LIBRO CON CD

BEST IN THE WEST, NASHVILLE GUITAR. Richard Kochli. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA COUNTRY / BLUEGRASS, COUNTRY ROCK, CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

IN ITALIANO

MANUALE, METODO, DIDATTICO, STUDIO PER APPRENDERE, TECNICA,

CHITARRA COUNTRY IL MANUALE COMPLETO

Autore: Richard Köchli
Pagine: 276
Formato: libro + CD

Descrizione breve

Il meglio della musica di Nashville: country, bluegrass, rockabilly, western swing, honky tonk, cajun. Un libro per diventare un vero chitarrista country: oltre 300 esercizi, fraseggi e brani tradizionali, spiegazioni, analisi e richiami al "mondo reale", cenni storici sugli stili principali, e alcuni dati sui più importanti innovatori. Per tutti i livelli, dal principiante al professionista.
Il country, tra i chitarristi, è un genere largamente apprezzato, ma pochi sono in grado di suonarlo in modo soddisfacente. E tu, quanto ne sai?
Tutti noi abbiamo di tanto in tanto occasione di imbatterci in brani country. Che a proporceli sia il grande schermo, la tv di casa, la radio o un disco l'effetto non cambia: ascoltare musica country è un'esperienza elettrizzante, che ci catapulta testa e cuore negli Stati Uniti, tra praterie e cowboy. Ma il country è molto di più: è un'infinità di esperienze musicali e umane che si incrociano e formano un genere musicale unico e appassionante, è uno dei frutti artistici per eccellenza del melting pot statunitense.
Suonare in modo convincente la chitarra in un contesto country non è affatto semplice, anche perché gli approcci allo strumento più diffusi tra i chitarristi jazz, blues e rock si rivelano spesso almeno parzialmente inadeguati al nuovo contesto. Ogni genere musicale presenta regole e prassi proprie, e il country non fa eccezione.
Purtroppo, rispetto ad altri generi musicali, le pubblicazioni didattiche disponibili in Italia sull'argomento scarseggiano. A colmare questa mancanza giunge oggi Chitarra country, il manuale completo, un libro che vi guiderà passo passo dalle basi a concetti avanzati e di sicura soddisfazione anche per i musicisti più smaliziati.
L'autore, lo svizzero Richard Köchli, affronta nel corso della trattazione tutti gli argomenti fondamentali del genere. Si passa dalle tecniche e dall'accompagnamento di base in strumming all'esecuzione di ritmiche e parti soliste bluegrass, dal fingerpicking allo western swing e all'honky tonk, dal rockabilly al cajun alla nuova generazione di musicisti di Nashville. Tra le tecniche affrontate non mancano il chicken-picking, il bottleneck, il bending da dietro il capotasto. Numerosissimi sono i lick ritmici o solisti proposti e minuziosamente commentati. Ma soprattutto questo libro spiega in modo chiaro e ricco di esempi l'approccio all'accompagnamento, al solismo e all'improvvisazione tipici del chitarrista country. In altre parole, chiarisce in che modo ragiona e quali strumenti ha a disposizione il tipico chitarrista country. Non mancano ampie e appassionanti introduzioni storiche e workshop dedicati ai maestri del genere.
Ogni capitolo è diviso in tre sezioni, corrispondenti ad altrettanti livelli di difficoltà del materiale proposto. Per accedere al livello uno è sufficiente una manualità minima sullo strumento e la conoscenza degli accordi di base. Il livello due è riservato invece a chi può vantare maggiori capacità ed esperienza. Nel livello tre vengono infine affrontati i concetti e le tecniche più avanzati, ed è adeguato ai professionisti o in generale ai musicisti più preparati.
Lo studio di Chitarra country, il manuale completo può veramente aprire le porte di nuovi mondi sonori in modo chiaro e accessibile. Anche qualora il country non fosse il tuo genere musicale di riferimento, i consigli, le tecniche e gli spunti musicali proposti nel libro potrebbero rappresentare un'occasione unica per espandere i tuoi orizzonti musicali; già molti altri hanno utilizzato con successo all'interno di altri generi musicali gli insegnamenti del country.
Insomma, che aspetti a farti conquistare dalla musica dei cowboy?
È adeguato a te se…
cerchi una guida completa, chiara e affidabile per avventurarti nel mondo della chitarra country.
Ti interessa studiare il country per ricavarne idee e spunti musicali da applicare in altri generi.
Hai già sviluppato una manualità anche minima sullo strumento (basta conoscere alcuni accordi e saper passare dall'uno all'altro senza difficoltà).
Non è adeguato a te se...
non hai mai suonato la chitarra, neppure a livello basilare.

Prefazione......................................................................................................
Indice del CD.................................................................................................................
Capitolo 1: Le basi della chitarra ritmica country..........................................................
Un po’ di storia.........................................................................................................
Le prime ritmiche.....................................................................................................
Il capotasto mobile................................................................................................................
Il ritmo shuffle......................................................................................................................
Ritmiche country fondamentali.............................................................................................................
Il basso alternato.....................................................................................................................
Bass Run.............................................................................................................................
Il Carter backup lick.................................................................................................................................
Bass run fondamentali..............................................................................................................
Hammer-on........................................................................................................................
Pull-off...........................................................................................................................
Workshop – Jimmie Rodgers............................................................................................................
Note stoppate.................................................................................................................
Combinare le note stoppate con fill e bass run..............................................................
Utilizzo degli accordi con barrè nell’accompagnamento..................................................
Riff................................................................................................
Combinare diverse forme..............................................................................................................
Accompagnamenti di classe con gli accordi in prima posizione........................................................
Discografia.............................................................................................................................
Capitolo 2: Accompagnamento bluegrass.........................................................................................
Un po’ di storia...........................................................................................................................
La chitarra ritmica bluegrass...........................................................................................
G-run..........................................................................................................................
Pennate aggiuntive sugli accordi.............................................................................................................
Meno pennate sugli accordi...................................................................................................................
Finali...........................................................................................................................
G-run e accordi con barrè...............................................................................................................
Discografia.................................................................................................................
Capitolo 3: Lo stile solista di Maybelle Carter.................................................................................
La storia di Maybelle..........................................................................................................
La tecnica di Maybelle....................................................................................................................
Maybelle’s Flower...............................................................................................................
John Hardy.....................................................................................
Will The Circle Be Unbroken.........................................................................................
Farther Along...............................................................................................................
Discografia.................................................................................................................
Wreck Of Old 97............................................................................................................
Capitolo 4: Assoli bluegrass in flat-picking...................................................................................
La chitarra solista nel bluegrass......................................................................................................
Lick bluegrass in SOL maggiore......
Lick bluegrass in DO maggiore.........................................................................
Lick bluegrass in RE maggiore........................................................................................
Solo in SOL.....................................................................................................................
Solo in DO...............................................................................................
Analisi sintetica.

