LIBRO CON DVD

BEGINNING ELECTRIC SLIDE GUITAR, KIRBY Kelley. DVD TABLATURE.

An Intoduction to Slide Techniques and Styles

Tutto ciò che dovete sapere per iniziare a suonare la chitarra slide!

Questo libro e DVD di 54 minuti contengono:

Introduzioni alle più importanti accordature per chitarra slide

Spiegazioni passo per passo delle tecniche di base come il muting, il vibrato e molte altre

Con notazioni musicali standard e tablature

Diagrami della tastiera semplici da leggere

Non perdete l'opportunità di imparare a suonare chitarra slide con il chitarrista texano Kirby Kelly. Grazie al suo semplice e chiaro metodo sarà piacevole studiare con questo libro e DVD. 

YOUNG GUITAR DVD MAG. Feat GEORGE LYNCH / GUS G., KATSU OTA . NEO-SHRED FORCE.

YOUNG GUITAR MAGAZINE PRESENTS A SPECIAL ISSUE 

LIBRO DI MUSICA METAL CON DVD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

DIAGRAMMA DELLA TASTIERA. 

TECNICA

GUS G, oppure Kostas Karamitroudis, è nato a Salonicco  il 12 settembre 1982, ed è il successore di Zakk Wylde al fianco dell'Ozzy Osbourne dall'agosto 2009. Ha una ottima tecnica che gli permette di suonare molto veloce, vedremo per la creatività.

Shred revolution con Lynch: Outside picking, linear moving, pattern with open-string, legato blues styling, legato ascending, accordi diminuiti, arpeggi, stretching, tapping, pick-tapping, trill, vibrato. Shredding con Gus G.: basic fingering, pentatonic, 3 note per string, linear on 2 string, fast playing, sweeping, skipping on pentatoniche, tapping e slide, sweeping arpeggio, melodic. Ark Storm: alternate picking, economy picking e altro. DVD. TABLATURE

GEORGE LYNCH: 

WICKED SHRED REVOLUTION

OUTSIDE PICKING

LINEAR MOVING

PATTERN WITH OPEN-STRING

LEGATO ON BLUES-STYLING 1

LEGATO ON BLUES-STYLING 2

LEGATO ON BLUES-STYLING 3

LEGATO ASCENDING

DIMINISHED CHORDS

TRIAD ARPEGGIO

WIDE STRETCHING

ASCENDING WITH STRETCH

ULTIMATE STRETCHING

TAPPING ON LEGATO  STRETCHING

PICK-TAPPING

PICKING TRILL

JACK OFF VIBRATO 1

JACK OFF VIBRATO 2

GUS G.

