LIBRO

L'ESSENZA DEL RITMO Earnshaw Micky LIBRO MUSICA JAZZ ROCK POP INSEGNANTE ACCENTO ESERCIZI

L'ESSENZA DEL RITMO Earnshaw Micky. In italiano.

LIBRO DI MUSICA JAZZ - ROCK - POP

SPARTITI PER TUTTI GLI STRUMENTI. 

I ritmi del linguaggio jazz, rock, pop. Esercizi, analisi e tecniche più una guida per l'insegnante.

Prezzo: €49,99
€49,99

EXPANSIONS-GARY Campbell-METODO IMPROVVISAZIONE-ARMONIA-LIBRO-TRIADI DIATONICHE SCALE

EXPANSIONS, GARY CAMPBELL. UN METODO PER SVILUTTARE MATERIALE ORIGINALE PER L'IMPROVVISAZIONE, PER TUTTI GLI STRUMENTI. LIBRO In italiano.

LIBRO DI MUSICA, METODO, ARMONIA. 

SPARTITI IN CHIAVE DI VIOLINO, CHIAVE DI SOL, CON:

ACCORDI E PENTAGRAMMA. 

ULTIMA COPIA , LIBRO FUORI CATALOGO, OUT OF PRINT. 

Il grande Gary Campbell mette alla prova le capacità creative del musicista obbligandolo a ragionare sulle possibilità espressive insite nelle situazioni armoniche. Partendo da spunti e situazioni all'apparenza consolidati, vengono suggerite nuove aperture mentali per sviluppare improvvisazioni originali e sofisticate, sulla base di considerazioni stilistiche ed estetiche. Un manuale per professionisti o per fare il salto di qualità.

 

CONTENUTI:

FINALITà

COME ESERCITARSI CON I PATTERN

 ROUTINE DI BASE

 

SCALE

 PENTATONICA MINORE

 PENTATONICA b6

 SCALA AUMENTATA

 SCALA TRITONICA

 

VARIAZIONI SULLE TRIADI

 TRIADI DIATONICHE

 COPPIE DI TRIADI

 

NOTE DI VOLTA INFERIORI

UNITà DI INTERVALLI

INTERVALLI E ACCORDI DIATONICI DERIVATI DA SCALE CHE CONTENGONO MENO DI SETTE NOTE

ESERCIZIO ACCORDO / SCALA

DIAGRAMMA GENERALE DI RIFERIMENTO ACCORDO / SCALA

Prezzo: €49,00
€49,00

GUITAR ARPEGGIO ENCYCLOPEDIA ANDY MARTIN TABLATURE LIBRO SPARTITI CHITARRA PENTAGRAMMA

GUITAR ARPEGGIO ENCYCLOPEDIA, Andy Martin. TABLATURE

Product Description:
Throughout this book you will be exposed to many different types of arpeggios, their families, a horde of fingerings, how to use them and much more. With practice and patience you will be able to have total control on the fingerboard and you will be able to execute arpeggios with fire and finesse like the best players do. By understanding arpeggios it will immensely improve your improvising for song writing and soloing as well as creating majestic melodies and hooks. All of the material is presented in notation and tablature. Throughout my book you will be exposed to many different types of arpeggios, their families, a horde of fingerings, how to use them and much more. First, I would like to define what an arpeggio is in the simplest form. An arpeggio is simply chord tones played seoarately. For instance, if you played an A minor barre chord at the 5th fret with the root note on the sixth string and instead of strumming the chord, try muting the string slightly with your picking hand (rest your picking hand slightly on the bridge of the guitar). Then, pick each note separately and use all down strokes as you ascend and all up strokes as you descend. This is one of the simplest ways to play an arpeggio. You can do this to all the chords you know and you also can experiment with muting the strings or letting the strings ring out as you play them. Arpeggios are also considered as tonal centers. A tonal center tells you what family you belong to and is the center of tonality. For exempIe:

If you take a major scale 1-2-3-4-5-6-7 the tonal center is the 1-3-5-7 and it is colored with 2-4-6.