Fiddle tune...........................................................................................................
Workshop – Tre grandi plettratori..................................................................................................
Alton Delmore........................................................................................
Doc Watson............................................................................................................
Clarence White........................................................................................................................
Cross-picking...................................................................................................
Discografia..............................................................................................
Capitolo 5 – Finger-picking.....................................................................................................
Un po’ di storia..................................................................................................................
Introduzione al finger-picking...............................................................................................................
Accompagnamento..................................................................................................
Pattern fondamentali...........................................................................................................
Alternare i bassi...........................................................................................
Bass run..............................................
Melodia in finger-picking..................................................................................
Ampliare il pattern di base con degli inserti (fill-in)..........................................
Slide.....................................................
Bending...........................................................................................................................
Pattern in 3/4..............................................................................................................................
Workshop.......................................................................................................................
Sam McGee..........................................................................................
Merle Travis...........................................................
Travis-picking con forme d’accordo trasponibili......................................................................
Workshop – Chet Atkins...............................................................................................
Lick finger-picking da sfoggiare.......................................................................................
Assoli................................................................
Discografia..................................................................................................................
Capitolo 6: Viaggio nel rockabilly...........................................................................................................
Un po’ di storia...........................................................................................................
Basi dell’accompagnamento....................................................................................................
Riff d’accompagnamento trasponibili..........................................................................................................
Espandere i riff d’accompagnamento fondamentali.......................................................
Workshop – Scotty Moore......................................................................................
Combinazione di plettro e dita...........................................................
Lick solisti rockabilly..............................................................
Solo rockabilly............................................................
Una lezione diversa dal solito, per i professionisti..............................................................................
Discografia.............................................................................................
Capitolo 7: Gli stili solisti di Nashville...........................................................
Un po’ di storia......................................................................................................
Workshop: Luther Perkins....................................................................................................
Basi del solismo............................................................................................
Le quattro varianti della scala maggiore pentatonica...........................................................................................
Improvvisare con diverse scale...............................................................................
Armonizzare.........................................................................................................................
Lick basati sugli accordi....................................................................................
Lick a coppie di note....................................................................................
Combinazione dei materiali utilizzati...............................................................................
Lick con hammer-on e pull-off nello stile di Nashville............................................
Bending in stile pedal steel..........................................................................

Chicken-picking..............................................................................
Ghost note...............................................................
Pennate introduttive su corde stoppate..................................
Workshop – James Burton.............................................................................................
Country rock, di cosa si tratta realmente..........................................................
Workshop: Pete Anderson..............................................................................
Avventure sulle corde a vuoto..............................................................................
Parti soliste a due voci....................................................................................
Specialità di Nashville ...................................................................................................................
Slide con il bottleneck.......................................................................................
Bending dietro il capotasto........................................................................................
La magica corsa cromatica.................................................................................................
Armonici.................................................................................................................
Workshop: Albert Lee........................................................................................
Discografia................................................................................................
Capitolo 8: Swing western e honky tonk..............................................................................
Un po’ di storia................................................................................
Accompagnamento in stile Texas..................................................................
Il sock rhythm................................................................................................................
Accordi di passaggio..........................................................................................................
Chitarra solista western swing........................................................................................
Chitarra solista honky tonk.....................................................................................
La scala diminuita..........................................................................................................
Workshop – Eldon Shamblin............................................................................
Discografia..............................................................................................
Capitolo 9: Cajun.............................................................................
Un po’ di storia........................................................................................
Analisi stilistica fondamentale.......................................................................................
Workshop Cajun...............................................................
Discografia....................................................................................
Capitolo 10: La nuova generazione...............................................................
Workshop...........................................................................................................
Danny Gatton..........................................................................................
Brent Mason.............................................................................................................
Altri assi di Nashville..................................................................................................
Ray Flacke..............................................................................................................
Steve Wariner......................................................................................................
Jerry Donahue............................................................................................
Workshop conclusivo...................................................................................
Capitolo 11: Teoria................................................................................................
La tastiera.................................................................................................................
Intervalli e gradi..................................................................................................................
La Nashville lead sheet...................................................................................................................
Le chiavi maggiori più comunemente usate e i loro gradi......................................................
Le chiavi minori più comunemente usate e i loro gradi............................................................
Schemi country ricorrenti.............................................................................................................
Intervalli armonici (due note suonate in contemporanea)..............................................................
Visione del manico per posizioni..................................................................
Legenda dei caratteri speciali....................................................................................

