LIBRO CON CD

BERKLEE PRACTICE METHOD: BASS. GET YOUR BAND TOGETHER. CD TABLATURE

Berklee Practice Method: Bass
Series: Berklee Methods
Publisher: Berklee Press Publications
Format: Softcover with CD - TAB
Author: John Repucci
Author: Rich Appleman

Make your band better, or prepare yourself to join one! This sensational series lets you improve your intuitive sense of timing and improvisation, develop your technique and reading ability, and master your role in the groove. Play along with a Berklee faculty band on the accompanying CD, then play with your own band!

Inventory #HL 50449427
ISBN: 9780634006500
UPC: 073999494273
Width: 9.0"
Length: 12.0"
176 pages

Foreword
Berklee College of Music has been training musicians for over fifty years. Our graduates go onto successful careers in the music business, and many have found their way to the very top of the industry, producing hit records, receiving the highest awards, and sharing their music with millions of people.
An important reason why Berklee is so successful is that our curriculum stresses the practical application of musical principles. Our students spend a lot of time playing together in bands. When you play with other musicians, you learn things that are impossible to learn in any other way. Teachers are invaluable, practicing by yourself is critical, but performing in a band is the most valuable experience of all. That's what is so special about this series: it gives you the theory you need, but also prepares you to play in a band.
The goal of the Berklee Practice Method is to present some of Berklee's teaching strategies in book and audio form. The chairs of each of our instrumental departments-guitar, bass, keyboard, percussion, woodwind, brass, string, and voice-have gotten together and discussed the best ways to teach you how to play in a band.
They teamed with some of our best faculty and produced a set of books with play-along audio tracks that uniquely prepares its readers to play with other musicians.
Students who want to study at Berklee come from a variety of backgrounds. Some have great technique, but have never improvised. Some have incredible ears, but need more work on their reading skills. Some have a very creative, intuitive sense of music, but their technical skills aren't strong enough, yet, to articulate their ideas.
The Berklee Practice Method teaches many of these different aspects of musicianship. It is the material that
our faculty wishes all Berklee freshmen could master before arriving on our doorstep.
When you work through this book, don't just read it. You've got to play through every example, along with the recording. Better yet, play them with your own band.
Playing music with other people is how you will learn the most. This series will help you master the skills you need to become a creative, expressive, and supportive musician that anyone would want to have in their band.
Gary Burton
Executive Vice President,
Berklee College of Music

Preface
Thank you for choosing the Berklee Practice Method for bass. This book/CD package, developed by the faculty of Berklee College of Music, is part of the Berklee Practice Method series-the instrumental method that teaches how to play in a band.
The recording included with this method provides an instant band you can play along with, featuring great players from Berklee's performance faculty. Each tune has exercises and practice tracks that will help prepare you to play it. Rock, blues, and funk are just some of the styles you will perform.
The lessons in this book will guide you through developing reading skills and playing basic grooves, walking bass lines, and other standard bass techniques. This book is for bass players who are just beginning lessons with their teacher, though players learning on their own will also find it invaluable. You should have some knowledge of fingering on the low part of the neck and a sense for how to play the bass notes. These are reviewed in the "Basics" chapter.
Most importantly, you will learn the skills you need to play bass in a band. Play along with the recording, and play with your friends. This series coordinates methods for many different instruments, and all are based on the same tunes, in the same keys. If you know a drummer, guitarist, hom player, etc., have them pick up the Berklee Practice Method for their own instruments, and then you can jam together.
Work hard, make music, have fun!
Rich Appleman
Chair of the Bass Department
Berklee College of Music
John Repucci
Assistant Chair of the Bass Department
Berklee College of Music

This series coordinates methods for many different
instruments, and all are based on the same tunes, in the same
keys. !fyou know a guitarist, drummer, keyboardist, vocalist,
horn player, etc., have them pick up the Berklee Practice
method for their own instrument, and jam together!

Lessons throughout this book guide you through playing basic
grooves, walking bass lines, and other standard bass
techniques. Daily practice routines are designed for practicing
by yourself or with other musicians. The accompanying CD
features outstanding Berklee players and covers a variety of
styles including rock, funk, jazz, blues, swing, and bossa nova.