SHREDDING FOR VENGEANCE

BASIC FINGERING EXERCISE 1

BASIC FINGERING EXERCISE 2

BASIC PENTATONIC FINGERING

LINEAR LINE EXERCISE

3 NOTE PER STRING

LINEAR LINE ON 2 STRINGS

FAST PLAYING PATTERN 1

FAST PLAYING PATTERN 2

BASIC FOR SWEEPING

SKIPPING ON PENTATONIC

TAPPING & SLIDE

ASCENDING PATTERN

GUS STYLING PATTERN

SWEEPPING ARPEGGIO

SKIPPING APPROACH

WIDE SKIPPING

MELODIOUS LINES

ARKSTORM

BEGINNING OF THE NEO-SHRED LEGEND

ALTERNATE PICKING

INSIDE & OUTSIDE PICKING

ECONOMY PICKING

ECONOMY & LINEAR LINE

SKIPPING ARPEGGIO 1

SKIPPING ARPEGGIO 2

HIGH SPEED RIFFING

HARMONIC MINOR

ECONOMY PICKING

SWEEPING ARPEGGIO

PEDAL NOTE

SWEEPING ARPEGGIO

THEME BY ECONOMY PICKING

HARMONIC MINOR & ECONOMY

ARPEGGIO & ECONOMY

HARMONIC MINOR & ECONOMY

SWEEPING ARPEGGIO

GUS G. DISC

VENGEANCE /MYSTIC PROPHECY
in The Mirror

BETWEEN HEAVEN AND HELL / FIREWIND
2002 EMI TOCP-66039

1 Between Heaven And Hell
2 Warrior
3 World Of Conflict
4 Destination Forever
5 Oceans
6 Tomorrow Can Wait
7 Pictured Life
8 Firewind Raging
9 I Will Fight Alone
10 Northern Sky
11 Fire
12 Who Am I
13 End Of An Era
Leviathan Records

DRAGONSLAYER / DREAM EVIL
2002 KICP-878
1 Chasing The Dragon
2 Save Us
3 Dragonheart
4 Losing You
5 Hail To The King
6 Heavy Metal In The Night
7 The Prophecy
8 H.M.J.
9 Flames You Burn
10 KingdomOf The Damned
11 The 7th Day
12 The Chosen Ones
13 Losing You (inst. version)
14 Outro

EVILlZED / DREAM EVIL
(2003 KICP·923)
Break The Chains
by My Side
Fight You 'Till The End
Evilized
lnvisible
bad Dreams
Forevermore
Children Of The Night
Live A Lie
Fear The Night
Made Of Metal
The End
Let's Make Rock
Betrayed

REGRESSUS / MYSTIC PROPHECY
(2003 KICP·930)

Mystic Prophecy
Calling From Hell
Eternal Flame
The Sign Of The Cross
Lords Of Pain
When Demon's Return
Forgotten Soul
Regressus
Lost In Time
The Land Of The Dead
NightOf The Storm
The Traveller
ln Your Sins

SWEET VENGEANCE / NIGHTRAGE
2003 KICP·951)

1 The Tremor
2 The Glow Of The Setting Sun
3 Hero
4 Elusive Emotion
5 Gloomy Daydreams
6 Macabre Apparition
7 ln My Heart
8 Ethereal
9 Circle Of Pain
10 At The End Of The Earth
11 The Howls Of The Wolves
12 Gloomy Daydreams (extended demo)

BURNING EARTH / FIREWIND
2003 EMI TOCP-67279)

l Steal Them Blind
2 I Am The Anger
3 lmmortal Lives Young
4 Burning Earth
5 The Fire And The Fury
6 You Have Survived
7 Brother's Keeper
8 Waiting Still
9 The Longest Day
10 Still The Winds

Other Works:
A GUITAR ODYSSEY (1999)
RAISE HELL
NOT DEAD YET (2000)
TRAUMATICO (2000)
HOLY WAR (2002)
IN DEFIANCE OF EXISTENCE (2003)
Felonies Of The Christian
Art Life Depreived
 

THE ART OF ACOUSTIC BLUES GUITAR: THE BASICS. W. Mann. DVD TABLATURE

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

Book/DVD pack. Woody shows you practical ways to develop fundamental technique and offers insights into the musical logic of blues guitar. Learn blues in the keys of D,G,C,E and A, from masters such as Robert Johnson, Blind Blake, Big Bill Broonzy, Memphis Minnie, more. Each song illustrates how to play melodies and bass lines simultaneously, and how to play off the chords and improvise within a song. Songs include "Old Country Rock," "Saturday Night Rub," "One Time Blues," "Soo Cow Soo," "Pig Meat Strut" and "South Carolina Rag." Beginner level. Note/tab. 23 page book with 82 minute DVD.

Contents:
Old Country Rock
One Time Blues
Pig Meat Strut
Saturday Night Rub
Soo Cow Soo
South Carolina Rag

UP THE NECK, BANJO, JANET DAVIS. 144 pagine. SHEET MUSIC BOOK & DVD - with BANJO TABLATURE.

LIBRO METODO PER BANJO CON DVD.

SPARTITI PER BANJO CON TABLATURE.