Indice8
1 - Ritmica shuffle.......................................................................
3 - Bass run..............................................................................
4, 7 - Carter backup lick................................................................................
9 - Old Smokey (trad.)........................................................................
11 - The Days Of 49 (trad.)................................................................................
13, 15, 17, 18 - Hammer-ons e pull-offs nell’accompagnamento................
20 - We Don’t Forget You, Jimmie................................................................................
21 - Bury Me Beneath The Willow (trad.).....................................................
22 - The Forzen Logger (trad.)..........................................................................................
23, 25, 27, 28, 29, 30, 31 - Stoppato........................................................................
33, 34 - Ritmiche con ghost note, con fill e bass run (DO maggiore).....................................
36, 38, 39 - Ritmiche con ghost note, con fill e bass run (SOL maggiore)..............................
40, 41, 42 - Ritmiche con ghost note, con fill e bass run (LA maggiore)................
44, 46, 47 - Ritmiche con ghost note, con fill e bass run (maggiore)...................................
49, 50 - Ritmiche con ghost note, con fill e bass run (RE maggiore).................................
51, 52 - Due esercizi (accompagnamento con ghost note esteso)........................................
54, 56, 59, 60 - Accordi con barrè nell’accompagnamento, forma di Mi................................................
61, 63, 64, 65 - Accordi con barrè nell’accompagnamento, forma di LA...............................................
66 - Accordi con barrè nell’accompagnamento, forma di Sol................................................................
67, 68 - Accordi con barrè nell’accompagnamento, forma di Do e combinazioni................................
69, 70 - Accompagnamenti di classe con accordi in prima posizione..................................................
71, 72, 74, 76 - G-run (accordo di Sol)..............................................................................................
78, 79, 80, 81, 83, 84, 85, 88, 89 - G-run su Sol, Re, La, Mi.......................................................................
90, 92, 93 - Più o meno pennate........................................................................................................ 
94, 95, 96 - Finale.........................................................................................................
97 - Banks Of The Ohio (trad.)....................................................................................
98 - Roll In My Sweet Baby’s Arms (trad.).........................
99 - Cripple Creek (trad.).................................................................
100 - All Your Good Songs......................................................................................................
101, 103, 104 - G-run con barrè...................................................
107, 108 - Maybelle’s Flower / John Hardy (trad.)........................
109 - Will The Circle Be Unbroken (trad.)..................................................................
110 - Farther Along (trad.)...................................................................................
111 - Wreck Of Old 97 (trad.)..................................................................................
112, 114, 115, 117, 118, 119, 120 - Lick bluegrass in SOL.......................................................................
123, 124, 125, 126 - Lick bluegrass in DO...........................................................................................
128, 129, 130 - Lick bluegrass in RE...........................................................................
132 - Solo bluegrass in SOL......................................................................
133 - Roll In My Sweet Baby’s Arms (trad.)...................................................................
134 - Solo bluegrass in DO.............................................................................................
135 - Banks Of The Ohio (trad.).........................................................................................................
136 - Fiddle tune “Turkey In The Straw” (trad.).......................................................................................
137 - Blues For Alton.....................................................................................................................
138 - Billy In The Low Ground (trad.)..............................................................................
139 - Nine Pound Hammer (trad.)....................................................................................
144, 146, 149 - Semplici schemi finger-picking..............................................
150, 151 - Pattern fondamentale 1a....................................................................................................
154, 157 - Pattern fondamentale 2a.......................................................................................
159, 160, 162 - Pattern 3 e 4 ed esercizio.........................................................................................
163, 164, 165 - Basso alternato e bass run...................................................................................... 
167 - Jesse James (trad.).....................................................................................................
168, 169, 171, 172 - Pattern estesi (H e P)...................................................................................
173, 174 - Pattern estesi (SL, B.)...............................................................................
indice del cd

Traccia Contenuti (Esempio – Argomento) Pagina
Indice del Cd9
 - Esercizio con varie tecniche...................................................................................................................................
 - Pattern in 3/4...............................................................................................................................
- I Never Will Marry (trad.)..............................................................................................................
- For Sam....................................................................................................................................
 - Travis-picking “Take This Hammer” (trad.)........................................................................................
 - Travis-picking “Worried Man” (trad.)..............................................................................................
 - Schemi di accompagnamento in stile Travis..........................................................................
 - Travis-picking “I’m A Pilgrim” (trad.)...................................................................................................
 - Travis-picking con accordi trasponibili “Careless Love” (trad.).......................................................
 - Mister Chetman......................................................................................................................
 - Lick da sfoggiare............................................................
 - Finger-picking solista........................................................................................................................ 
 - Riff boogie................................................................................................................................
 - Esercizio con accordi di settima................................................................................................
 - Varianti di boogie ed ending run..................................................................................
 - Riff d’accompagnamento trasponibili.................................................................................
 - Riff boogie estesi.............................................................................................
 - Esercizio “La terza blues”..............................................................................................................
 - The Scotty-Beam...............................................................................................................................
 - Lick solisti rockabilly..........................................................................
 - Nashville Cats Don’t Stray.................................................................................................................
 - Workshop Luther Perkins......................................................................................................... 

 - Variante fondamentale della scala pentatonica 1.....................................................
 - Esercizio pentatonico..............................................................................................................
 - Variante fondamentale della scala pentatonica 2...........................................................
 - Varianti fondamentali della scala pentatonica 3 e 4.........................................
 - Improvvisare con diverse scale.........................................................................................
 - Lick basati sugli accordi.........................................................................................
 - Esercizio in stile Hank Snow.................................................................................................................
 - Lick a doppie note.........................................................................................
 - Tom Dooley (trad.)............................................................................................................... 
 - Solo a “pacchetti”................................................................................................................................
 - Nashville lick con hammer-on e pull-off parte 1........................................................
 - Nashville lick con hammer-on e pull-off parte 2..........................................
 - Nashville lick con hammer-on e pull-off parte 3....................................................... 
 - Nashville lick con hammer-on e pull-off parte 4.............................................
 - Nashville lick con hammer-on e pull-off parte 5..................................................
 - Lick pedal steel parte 1............................................................................
 - Lick pedal steel parte 2...........................................................................
 - Lick pedal steel parte 3..................................................................
 - Esercizio pedal steel......................................................................................
 - Varie tecniche chicken-picking................................................................................
 - Tecniche chicken-picking con ghost note e note stoppate introduttive...
 - James’ Hote Tele............................................................................................
 - Nothing To Prove........................................................................................................................
 - Esercizio con bending pedal steel con corde a vuoto......................................................................
 - Hot lick sulle corde a vuoto...............................................................................
 - Roll melodici........................................................................................................... 
 - Esercizio a due voci soliste.................................................................................................
 - Jenny In Hawaii................................................................................................................
 - Lick con bending dietro il capotasto, corsa cromatica......................................................
 - A Little Bell – Waltz...............................................................................................................
 - Wizard Albert....................................................................................................
Indice del Cd10
- Sock rhythms, accordi di passaggio......................................................................................................
- Will The Circle Be Unbroken..........................................................................................................
- Honky-Tonk-Heartaches.......................................................................................................................
- Playboy Eldon...........................................................................................................................
- Lo stile Cajun...............................................................................................................................
- Les Jolies Filles De Louisiana.............................................................................................................
- Danny’s One-Man-Band.................................................................................
- Master Mason’s Turbo!..................................................................................................................
- Slick Country......................................................................................................................
Jamtrack 1 (SOL, “Roll In My Sweet Baby’s Arms”; bluegrass, country classico)
Jamtrack 2 (DO, 12-misure binario, country rock, -blues, -pop)
Jamtrack 3 (LA, 16-misure rockabilly shuffle) 