Get Your Band Together
This is the first-ever method that teaches you how to play in a
rock band. learn what all the great musicians seem to know
intuitively-how to listen, interact and respond, improvise, and
become part of the groove. The book and play-along CDwill help
improve your timing, technique, and reading ability. Become the
great player that everyone wants to have in their band.

Topics include:
• learning by ear
• theory and technique
• rhythmic interpretation
• improvisation
• comping
• reading
• song form
• interpreting lead sheets

"THE BEST WAY TO LAUNCH YOUR PLAYING TO THE NEXT LEVEL IS BY PERFORMING REAL TUNES WITH SEASONED MUSICIANS. THIS BOOK/CD COMBO PROVIDES THAT KIND OF EXPERIENCE FOR ASPIRING BASSISTS, ALONG WITH A TREASURY OF MUSIC-THEORY KNOWLEDGE AND PRACTICAL INSIGHTS."
RICHARD JOHNSTON, EDITOR, BASS PlAYER MAGAZINE

"By FAR THE MOST INFORMATIVE BOOK I'VE EVER SEEN. GREAT FOR BASSISTS OF BEGINNER OR ADVANCED STAGES. FROM TUNING AND HOLDING THE BASS, TO TRANSPOSING AND IMPROVISING BASS LINES, IT COVERS EVERYTHING. THE WAY THAT THE DIFFERENT BASS
STYLES ARE THOROUGHLY BROKEN DOWN ALONG WITH DIFFERENT PRACTICE TIPS IS FANTASTIC. " CHRISTIAN McBRIDE

"AN EFFECTIVE WAY FOR YOU TO READ CHARTS AND PLAY ALONG WITH OTHER MUSICIANS IN A REAL-TIME PLAYING ENVIRONMENT. THE BOOK WIll KEEP YOUR NOSE IN THE MUSIC AND THE CD WIll KEEP YOUR EARS OPEN TO THE GOINGS-ON OF THE OTHER MUSICIANS WHO ARE PLAYING. HAVE FUN, PRACTICE REGULARLY, ANO ENJOY THIS FINE BOOK."
JEFF BERLIN

"TRUE TO THE TRADITION OF BERKLEE COLLEGE OF MUSIC TO THOROUGHLY TRAIN STUDENTS TO BE PROFESSIONAL MUSICIANS, THIS METHOD IS A GREAT WORKOUT. AN EXCELLENT PRACTICE BOOK COVERING MANY STYLES, WHICH WIll HELP YOU LEAR THE NECESSITIES OF WORKING IN THE RHYTHM SECTION CREATIVELY. "
CAROL KAYE, BASS RECORDING LEGEND, PIONEER IN AUTHORING TUTORS FOR THE ELECTRIC BASS, EDUCATOR AT THE HENRY MANCINI INSTITUTE-UCLA

"THE PRACTICE METHOD RULES! IT's A GREAT WAY TO LEARN RIFFS, LATCH ONTO SOME BASIC SONG STRUCTURES, AND SEE HOW TUNES ARE PUT TOGETHER. THIS LETS YOU FOCUS ON PLAYING IN A BAND, AND ON CREATING YOUR OWN INTERPRETATIONS IN ANY STYLE. "
JOE STUMP, SHRED GUITAR MASTER, ASSISTANT PROFESSOR, BERKLEE COLLEGE OF MUSIC

Berklee Practice Method is also available for:
• drum set • alto sax
• guitar • tenor sax
• Keyboard • trombone
• voice • trumpet
• Vibraphone ·violin

"TEACHERS ARE INVALUABLE, PRACTICING BY YOURSELF IS CRITICAL, BUT PERFORMING IN A BAND IS THE MOST VALUABLE EXPERIENCE OF ALL. THAT's WHAT IS SO SPECIAL ABOUT IS SERIES: IT GIVES YOU THE THEORY YOU NEED, BUT ALSO PREPARES YOU TO PLAY IN A BAND.
THIS SERIES WILL HElP YOU MASTER THE SKILLS YOU NEED TO BECOME A CREATIVE, EXPRESSIVE, AND SUPPORTIVE MUSICIAN THAT ANYONE WOULD WANT TO HAVE IN THEIR BAND."
GARY BURTON, EXECUTIVE VICE PRESIDENT, BERKLEE COLLEGE OF MUSIC

Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available proceeds from the sales of our products are contributed to the scholarship funds of the college.
Cover design: mooremoscowitz
Berklee Press