Janet Davis has created a superb instructional video for five-string banjo dealing with the 5th through the 22nd fret. Roll Patterns, chords, songs, licks, chord progressions, improvising, melodic style, chromatic style, and back-up are some of the exciting techniques included in this educational video.

Product Number: 94820DVD
Format: DVD
ISBN: 0786671963
UPC: 796279096324
ISBN13: 9780786671960
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/31/2003 

"Up the neck" of the banjo involves playing between the 5th and the 22nd frets of the fingerboard. This book is intended to provide you with the basic principles and techniques for developing the ability to play any song in the three-finger style of playing in the up-the-neck area of the banjo. People often find it difficult to read the double-digit numbers involved in playing up the neck. However, just as it was difficult to read tablature for the first time, you will find that you will see the same numbers over and over, and you will begin to recognize the same patterns up the neck, just as you do when playing down the neck. Because these are related to chord positions, it will help to concentrate on°the numbers involved with playing each chord, particularly the G, C, and D chords from which the left hand will work. These will become familiar to you within a very short time, and will be easy to relate to the fingerboard. This book is divided into chapters, with each chapter building upon the information presented in the previous one. The songs presented in each section demonstrate the particular technique(s) discussed in that chapter. However, the songs are also intended as playable arrangements. The more you play up the neck using these techniques, the easier it will be to develop your own arrangements using these techniques. I have used these techniques for many years with my banjo students, and they seem to have worked well. I hope they will work well for you, also. Happy Pickin'! Janet Davis

The three-finger style of playing was popularized in the early 1940s primarily by Earl Scruggs and Don Reno, and has continued to be one of the foremost styles for playing the five-string banjo. In this style ofplaying, the melody notes for a song are surrounded by background notes, which are determined by the chords to the song. Patterns are involved in playing up the neck, just as they are involved with playing on the deeper tones of the banjo. Many of the same patterns (fo11sand licks) can be used in many different songs for the same chord. As you begin to work with these patterns in songs and learn how they are used, the fact that they are played in the up-the-neck area will begin to seem natura!. In fact, you should find it fairly easy to begin working out your own up-the-neck arrangements fairly early in the book. As this book progresses, you willlearn how to connect up-the-neck and down-the-neck licks smoothly, how to switch a lick for a lick for single chords, how to create variations, incorporate the melody, etc. The final sections of this book involve techniques developed by Bill Keith, Bela Fleck, Scott Vestal, and other influential banjo players of the 1990s. It is important to realize that the techniques which are used in the advanced sections are developed from the techniques covered in the earlier sections of the book. Therefore, it is important to understand the basics, first.

UP-THE-NECK ARRANGEMENTS
It will help to realize that up-the-neck arrangements are often played as second variations and, therefore, there is more freedom to deviate from the basic melody. (The first arrangement usually establishes the melody in the mind of the listener, so that he or she can appreciate the various techniques employed as the basic tune is expanded upon in subsequent variations.)
Up-the-neck arrangements are frequently of two basic types:
1. An arrangement with a strong sense of melody. This type of arrangement is generally based upon the standard roll patterns, where one finger of the right hand is used to pick the melody notes, while the other two right-hand fingers play background notes based upon the chords to the song. Licks are often used as fill, rather than as the basis for this type of arrangement. Songs which have words often fall within this category.
2. An arrangement which. deviates from the basic melody. This type of arrangement is comprised primarily of licks (patterns or motifs). Arrangements which are comprised primarily of licks can be absolutely void of the tune for the song and still work, as long as the licks are played for the correct chords to the song. Generally, these songs will have a specific motif which will serve as the identifying factor for a listener, such as the intro to "Bugle Call Rag." Breakdowns usually fall within this category.
The following chapters of this book will take you through the development of arrangements which fall within Type I and Type II, as well as arrangements which use a combination of these techniques.