The History, the Players and the Technique of Country Guitar by Richard Kochli

276 pagine di esempi di Country, Rockabilly, Swing, Nashville, blues, Rock. CD TABLATURE

A comprehensive analysis of American country music from a European perspective, this massive 275-page book comes with a companion CD with 97 tracks. Everything from basic rhythm accompaniment to blazing bluegrass solos is addressed including: Carter lead style, fingerpicking, rockabilly riffs, Nashville lead styles, Western swing and honky-tonk, country blues and rock, Cajun history and styles, and a forecast of the future of country. The book is carefully structured with progressively arranged exercises, theory lessons and original and traditional tunes.

This book should prove to be an important resource for country music enthusiasts. All 387 musical examples appear in both standard notation and tablature. Complete lyrics are provided when applicable. Köchli's love and mastery of the entire spectrum of country music is evident throughout.

To me, country music, or just "country" is one of the basic, high voltage,
artistic movements of the 20th Century. It's a movement and a style that, like
jazz, grew out of the huge melting pot of the United States. Country jumps,
it's alive, it's down home - and it comes from the heart. Those who don't
know it may reduce it to the cliches of "Marlboro-Country" or cowboy movies.
But, they couldn't be more wrong: the country sound is a rich mix of musical
influences, and the innovations of some brilliant instrumentalists. And, best
of all, its approachable, hands-on music; if you play the guitar, you've got to love it.
"Best In The West" is not only my humble attempt to close a gap in the
sector of European instructional literature, but also a way to pay my dues.
When I was in your shoes a couple of years ago, I benefited from some
terrific musicians who reached out to me with their music and instruction
books. Now, I'm honored to be able to make my won contribution by helping
you learn this great style. I also hope, through these chapters and exercises,
that your guitar will become a little more personal - and more exciting.
The book intends to give you a far-reaching overview covering all of the
major guitar styles and techniques to be found in country. Over three
hundred exercises, licks, and traditionals, as well as explanations, styles,
analyses, and hints from the "real world" are meant to inspire you on your
way to becoming a true country player. But country is a lot more than
technique, so I try to give a brief historical background for each major style,
and a little bit about the people who made it happen in the first place.
Therefore, each of the ten chapters starts with some information meant to
put you in the right mood, while the individual workshops contain examples
of the great pioneers of each particular style.
Playing country music is meant to be enjoyed by all sorts of people, so this
book wasn't written with just professionals in mind; it offers something for
everyone. Every chapter is separated into three levels of difficulty:
• Level 1: For newcomers: basic introductory playing as a prerequisite.
• Level 2: For the more advanced: some experience in playing country music and emphasis on variety and specific styles.
• Level 3: For the pros and country-cats: specific techniques, styles, and new horizons.
Of course, there is no strict borderline between the different levels. They
can't be more than a guideline for your selection of exercises. Learning is an
individual thing, so if you're ready to move before I am partner, take off.
The final chapter, "Theory", offers a summary of the most important basics,
scales, chords, and so on. It's meant to help you understand concepts more
easily, and to support and accelerate your learning process.
Originally, country music was a simple form of expression, which was deeply
rooted in the human spirit and spoke to people where they lived. So, it's
important to keep in mind that technical skill is secondary to the "feel" of the
music, its emotion. Because of this, the enclosed CD helps you get started
by introducing you to the sounds, and wide variety of nuances, in country

Table of Contents
Preface .
CD Index .

Chapter 1: The Basics Of The Country Rhythm Guitar .
Some History .
The First Rhythms Level 1 .
The Capo .
The Shuffle Rhythm .
Basic Country Rhythms .
The alternating bass .
Bass runs .
The Carter backup lick .
Basic bass runs .
Hammer-on Level 2 .
Pull-off .
Workshop - Jimmie Rodgers .
Ghost Notes Or Dead Notes Level 3 .
Ghost Notes With Fills And Bass Runs .
Barre Chords In Backup Playing .
Riffs .
Combination of various types .
High Class Backups With Open Chords .
Discography .

Chapter 2: Bluegrass Backup .
Some History .
Bluegrass Rhythm Guitar Level 2/3 .
G-run .
Additional chord strokes .
Fewer chord strokes .
Ending .
Barre - G-run .
Discography .

Chapter 3: Carter Lead Style .
Maybelle's Story Level 1 .
Maybelle's Technique .
Maybelle's Flower .
John Hardy .
Will The Circle Be Unbroken Level 2 .
Farther Along .
Discography .
Wreck Of Old 97 Level 3 .

Chapter 4: Bluegrass Flat-Picking 50105 .
The Lead Guitar In Bluegrass Level 1 .
Bluegrass licks in G major .
Bluegrass licks in C major .
Bluegrass licks in D major .
Solo In G Level 2 .
Solo In C .
Short Analysis .
Fiddle Tunes Level 3 .
Workshops - Three Great Flat Pickers '" .
Alton Delmore .
Doc Watson .
Clarence White .
Cross- Picki ng .
Discography .