Contents
CD Tracks
Foreword
Preface
Basics .
Chapter I. Playing Rock ("Sweet") .
Lesson 1. Technique/Theory .
Lesson 2. Learning the Groove .
Lesson 3. Improvisation .
Lesson 4. Reading .
Daily Practice Routine .
Chapter II. Playing Blues ("Do It Now") .
Lesson 5. TechniquelTheory .
Lesson 6. Learning the Groove .
Lesson 7. Improvisation .
Lesson 8. Reading .
Daily Practice Routine .
Chapter III. Playing Blues Swing ("I Just Wanna Be With You") .
Lesson 9. Technique/Theory .
Lesson 10. Learning the Groove .
Lesson 11. Improvisation .
Lesson 12. Reading .
Daily Practice Routine .
Chapter IV. Playing Funk ("Leave Me Alone") .
Lesson 13. TechniquelTheory .
Lesson 14. Learning the Groove .
Lesson 15. Improvisation .
Lesson 16. Reading .
Daily Practice Routine .

Chapter V. Playing Light Funk ("Affordable") .
Lesson 17. Technique/Theory .
Lesson 18. Learning the Groove
Lesson 19. Improvisation .
Lesson 20. Reading .
Daily Practice Routine .
Chapter VI. Playing Hard Rock ("Don't Look Down") .
Lesson 21. Technique/Theory .
Lesson 22. Learning the Groove .
Lesson 23. Improvisation .
Lesson 24. Reading .
Daily Practice Routine .
Chapter VII. Playing Bossa Nova ("Take Your Time") .
Lesson 25. Technique/Theory .
Lesson 26. Learning the Groove .
Lesson 27. Improvisation .
Lesson 28. Reading .
Daily Practice Routine .
Chapter VIII. Playing Stop Time ("Stop It") .
Lesson 29. Technique/Theory .
Lesson 30. Learning the Groove .
Lesson 31. Improvisation .
Lesson 32. Reading .
Daily Practice Routine .
Final Remarks .

THRASH GUITAR METHOD. Per ritmi precisi, un cucchiaino di Stetina tutti i giorni. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA METAL, CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, TABLATURE. 

TECNICA, 

Series: Stylistic Method
Medium: Softcover with CD
Author: Troy Stetina

Let the mosh begin! Learn the techniques and principles used by today's heaviest bands including Metallica, Anthrax, Testament, and others. This truly radical method book takes you from slow grinding metal up to the fastest thrashing. Syncopation, shifting accents, thrash theory, progressions, chromatic 'ear-twisting ' melodic dissonances, shifting time signatures, harmony, and more. CD features bull band accompaniment for all musical examples so that you can play along with the band. Fully transcribed in tablature! 64 pages

Anvil Head (Stetina/Burton)
Bug Guts (Stetina/Burton)
Megadirt (Stetina/Burton)

Thrash Guitar Method

1 "Bug Guts" 3:06

2 "Megadirt" 3:00

3 "Anvilhead" 3:59

4 Chapter1 - Tuning Notes 0:43

5 The Beat 1:01

6 Muting 0:35

7 Accenting Chords 1:30

8 Syncopation and Upbeats 2:46

9 Shifting Accents 2:01

10 "All things Repulsive" 2:17

11 Chapter2 - Alternate Picking 1:05

12 Gallop and Reverse Gallop 2:57

13 Syncopation and Offbeats 0:54

14 Triplets 1:45

15 "Worm Juice and Bat's Heads" 3:15

16 Chapter3 - Common Scales 1:43

17 Chord Progressions and Riffs 0:14

18 Melodic Principles 1:35

19 Harmony 2:49

20 Time Signatures 2:35

21 Shifting Time Signatures 1:44

22 "The Sound of Music!!" 1:53

ROCK GUITAR STYLES. BERKLEE, Mike Ihde.

LIBRO METODO PER CHITARRA SOLISTA E RITMICA, DI MUSICA HARD ROCK, METAL, FUNK, BLUES, ECC.  CON CD.

SPARTITI PER CHITARRA CON ACCORDI E PENTAGRAMMA.