Format: Book/2-CD Set

Contents:

Foreword
Introduction
Up-the-Neck Arrangements
The Y Position
Bluegrass Roll Patterns
The Standard Roll Patterns
"Bile 'Em Cabbage Down"
"Salty Dog Blues"
Summary: Roll Patterns
Chords: Introduction
Chords
The Standard Chord Patterns
"Cumberland Gap"
"Train 45"
"John Hardy"
"Little Maggie"
"Don't Let the Deal Go Down"
"Wildwood Flower"
"House of the Rising Sun"
Summary: Chords
Licks: Introduction
Basic Up-the-Neck Licks
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Roll in My Sweet Baby's Arms"
Additional Licks: Interchangeable Licks by Chord
Pick-Up Notes
G Licks
C Licks
D Licks
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Little Maggie"
"Salty Dog Blues"
"Roll in My Sweet Baby's Arms"
"Jesse James"
Summary: Licks
Incorporating the Melody
Harmony Notes
Accentuating the Melody
"Worried Man Blues"
"Red River Valley"
"Hand Me Down My Walking Cane"
"Wreck of the Old 97"
Improvising: Advanced Section
Advanced Expression: The X or the Y Position?
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Altered Roll Patterns
"Blackberry Blossom"
"Wildwood Flower"
"Sally Goodin"
Second Variations
"Sally Ann"
"Don't Let the Deal Go Down"
"Look Down, Look Down"
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
"Cumberland Gap"
"Lonesome Road Blues"
"Working on a Building"
"Salt River"
Single-String Licks
Moveable Licks: Fingerboard Patterns
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Summary: Improvising
Ending a Song
Chord Charts

Disc 1
Tuning
Bluegrass Roll Patterns
The Forward Roll Pattern
The Mixed Roll Pattern
The Forward-Reverse Pattern
The Backward Roll
"Bile 'Em Cabbage Down"
Forward Roll
Backward Roll
Forward-Reverse Roll
"Salty Dog Blues"
Backward/Alt. Forward Roll
The Standard Chord Patterns
F-Position Pattern
D-Position Pattern
Barre-Position Pattern
E-Minor Chord Pattern
"Cumberland Gap"
Alternate Part B
"Train 45"
"John Hardy"
Alternate Forward Roll
Variation
"Little Maggie"
Up-the-neck Arrangement
1st Arrangement
2nd Arrangement
3rd Arrangement
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Wildwood Flower"
"House of the Rising Sun"
Basic Up-the-Neck Licks
Lick #3, #4, #5, & #6
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute Licks
"Roll in My Sweet Baby's Arms"
Variation #2
Pick-Up Notes
G Licks
C Licks
D Licks - 1st-4th lines
D Licks - 5th-8th lines
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks

Disc 2
Chord Progression #1
Alternate Licks
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute (Alt.) Lick
Variation #2
"Little Maggie"
Substitute Licks
"Salty Dog Blues"
Variation #2
"Roll in My Sweet Baby's Arms"
Alternate Licks
"Jesse James"
Harmony Notes
"Worried Man Blues"
Forward Roll Pattern
Chord Positions
Other Roll Patterns
Substitute Licks
"Red River Valley"
Variation #1
Variation #2
"Hand Me Down My Walking Cane"
Forward Roll Pattern
Substitute Licks
"Wreck of the Old 97"
Alternate Forward Roll
Variation #2
Variation #3
The Ending
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Variation #2
Altered Roll Patterns & "Blackberry Blossom"
"Wildwood Flower"
Variation #2
"Sally Goodin"
Variation #2
Variation #3
"Sally Ann"
Variation #2
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Look Down, Look Down"
Variation #2
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
Variation #2
Variation #3
"Cumberland Gap"
Variation #2
"Lonesome Road Blues"
"Working on a Building"
Variation #2
"Salt River"
Moveable Licks
F-Position Licks
F-Position Licks Continued
Barre-Position Licks
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Part B
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Endings-Group 1
Endings Continued
Group II