Chapter 5: Finger-Picking .
Some History .
Introduction To Finger-Picking Level 1 .
Backup Picking .
Basic patterns .
Alternating bass .
Bass runs .
Melody Picking .
Expanding The Basic Patterns With Fill-ins Level 2 .
Sliding .
Bending .
3/4 Time Patterns .
Workshops .
Sam McGee .
Merle Travis
Travis-Picking With Moveable Chords Level 3 .
Workshop - Chet Atkins
Finger-Picking Licks To Show Off "
Lead Picking .
Discography

Chapter 6: A Rockabilly Trip
Some History
Backup Basics Level 1 .
Moveable Backup Riffs .
Expanding The Basic Backup Riffs Level 2
Workshop - Scotty Moore .
Plectrum and finger-picking combination
Rockabilly Lead Licks
Rockabilly Solo Level 3
The slightly different lecture for the pro
Discography

Chapter 7: Nashville lead Styles
Some History
Workshop - Luther Perkins Level 1 .
Lead Basics .
The four variations of the major pentatonic scale .
Improvising with different scales .
Harmonizing .
Chord licks .
Double note licks .
Combinations Of The Used Material. .
Nashville Hammer-on And Pull-off Licks Level 2 .
Pedal Steel Bending .
Chicken-Picking .
Ghost otes / Muted Trills Lead-ins .
Workshop - James Burton .
Country Rock - What It Really Is .
Workshop - Pete Anderson .
Open String Adventures Level 3 .
Twin Leads .
Nashville Specials .
Bottleneck slide .
Bend behind the nut. .
The magic chromatic race .
Harmon ics .
Workshop - Albert Lee .
Discog raphy .

Chapter 8: Western Swing And Honky Tonk .
Some History .
Texas Style Camping Level 1 .
The sock rhythm .
Passing chords .
Western Swing Lead Guitar Level 2 .
Hanky Tonk Lead Guitar .
Diminished Scale Level 3 .
Workshop - Eldon Shamblin .
Discography .

Chapter 9: Cajun .
Some History .
Quick Style Analysis Level 1 .
Cajun Workshop Level 2/3 .
Discography .

Chapter 10: The New Generation .
Workshops .
Danny Gatton .
Brent Mason .
More Nashville Hot Shots .
Ray Flacke .
Steve Wariner .
Jerry Donahue .
Final Workshop .

Chapter 11: Theory .
The Fret Board .
Intervals and Degrees ,
The Nashville Lead Sheet. .
The Most Commonly Used Major Keys And Their Degrees .
The Most Commonly Used Minor Keys And Their Degrees .
Popular Country Schemes .
Simultaneously Played Intervals .
Position Oriented Overview .
Special Character Reference ,

CD INDEX
Contents (Example - Topic)
1 - The shuffle rhythm .
3 - The bass run .
4,7- Carter backup lick .
9 - Old Smokey (trad.) .
11 - The Days Of 49 (trad.) .
13,15,17,18 - Hammer-ons and pull-offs in backup playing .
20 - We Don't Forget You, Jimmie .
21 - Bury Me Beneath The Willow (trad.) .
22 - The Forzen Logger (trad.) .
23, 25, 27, 28, 29, 30, 31 - Muting .
33,34 - Ghost note rhythms with fills and bass runs (C major) .
36,38,39 - Ghost note rhythms with fills and bass runs (G major) .
40,41,42 - Ghost note rhythms with fills and bass runs (A major) .
44,46,47 - Ghost note rhythms with fills and bass runs (E major) .
49,50 - Ghost note rhythms with fills and bass runs (0 major) .
51,52 - Two exercises (expanded ghost note backup style) .
54,56,59,60 - Barre chords in backups, E-type .
61,63,64,65 - Barre chords in backups, A-type .
66 - Barre chords in the backups, G-type .
67,68 - Barre chords in the backups, C-type and combinations .
69, 70 - High class backup with open chords .
71,72,74,76 - The G-run (G chord) .
78, 79, 80, 81, 83, 84, 85, 88, 89 - G-run over G, 0, A, and E .
90,92,93 - Additional or less chord strokes .
94,95,96 - Ending .
97 - Banks Of The Ohio (trad.) .
98 - Roll In My Sweet Baby's Arms (trad.) .
99 - Cripple Creek (trad.) .
100 - All Your Good Songs .
101, 103, 104 - Barre G-runs .
107,108 - Maybelle's Flower / John Hardy (trad.) .
109 - Will The Circle Be Unbroken (trad.) .
110 - Farther Along (trad.) .
111 - Wreck Of Old 97 (trad.) .
112, 114, 115, 117, 118, 119, 120 - Bluegrass licks in G .
123,124,125,126 - Bluegrass licks in C .
128,129,130 - Bluegrass licks in 0 .
132 - Bluegrass solo in G .
133 - Roll In My Sweet Baby's Arms (trad.) .
134 - Bluegrass solo in C .
135 - Banks Of The Ohio (trad.) .
136 - Fiddle tune "Turkey In The Straw" (trad.) .
137 - Blues For Alton .
138 - Billy In The Low Ground (trad.) .
139 - Nine Pound Hammer (trad.) .
144, 146, 149 - Simple classical picking patterns .
150,151 - Basic pattern 1a .
154, 157 - Basic pattern 2a .
159,160,162 - Pattern 3 and 4 as well as exercise .
163, 164, 165 - Alternate bass and bass runs .
167 - Jesse James (trad.) .
168,169,171,172 - Extended patterns (H and P) .
173,174 - Extended patterns (SL, B) .
175 - Exercise with different techniques .
176, 177, 178, 179 - 3/4 time patterns .
180 - I Never Will Marry (trad.) .
182 - For Sam .
184 - Travis-picking "Take This Hammer" (trad.) .
185 - Travis-picking "Worried Man" (trad.) .
186,188,190 - Travis-backup patterns .
191 - Travis-picking "I'm A Pilgrim" (trad.) .
192 - Travis-picking with moveable chords "Careless Love" (trad.) .
193 - Mister Chetman .
195,196,197,199,200/202,201,203,204 - Licks to show off .
206, 208 - Lead picking .
209 - Boogie riff .
211 - Exercise with strokes using seventh chords .
213,214,217 - Variations of boogie runs, ending run .
218,220 - Movable backup riffs .
224,225, 226, 227 - Extended boogie riffs .
229 - Exercise "Bluesy Third" .
231 - The Scotty-Beam .
232,234,235,236,237 - Rockabilly lead licks .
238 - Nashville Cats Don't Stray .
239, 240 - Workshop Luther Perkins .
242,243 - Pentatonic basic scale variation 1 .
246 - Pentatonic exercise .
247, 248, 250, 252 - Pentatonic basic scale variation 2 .
255,257,260 - Pentatonic basic scale variations 3 and 4 .
261 - Improvisation with different scales .
262,265, 268, 269, 271, 273 - Chord licks .
274 - Exercise in Hank Snow style .
275, 277 - Double note licks .
279 _ Tom Dooley (trad.) .
280 - Exercise solos in sectors .
281,284,286 _ Nashville hammer-on and pull-off licks part 1 .
287,288,289, 290 - Nashville hammer-on and pull-off licks part 2 .
292, 293/294 - Nashville hammer-on and pull-off licks part 3 .
296,298,299,301 - Nashville hammer-on and pull-off licks part 4 .
302,304, 305 - Nashville hammer-on and pull-off licks part 5 .
307,309,310,311,313 - Pedal steel licks part 1.. .
316,318,319,321,323,324 - Pedal steel licks part 2 .
326,327,329,330 - Pedal steel licks part 3 .
331 - Pedal steel exercise .
332 - Different chicken-picking techniques .
333,334,335 - Chicken-picking techniques with ghost notes and trills .
336 - James' Hate Tele .
337 - Nothing To Prove .
338 - Exercise with pedal steel bending using open strings .
341/342,344 - Open string hot lick .
349,350,352 - Melodic roll patterns .
354 - Exercise twin lead .
355 - Jenny In Hawaii. .
356,358,360 - Bend behind the nut licks, chromatic race .
361 -A Little Bell- Waltz .
362 - Wizard Albert .
363,364 - Sock rhythms, passing chords .
376 (inc!. 375) - Will The Circle Be Unbroken .
377 - Honky- Tonk-Heartaches .
378 - Playboy Eldon .
379 - Cajun style .
381 - Les Jolies Filles De Louisiana .
382 - Danny's One-Man-Band .
383 - Master Mason's Turbo! .
387 - Slick Country .
Jamtrack 1 (G, "Roll In My Sweet Baby's Arms"; bluegrass, oldtime country)
Jamtrack 2 (C, 12-bars binary, country rock, -blues, -pop)
Jamtrack 3 (A, 16-bars Rockabilly shuffle)
 