Mike Ihde, Guitar
Peter Olson, Bass
Bob Harsen, Drums

FOREWORD
This book is written for all guitarists, professional or not, who realize the importance of being versatile on their instrument. If you plan to make a living as a working guitarist, sooner or later whether you like it or not, you'll be called upon to play some kind of Rock and Roll. This is why I've tried to cover what I think are the most valuable and enduring styles of rock. There may be only an example or two for each topic, but if you can play it exactly as written, with the right sound or gadget, I know you'll sound authentic. Hopefully, you'll find this book to be a short cut in learning rock lead or rhythm. You will need a certain amount of reading skills to handle it all, but I'm sure the results of your practice will be worth the struggle. Not all of the examples are recorded, but each one I chose demonstrates a particular technique that you must be able to imitate. All examples that have been recorded are indicated by a large star"* . I've been teaching the styles shown in this book in my Rock Guitar Styles Workshop at Berklee over the past few years with excellent results. Start anywhere in the book you want, but learn each style completely before going on. Most of all, try to learn why each style is different from the other, this way you'll be able to create your own licks instead of copying someone elses. The recordings are included because no matter how well you read, you won't be able to achieve the right feel unless you hear it

H. RIGHT HAND HAMMERING
Here's a new twist on bending that will add a great deal to the licks you already know. You know how to playa hammer when using your left hand. Well, this technique is the same except for the fact that the hammer is done with your right hand .. Use your right hand's middle finger and sharply nail it down anywhere on a string. You should hear a note just as you would have had you done it with your left hand.
It will definitely take a while to build up the strength and accuracy necessary for this technique but it'll be worth it. Now, try a bend with your left hand. Let's say G to A on the second string. While the note is bent up to A, hammer on your right hand's middle finger on the 13th fret. This will produce the note D. Now, keep your right hand's D helci.down while you release the bend in your left hand. You should hear that D go down to C. All right hand hammers are indicated with a star*.

Standard Notation
The string bending notation is my own, but the following notations are standard in all forms of music. THE SLUR: A curved line connecting two notes of different pitch, tells you not to attack the second note. For a horn player this would mean not to tongue the second note. For the guitar player it means not to pick the second note. The only way this can be done is by hammering on or pulling off . Beat one of measure one uses a hammer on. Pick only the first note(E~) and drop your third finger sharply on the string to produce the F. Between the "and" of three and beat four, pick only the F and ...

Early Rock
Ballads and Up Tempo Styles When rhythm and blues was discovered by white artists like Elvis, and mixed with the country music of the day, the result was Rock and Roll. In July of 1955 when "Rock around the clock" hit the number one spot on Billboards top 40 charts, a new era of music began. In 1956, Dean Martin and Nelson Riddle were riding high on the charts when Elvis released "Heartbreak Hotel". In the same year he had four more No.1 hits with "Hound Dog", "Don't be Cruel", "Love Me Tender" and "Any Way You Want Me". From then on, rock and roll was in full swing. Because of the roots rock had in country and blues, the chord progressions were always simple. The old "three chord special" was the rule in almost all the hits. This simplicity was probably the main·reason that thousands of kids decided to take up guitar and bass. Almost anybody could figure out a C, F and G chord on the guitar. Soon, every town had at least five or ten bands trying to get gigs at the high school dances. (Ah yes, I remember it well!) Most tunes were either slow ballads or fast rock and roll. For slow tunes, a typical rhythm would look like this:

Table of Contents
Foreword
Notation for string bending
Standard notation
Notation for rhythm guitar

CHAPTER ONE ROCK RHYTHM GUITAR
Early rock, ballads and up tempo styles
Cha Cha
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
NewWave
Blues
Soul & Funk
Funk
Jazz Rock

CHAPTER TWO ROCK LEAD GUITAR
Early rock and roll, ballads and up tempo styles
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
New Wave
Blues
Soul & Funk
Jazz Rock

CHAPTER THREE ELECTRONIC DEVICES FOR THE ROCK GUITARIST
Distortion & Fuzz
Phase Shifter & Hanger
WaWa & Envelope Follower
Octave Divider
Echo
Compressor & Limiter
Chorus & Double Tracking
Volume Pedal
Guitar Synthesizer
The Harmonizer

CHAPTER FOUR ARRANGEMENTS FOR LEAD GUITAR, RHYTHM GUITAR, BASS and DRUMS
Notation for rhythm guitar, bass and drums
Basic technique for arranging the rhythm section
Full length examples
1. "St;::eplechase", rock style
2. "Bent Over Backwards", country rock style
3. "Slightly Out", jazz rock style
4. "Funky Chicken Pickin"', funky country style
5. "After two very dry Martinos", fusion style 

