but trust me, it's worth wading through, if only because it will raise some interesting questions about how and why you play certain things. There are times when simply thinking about your playing can improve it just as much as any amount of hours spent with a metronome.

• Chapter 2, 'Technique', takes an in-depth look at technique, focusing on developing efficiency of movement and making your playing feel as natural and effortless as possible.

• Chapter 3, 'Theory Without Tears', tries to simplify music theory, explaining some of the essential jargon, showing you how scales and chords fit together and touching on the much-feared topic of sight-reading. I can't lie to you - this won't be a fully comprehensive sight-reading course, but it will explain the basic principles and enable you to understand all of the written music in the book. (The rest, of course, is down to practice!)

• Chapter 4, 'Scales And Chords', translates music theory onto your fretboard, explaining a lot of the essential jargon and showing you how scales and chords fit together.

• Chapter 5, 'On The CD', lets you put all of the previous ideas into practice, with the help of various backing tracks. For each track, I've explained the chord progression, suggested a few appropriate note 

(continua)

GENERAL STUFF

TECHNIQUE
THEORY WITHOUT TEARS
SCALES AND CHORDS

CD CONTENTS:

A MINOR PENTATONIC SCALES SHAPES
A MAJOR PENTATONIC SCALES SHAPES
MINOR PENTATONIC BENDS
SLIDING IDEAS
CONNECTING PENTATONIC SHAPES
CONNECTING PENTATONIC IN GROUP OF THREE
PENTATONIC PATTERNS 25 
PENTATONIC PATTERNS 26
PENTATONIC PATTERNS 27
PENTATONIC PATTERNS 28
PENTATONIC PATTERNS 29
PENTATONIC PATTERNS 30
PENTATONIC PATTERNS 31
PENTATONIC PATTERNS 32 
PENTATONIC PATTERNS 33
PENTATONIC PATTERNS 34
PENTATONIC PATTERNS 35
PENTATONIC PATTERNS 36

G MAJOR ARPEGGIOS
G MINOR ARPEGGIOS
G MAJOR 7 ARPEGGIOS
G MINOR 7 ARPEGGIOS
G DOMINANT 7 ARPEGGIOS
G MINOR 7 FLAT 5 ARPEGGIOS
G DORIAN SHAPES
G AEOLIAN SHAPES
G PHRYGIAN SHAPES
G LYDIAN SHAPES
G IONIAN
G MIXOLYDIAN SHAPES
G LOCRIAN SHAPES
HENDRIX STYLE CHORDAL EMBELLISHMENTS
STRING BEND SOLO
BACKING TRACK 1
AFRICAN STYLE TRIADS
APRICAN STYLE SOLO
BACKING TRACK 2
COMBINING PENTATONICS
BACKING TRACK 3
AEOLIAN BLUES
BACKING TRACK 4
TOWER OF POWER STYLE FUNK RHYTHM
BACKING TRACK 5
DOMINANT ARPEGGIO BLUES
BACKING TRACK 6
LYDIAN IMPROVISATION
BACKING TRACK 7
PENTATONIC KEY CHANGES
BACKING TRACK 8
METAL RHYTHM
BACKING TRACK 9