A Little Bell - Waltz R. Kochli
All Your Good Songs R. Kochli
Banks of The Ohio Arranged by R. Kochli
Billy in The Low Ground Arranged by R. Kochli
Blues for Alton Written & Arranged by R. Kochli
Bury Me Beneath The Willow Arranged by R. Kochli
Careless Love Arranged by R. Kochli
Cripple Creek Arranged by R. Kochli
Danny's One-Man-Band R. Kochli
East Virginia Arranged by R. Kochli
Farther Along Arranged by R. Kochli
For Sam Written & Arranged by R. Kochli
Honky-Tonk-Heartaches R. Kochli
I Never Will Marry Arranged by R. Kochli
I'm A Pilgrim Arranged by R. Kochli
James' Hote Tele R. Kochli
Jenny In Hawaii R. Kochli
Jesse James Arranged by R. Kochli
John Hardy Arranged by R. Kochli
Les Jolies Filles De Louisiana R. Kochli
Master Mason's Turbo! R. Kochli
Maybelle's Flower R. Kochli
Mister Chetman Written & Arranged by R. Kochli
Nashville Cats Don't Stray R. Kochli
Nine Pound Hammer Arranged by R. Kochli
Nothing To Prove R. Kochli
Oh When The Saints Arranged by R. Kochli
Old Smokey Arranged by R. Kochli
Playboy Eldon R. Kochli
Roll In My Sweet Baby's Arms Arranged by R. Kochli
Slick Country R. Kochli
Take This Hammer Arranged by R. Kochli
The Days of 49 Arranged by R. Kochli
The Frozen Logger Arranged by R. Kochli
The Scotty-Beam R. Kochli
Tom Dooley Arranged by R. Kochli
Turkey in The Straw Arranged by R. Kochli
We Don't Forget You, Jimmie Written & Arranged by R. Kochli
Will The Circle Be Unbroken Arranged by R. Kochli
Wizard Albert R. Kochli
Worried Man Arranged by R. Kochli
Wreck of Old 97 Arranged by R. Kochli

A RHYTHMIC VOCABULARY. Understanding and improvising with rhythm. ALAN DWORSKY. libro con CD.

LIBRO DI MUSICA CON CD

Manuale sul ritmo per chi fa musica e vuole evitare le note sul pentagramma. 208 pagine. CD

For Jerry Sansby the first drummer in the family

We would like to express our gratitude to all our teachers, especially Marc Anderson, who generously shared his knowledge of Ghanaian rhythms with love and reverence for the culture that created them. We’d also like to thank those who have taught us through their books and videos, especially David Locke (for his clear presentation and analysis of Ghanaian rhythms), Phil Maturano (for his organization of patterns and his concept of “relayed time shifting,” which we adapted into our lesson on bending a pattern), Reinhard Flatischler (whose Ta Ke Ti Na® method we adapted into rhythm walking), and Gordy Knudtson (from whom we learned – both in his books and in private lessons – a wide variety of cross-rhythms and other patterns, as well as the method we call “say-it-and-play-it”). We are also indebted to the creators of all the other sources listed at the back of this book and to all the unknown creators of the rhythms of the world.

Finally, we would like to thank Mamady Keita, who has taught us through his recordings, and whose brilliant djembe playing has been an unending source of inspiration and delight.