REGGAE GUITAR, HOW TO PLAY. Manuale per imparare a suonare all'ombra di una palma di Kingstone, nutrendosi di cocco. Una chitarra sempre al sole, in stile Bob Marley. Semplici esercizi sugli accordi, le pennate in alto e in basso, i ritmi, gli accordi staccati e muti, lo stile percussivo. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

Series: Fretted
Medium: Softcover with CD
Artist: Ray Hitchins

Learn to play authentic reggae guitar. Here's a complete guide to this unique style of music, including an explanation of the rhythms used, construction of guitar parts, exercises, examples, amplifier settings, and much more. The recording contains all the examples in the book, so you can learn to hear and play correctly from the very beginning. 56 pages

BY RAY HITCHINS

CONTENTS
Acknowledgements .
About The Author .
Introduction .
Introduction To The Recording .
THE FUNDAMENTALS
YourEquipment .
Rudiments .
Practice Schedule .
DOWN- & UPSTROKES (Theory and Practice)
Lesson 1 Downstroke Theory .
Lesson 2 Upstroke Theory .
Lesson 3 Downstroke Practice .
Lesson 4 Upstroke Practice .
Lesson 5 Stroke Changing .
BASIC TECHNIQUES
Lesson 6 String Grouping .
Lesson 7 Damping .
Lesson 8 Tenuto Downstrokes.Right-Hand Damping .
Lesson 9 Tenuto Upstrokes. Right-Hand Damping .
Lesson 10 Tenuto Down-and Upstrokes. Right-Hand Damping .
Lesson 11 Staccato Downstrokes,Right-Hand Damping .
Lesson 12 Staccato Upstrokes. Right-Hand Damping .
Lesson 13 Staccato Down-and Upstrokes. Right-Hand Damping .
Right-Hand Damping Summary Points .
Lesson 14 Left-Hand Damping .
NEW RHYTHMS
Lesson 15 Reggae Beats .
Lesson 16 Rhythm Fills .
Lesson 17 Rhythmic Patterns .
Lesson 18 Before Reggae .
FINAL STEPS
Lesson 19 Chords .
Lesson 20 Bass Lines & Riffs .
Lesson 21 Percussive Playing .
Lesson 22 Dummy Strokes .
Lesson 23 Sound Evaluation.
Conclusion

METAL LEAD GUITAR VOLUME 2. TROY Stetina. CD TABLATURE

LIBRO METODO DI MUSICA METAL ,  CON CD. 

SPARTITI, TABLATURE. 

Series: Stylistic Method
Medium: Softcover with CD
Author: Troy Stetina

This intense metal method teaches you the elements of lead guitar technique with an easy to understand, player-oriented approach. The metal concepts, theory, and musical principals are all applied to real metal licks, runs and full compositions. Learn at your own pace through 12 'smoking fully transcribed' heavy metal solos from simple to truly terrifying! 'One of the most thorough' and 'one of the best rock series currently available' - Guitar Player magazine. Music and examples demonstrated on CD. 64 pages

Finalmente disponibile in italiano il 2° volume della serie di Troy Stetina, uno dei più grandi didatti e chitarristi metal. I suoi metodi, utilizzati da insegnanti e musicisti di tutto il mondo, forniscono un sistema completo per l’apprendimento e il perfezionamento del metal e per la costruzione di una solida preparazione musicale di livello professionale. Il cd guida allegato ad ogni volume costituisce un valido e prezioso supporto per lo studio individuale.

Metal lead Guitar, volume 2 è la continuazione del Metal Lead Guitar Method. Per accelerare il processo d’apprendimento anche in questo volume è stato utilizzato un sistema notazionale che fa uso di tablature e di diagrammi. La struttura del libro è caratterizzata dallo stesso orientamento musicale del volume 1. Con altri sei assoli completi progressivamente più avanzati. 

Rivisitato e aggiornato per il chitarrista d'oggi, questo metodo per il metal insegna le tecniche, la teoria e i concetti musicali attraverso una sesie di frasi metal, Riffs e assoli elettrici.

Il volume 2, prosegue il metodo con esempi musicali più avanzati:

FRASEGGIO E CONCETTI RITMICI

ESERCIZIE DI VELOCITÀ

TEORIA SULLE TONALITÀ

MODI E ALTRE SCALE ESOTICHE

GLI ARPEGGI E LA LORO APPLICAZIONE

INTERVALLI

ARMONIA

RISOLUZIONE DEGLI ACCORDI

DITEGGIATURE ESTESE DELLE SCALE

SWEEP PICKING

TAPPING SUGLI ARPEGGI

E ALTRO...

Troy Stetina è riconosciuto internazionalmente come autore, insegnante e musicista. E' giustamente considerato uno dei massimi virtuosi della chitarra. I suoi libri, i metodi e i video, pubblicati per la TROY STETINA SERIES, hanno ricevuto ottime recensioni da riviste specializzate e sono utilizzati da insegnanti e musicisti di tutto il mondo. Troy ha collaborato con le riviste Guitar World, Guitar School e Guitar One e ha elaborato programmi didattici sul rock e il metal sia per seminari sia per corsi di livello universitario presso il Wisconsin Conservatory of Music. Figlio minore di una famiglia di ciclisti olimpionici d'Indianapolis, cresce nell'ambiente del ciclismo agonistico e conquista numerose medaglie in competizioni americane. Correre però è più un imperativo familiare che una scelta volontaria e la musica è la sua vera passione. All'età di dodici anni Troy inizia a suonare la chitarra da autodidatta. Si entusiasma per le ritmiche hard rock dei Kiss e passa intere giornate trascrivendo ad orecchio gli assoli dei leggendari Eddie Van Halen e Randy Rhoads. In seguito sviluppa la propria tecnica studiando la musica classica di Bach, Beethoven, Vivaldi e del famoso violinista Nicolò Paganini. All' età di diciotto anni Troy ha idee molto chiare e, con gran dispiacere dei suoi genitori, abbandona il ciclismo, rinuncia ad una borsa di studio per finire il college e insegue il suo sogno nel mondo del rock and rolI... Troy si trasferisce a Milwaukee, la mitica città della birra, per insegnare nel Conservatorio di Musica del Wisconsin dove attiva un corso di studi sul rock e il metal. Diventa direttore dei Corsi di Chitarra Rock ed è apprezzato per le ottime qualità d'insegnante e per la sua tecnica impeccabile. Scrive metodi di successo per chitarra metal per l'HaI Leonard Corporation. Tiene concerti presso il conservatorio dove si esibisce in brani impegnativi, come le versioni per chitarra sola dei "24 Capricci" e del "Moto Perpetuo". Per una strana coincidenza, il Conservatorio dove Troy ottiene i primi successi, si trova a pochi metri dal luogo in cui, alcuni anni prima, vinceva il campionato nazionale di ciclismo. Dalla tecnica della chitarra la sua attenzione comincia ora a focalizzarsi sulla composizione, come documenta la registrazione del 1993 di Set the World on Fire (Screaming' Cat Records) realizzata con la cantante e coautrice Shauna Joyce. Il disco è distribuito insieme al libro Secret to Writing Killer Metal Songs e riceve critiche entusiastiche da tutto il mondo per la bellezza delle composizioni e lo straordinario contributo della sua chitarra. ello stesso anno, Troy decide di lasciare il conservatorio per collaborare con musicisti di New York e Los Angeles. Attualmente vive in campagna in una bella casa colonica, collabora con musiciti di tutto il mondo, scrive metodi per chitarra e articoli, compone, suona e insegna in seminari e corsi di perfezionamento.

TROY STETINA SERIES

La "Troy Stetina Series" è un sistema completo per l'apprendimento e il perfezionamento del meta! e per la costruzione di una solida preparazione musicale. E' scritto da un musicista specializzato nel metal, che, oltre ad insegnarlo, lo suona, lo vive e lo respira. Il risultato è un approccio diretto, che fornisce le informazioni e illustra le tecniche che servono per suonare questa musica velocemente e in modo corretto. Nel loro complesso, i metodi di questa serie coprono l'intera gamma degli argomenti necessari per suonare, dai principi di base fino ai concetti più avanzati della chitarra ritmica e solista. Puoi imparare tecniche da virtuoso, la teoria, come sviluppare il tuo personale stile e molto altro. Il metodo si spinge oltre lo studio della chitarra con una guida alla composizione che ti può aiutare a sviluppare questa competenza essenziale. In breve, questa collana è pensata per fornirti una preparazione musicale di livello professionale. Ti consiglio di utilizzare, nello stesso tempo, due o tre libri complementari, per rendere più varia la pratica quotidiana. Il CD allegato ad ogni volume ti permette di utilizzare il metodo sia da solo sia con la guida di un maestro.