VARIATION TECHNIQUES

Create space

Change voicing

Fill space

Combine variations

Shift

Add dynamic accents

Add ghost notes

Adjust the volume

Displace one note

Substitute sixteenth notes

Attach a prefix

Attach a suffix

Compress

Accent with a flam

Isolate and re peat

Expand

Substitute a triplet

Camouflage

Swing

Play off marks

Bend

GETTING STARTED

1 Who this book is for and how it works

2 Understanding the charts and basic concepts

Pulses and subdivisions

Four and six

Timelines and cycles

3 Adapting the patterns to your instrument

Hand drums

Drumset

Guitar, bass, and other string instruments

Piano and other keyboard instruments

Sax and other wind instruments

Voice

4 A method for learning any new pattern applied to the timelines on the CD

Say-it-and-play-it

The timeline in four

The timeline in six

5 Triple-weave practicing

PATTERNS, CONCEPTS, AND TECHNIQUES

6 The pulse and parallel figures

Lesson 1: Playing the pulse on your instrument

Lesson 2: The pulse and the beat before

Lesson 3: The two beats before the pulse

Lesson 4: The pulse and the beat after

Lesson 5: The two beats after the pulse

Lesson 6: Three-note figures

7 Pathways through the grid in four

Lesson 7: Consecutive eighth notes

Lesson 8: Numbered beats and upbeats

Lesson 9: Offbeats

Lesson 10: Singles and pairs

Lesson 11: Backbeats

Lesson 12: Sixteenth notes

Lesson 13: The offbeats before or after the pulse

Lesson 14: Timelines

8 Pathways through the grid in six

Lesson 15: Consecutive eighth notes

Lesson 16: The odd-numbered beats – the 6-pulse and 3 over 2

Lesson 17: The odd-numbered beats – patterns

Lesson 18: The even-numbered beats

Lesson 19: Backbeats

Lesson 20: The offbeats before or after the pulse

Lesson 21: Singles and pairs and timelines

9 Three not-quite-equal groups of beats in four

Lesson 22: One-bar clave patterns

Lesson 23: Shifted one-bar clave patterns

Lesson 24: 5/⅚ patterns

Lesson 25: Shifted 5/⅚ patterns

10 Three groups of four beats in six

Lesson 26: The 3-pulse and 3 over 4

Lesson 27: Set 1

Lesson 28: Set 2

Lesson 29: Set 3

Lesson 30: Set 4

11 Cross-rhythms

Lesson 31: 3-beat cross-rhythms in four

Lesson 32: 6-beat cross-rhythms in four

Lesson 33: 8-beat cross-rhythms in six

Lesson 34: 5-beat and 7-beat cross-rhythms

12 Polyrhythms with uneven grids

Lesson 35: 3 over 2 eighth notes in four and six

Lesson 36: Subdividing the pulse in four into 3

Lesson 37: Subdividing the pulse in six into 2 or 4

Lesson 38: Bending a pattern between four and six

13 Glossary

FOR FURTHER STUDY AND ENJOYMENT

14 Rhythm walking

Blank charts

Sources: books, videos, CDs, and audiotapes

Also available from Dancing Hands Music

RHYTHMIC CONCEPTS

The tendency of the largest gap

The flexibility created by the unaccented pulse

The power of a limited number of voices

The tra nce effect of repetition

The circular effect of overlapping ONE

The disorienting effect of obscuring the pulse

The stabilizing effect of ending on ONE

The diffusing effect of ending on the beat after ONE

The suspended effect of ending on the beat before ONE

The tendency to group notes in the same voice together

This book is a roadmap to rhythm for any musician. It’s for guitar players intrigued by the rhythms of world music. It’s for keyboard players who’ve studied scales and chords and now want to study rhythm in a systematic way. It’s for drummers, bass players, and sax players who want to groove and solo with a deeper understanding of rhythmic structure. Whatever your instrument, if you want to play funkier and don’t mind using your head to do it, this book is for you.

The patterns in this book come from African and Afro-Cuban rhythms, the source for the groove in most contemporary music. But our purpose here is not to teach any specific style of drumming. Our purpose is to illuminate the subject of rhythm in general so you’ll be able to navigate comfortably in any rhythmic territory.

To do that, we’ve organized representative patterns according to their structure, arranged them roughly in order of difficulty, and presented them in bite-sized lessons. While we present the patterns, we also present rhythmic concepts and techniques you can use to create patterns of your own. And we include plenty of examples of how patterns can be varied and combined when you improvise or solo.

We’ve tried to make this book as user-friendly as possible. For example, we use big, easy-to-read charts that are so simple even non-musicians can understand them. Any time we introduce a new concept or technique, we highlight it in the margin for easy reference. Any time we introduce a new term, we put it in bold letters, define it on the spot, and add it to the glossary at the back of the book. We’ve also included some blank charts you can photocopy and use to write down patterns of your own. We’ve even used a special binding that makes the book stay open without the help of a shoe.

This book is a roadmap to rhythm for any musician. It’s for guitar players intrigued by the rhythms of world music. It’s for keyboard players who’ve studied scales and chords and now want to study rhythm in a systematic way. It’s for drummers, bass players, and sax players who want to groove and solo with a deeper understanding of rhythmic structure. Whatever your instrument, if you want to play funkier and don’t mind using your head to do it, this book is for you.

The patterns in this book come from African and Afro-Cuban rhythms, the source for the groove in most contemporary music. But our purpose here is not to teach any specific style of drumming. Our purpose is to illuminate the subject of rhythm in general so you’ll be able to navigate comfortably in any rhythmic territory.

To do that, we’ve organized representative patterns according to their structure, arranged them roughly in order of difficulty, and presented them in bite-sized lessons. While we present the patterns, we also present rhythmic concepts and techniques you can use to create patterns of your own. And we include plenty of examples of how patterns can be varied and combined when you improvise or solo.

We’ve tried to make this book as user-friendly as possible. For example, we use big, easy-to-read charts that are so simple even non-musicians can understand them. Any time we introduce a new concept or technique, we highlight it in the margin for easy reference. Any time we introduce a new term, we put it in bold letters, define it on the spot, and add it to the glossary at the back of the book. We’ve also included some blank charts you can photocopy and use to write down patterns of your own. We’ve even used a special binding that makes the book stay open without the help of a shoe.

The CD that comes with this book helps create a realistic, three-dimensional rhythmic context for you to play in right from the start. It contains two reference rhythms you’ll be playing with while you practice. Each of those rhythms is recorded for about five minutes at each of seven different speeds so you can practice at your own level. And as soon as you feel like putting your instrument aside and using your whole body to learn the patterns, check out the chapter on rhythm walking.

From time to time, we tell you that a pattern comes from a particular African or Afro-Cuban rhythm. We do this to acknowledge our sources where we know the name of a rhythm and as a reminder that the patterns in this book aren’t just mathematical abstractions. But just because we say a pattern can be found in a particular rhythm, it doesn’t mean the pattern can be found only there. Most of the patterns in this book are found in many rhythmic traditions around the world and many can be heard in rock, funk, jazz, and other contemporary styles.