Il Volume 2 è la continuazione del Metal Lead Guitar Method. Per accelerare il processo d'apprendimento anche in questo volume è utilizzato un sistema notazionale che fa uso di tablature e di diagrammi. La struttura del libro è caratterizzata dallo stesso orientamento musicale del volume l. Con altri sei assoli completi progressivamente più avanzati. Il percorso proposto ha obbiettivi elevati, quindi prenditi il tempo necessario! Con questo volume potrai imparare concetti e tecniche di primaria importanza: i modi e il loro usoaltre scale particolari come la phrygian-dorninant, la scala cromatica e la minore armonica oltre alla pentatonica maggiore, la mixolydian e le scale maggiori- il fraseggio e concetti ritmici- esercizi di velocità- la teoria musicale sulle tonalità- la struttura delle scale e le loro relazioni- gli arpeggi- come enfatizzare le progressioni di accordi nell'improvvisazione- patterns intervallari e armonia- l'utilizzo degli arpeggi diminuiti e le risoluzioni degli accordi- tecniche speciali per la pennata degli arpeggi e lo sweep picking- diteggiature estese di scale per coprire tutta la tastiera- tapping per progressioni di accordi arpeggiati e molto altro! Ricorda che puoi completare lo studio di questo volume con altri libri. Metal Lead Guitar Jams fornisce delle tracce supplementari d'accompagnamento per mettere in pratica il materiale proposto in ciascun capitolo di questo volume. Inoltre, se ancora non stai utilizzando il libro di tecnica Speed Mechanics for Lead Guitar, ti consiglio di studiarlo ora come complemento a questo volume. Questo libro culmina con l'assolo strumentale "Babylon", dove vengono sostanzialmente applicate tutte le idee e tutte le tecniche illusturate nei volumi LEAD 1 e 2. Potete trovare la parte completa della chitarra ritmica del pezzo "Babylon" alla fine del libro con CD e Tablature METAL RHYTHM GUITAR VOLUME 2.

INDICE

Benvenuto nella TROY STETINA SERIES

Prefazione

Capitolo 7

Le note sulla terza e quarta corda

I Modi

Il Modo Frigio

La scala Phrygian-Dominant

I Trentaduesimi

Esercizi di velocità

"Mystic Places" (solo #7)

Capitolo 8

Teoria musicale:

Le tonalità e i concetti relativi

Le relazioni all'interno delle tonalità

Tonalità maggiori

Tonalità minori

Tonalità "modali"

Esercizi sulle relazioni fra i modi

Arpeggi

Enfatizzare le progressioni armoniche

e i modi relativi agli accordi

Individuare la scala giusta da suonare su una

data progressione d'accordi

Introdurre i cromatismi

Patterns ritmici

Esercizi di velocità

"Drastic Measures" (Solo #8)

Capitolo 9

Le note sulla prima e seconda corda

Relative maggiori e minori

Utilizzare i patterns della scala minore

per improvvisare nelle tonalità maggiori

Intervalli

Armonia

"New Lands" (Solo #9)

Capitolo 10

La scala minore armonica

Introduzione allo Sweep Picking

Arpeggi di settima diminuita

Esercizi di velocità

"Lightning's Edge" (solo #10)

Capitolo 11

Patterns estesi delle scale

Risoluzione degli accordi e cadenze

Tapping a due mani - arpeggi

Esercizi di velocità

"Battle to Vìctory" (solo #11)

Capitolo 12

"Babylon"

Intro

Verso 1

Chorus 1

Verso 2

Chorus 2

Bridge (accenti ritmici)

Verso 3

Dal bridge al finale

(break della chitarra solista)

Finale ( guitar solo)

Teoria musicale ed espressione creativa

Raccogliere sulle tablature

le tue frasi migliori

Guida alla notazione

Glossario

Nota del traduttore