We hope this book will help you express yourself better in the language of rhythm and inspire you to delve deeper into the world of African and Afro-Cuban rhythms. At the back of the book, we’ve included a list of sources for further study and a list of CDs of great drumming from around the world. But don’t stop there. Look for opportunities to experience the real thing by going to concerts, taking lessons, or joining an ensemble. There’s no substitute for the direct experience of these magnificent rhythms.

In this chapter, while we explain how to read the charts we’ll also be explaining the basic concepts you need to know to start working your way through this book. If any of the concepts seem confusing at first, don’t worry. They’ll all become clearer as you begin using them in the coming lessons.

Because we’re mainly interested in teaching the fundamentals of rhythmic structure, we’re going to focus on just two variables of rhythm: 1) when sounds occur, and 2) what the sounds are. To notate these two variables, we use box charts instead of standard music notation because for our purposes they’re simpler and clearer.

Here’s what an empty chart looks like:

Pulses and subdivisions

The main function of the top row on a chart is to show how we’re counting. But we also use the count row to show the pulse, which is indicated by shaded boxes (1 and 3 on the chart above). By “the pulse,” we mean the underlying metronomic rhythm people feel in their bodies when music is played. Like your own pulse, it’s made up of a series of regularly-spaced kinesthetic events called individual pulses. But unlike your own pulse, the pulse of a rhythm is a culturally-influenced, subjective phenomenon.

In African and Afro-Cuban music, the pulse is sometimes played on a drum or other percussion instrument. But often the pulse is silent, and – like a heartbeat – holds everything together without ever being heard. Because the pulse is so fundamental to rhythm, we present all the

THE NEW METAL MASTERS Korn, Audioslave, Limp Bizkit, P.O.D., Rage Against The Machine, Linkin Park, Tool, And More! CD TABLATURE

LIBRO DI MUSICA HEAVY METAL CON CD,

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Book
Softcover with CD - TAB
Author: HP Newquist
Author: Rich Maloof

Play and sound like the new metal legends! This book/CD pack lets you explore the work of a dozen guitar czars who span the entire spectrum of new metal. You'll discover their stylistic secrets, learn how they played their most famous riffs, and find out how they created their unique sounds. The accompanying CD walks you note-by-note through licks that characterize the signature sounds of these killer guitarists. 96 pages.

SLAP & POP TECHNIQUE FOR GUITAR. 52 LICKS AND LESSONS Musicians Institute. Jean Marc Belkadi. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO METODO PER CHITARRA, CON CD :

ACCORDI, PENTAGRAMMA, TABLATURE .

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB
Composer: Jean Marc Belkadi

This one-on-one lesson with MI instructor Jean Marc Belkadi applies the slap bass techniques popularized by Louis Johnson, Marcus Miller, Victor Wooten and others to the guitar. Covers basic slap and pop techniques in funk, rock, R&B, Latin and reggae styles. The book includes standard notation and tab, and the accompanying CD features 52 full-band demo tracks. 24 pages .

Introduction

The purpose of this book is to provide a fresh perspective on the subject of funk guitar. For years, I played funk the way most guitarist do-with a pick. This sound is certainly a staple of funk music and a must-learn for all serious funk guitarists. After becoming increasingly interested in funk bass players and the techniques they used, however, I began experimenting with slap and pop techniques (commonly used with bass) in my guitar playing. Influenced by players such as Louis Johnson, Yanic Top, Marcus Miller, Stanley Clarke, Victor Wooten, and Kevin Eubanks, I began imitating the sounds I heard from them on my guitar. Years later, I've found that, although funk is an obvious choice, this technique can be applied to many styles. Throughout this book, we'll also see it applied to R&B, Motown, Reggae, and Latin styles. We'll also cover odd meters and straight-ahead funk-rock grooves. When it's all done, you'll have a new vocabulary of techniques to incorporate into your own playing.

Technical Performance Notes

In order to best digest the information in this book, it's probably necessary to discuss a few techniques

that aren't commonly found in guitar notation. Below is a list of abbreviations and explanations

that pertain to the musical figures found in this book. You may recognize many of these from

conventional bass notation.

T - Strike or "slap" the string with the right-hand thumb.

P - Snap or "pop" the string by pulling upwards with the index finger of your right hand and quickly

releasing it.

L - Slap the strings on the fretboard with your left-hand fingers laid flat, creating a muted percussive

effect.

I - Strum with your right-hand index finger (downstroke) as if it were a pick.

$- Hammer or "tap" the fret indicated with one of the fret-hand fingers.

F - Strum with the nail of your right-hand thumb (upstroke).

Though the "slap" technique is very familiar to most bass players, guitar players have usually not experimented

with this before. Try different positions along the string to ensure that you are not producing a

harmonic with your slap. Also, try to keep your right arm parallel to the strings.

About the Audio

Throughout this book, the numbers in the audio symbols ( • ) indicate the CD track number

where each figure will be found on the accompanying CD.

Table of the Contents:

Page CD Tracks

Introduction

Technical Performance Notes

About the Audio

Chapter 1:Funk Figures

Chapter 2:Funk-Rock Figures

Chapter 3:R&B and Motown Figures

Chapter 4:Latin and Reggae Figures

Chapter 5:Technical Exercises

Acknowledgments

About the Author

Note: Use Track 53 to tune up.

CHITARRA ROCK BASICS, TECNICHE FONDAMENTALI PER CHITARRA ROCK SOLISTA. LIBRO E CD .

LIBRO METODO IN ITALIANO DI MUSICA ROCK, CON CD. 

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE. 

MANUALE, TECNICA,

ROCK LEAD BASICS, Nick Nolan and Danny Gill. Musicians Institute CD TABLATURE. 

Publisher: Musicians Institute Press

Rock Lead Basics

Techniques, Scales and Fundamentals for Guitar
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Danny Gill
Composer: Nick Nolan

A method exploring the techniques, scales and fundamentals used by the greatest legends of rock guitar. CD includes over 75 full demonstration tracks. Covers pentatonic and diatonic scales, bending, vibrato, lead licks, and more. Includes standard notation and TABLATURE.

Inventory #HL 00695144
ISBN: 9780793573783
UPC: 073999951448
Width: 9.0"
Length: 12.0"
40 pages
 

Tecniche fondamentali per chitarra solista rock. Master Class