If you look at a G major scale the notes diatonically are G-A-B-C-D-E-F#. G is the first degree, A is the second degree, B is the third degree, C is the forth degree, D is the fifth degree and so on.

The tonal center in a G major seventh arpeggio is G B D F#. You can play these notes in any order but traditionally they are played in succession with each other 1-3-5-7.

You should also look at arpeggios as the outline of a scale or chord and you can add your colors to enhance them with flavor. The best analogy I can provide you with is to think of an artist with his pallet. He starts his painting or drawing with an outline, our arpeggio and then he puts a splash of red, green, blue, etc, to make his painting more vibrant. We take our outline, the arpeggio and enhance it with our colors, modal degrees, the 2, 4, 6, 9, 11, 13 or altered colors, sharps or flats. This way we can paint a picture with audibles instead of visuals, then we compose a picture, a story with harmonic content. In my book you will learn how to learn and obtain total control of executing arpeggios and why it is important to have a strong bakground in them. By understanding arpeggios it will immensely improve your improvising for song writing and soloing as well as creating majestic melodies and hooks. Arpeggios are very vocal and lyrical so you can create melodic melody lines or use arpeggios with blistering sweeping speed, incorporating them into you solos, compositions or even as pick up lines. A pick up line is a part of a composition that is played in the present and targets the future. For example, if the solo was about to be approached in your composition, you can playa lick, run, or an arpeggio in the measure before the solo starts to enhance or build up to the solo . Many great guitarists use arpeggios in their compositions and in their soloing. With a lot of practice and patience you will be able to have total control on the fingerboard and you will be able to executed arpeggios with fire and finesse like the best players do. You should also listen to all styles of music even if some styles don't appeal to your ears. Just because you don't like a style of music, it does not mean that you won't learn something from just listening to it. Being musicians and learning our language is what makes a difference in players. We must educate our minds and ears to their fullest extremes. Here are some of my favorite guitarists and composers and their works that exhibit their Arpeggio playing techniques.
Steve Vai: Flexible, Eat Em and Smile, Skyscraper, Passion and Warfare, Alien Love Secrets, Fire Garden, Ultra Zone
Frank Gambale Thunder From Down Under, Passages, Noteworker
Shawn Lane Power of Ten, Tritone Fascination (I love this record)
Yngwie Malmsteen Trilogy, Marching Out, Fire and Ice, Facing the Animal. (When I first started to play, I was studying classical guitar and I heard some of Yngwie's work. I was attracted to the way Yngwie exhibited total control of his exotic 
arpeggios and was a major influence in my passion.)
Paul Gilbert Street Lethal, King of Clubs (Paul has an amazing picking technique that was showcased with Racer X)
Johann Sebastian Bach Goldberg Variations, Trio Sonatas, Piano Sonatas, Toccata and Fugue in D minor, Partita NO.2 in D 
minor, Suite for Lute in E Major, (too many to list!)
Ludwig Van Beethoven Fur Elise, Piano Sonatas Nos. I, 2 & 3, Piano Concertos Nos. 2 & 5 "Emperor"


Contents:
1) Acknowledgements
2) Introduction
3) How to Approach This Book
4) Arpeggios Fingerings
5) Arpeggios Families & Interval Formulas
Major Arpeggios
Minor Arpeggios
Diminished
Major 7th
Dominant 7th
Minor 7th
Minor 7th 5
Diminished 7th
Augmented
Major add 9
Minor add 9
Major 6th
Minor 6th
Major sus 4
Minor sus 4
Major 9th
Dominant 9th
Minor 9th
Dominant #9th
Major 7th add #11
Dominant 11th
Minor 11th
Major 13th
Dominant 13th
Minor 13th
Minor/Major 7th
Minor/Major 9th

6) Picking Techniques
7) Superimposing Arpeggios
8) Harmonizing Arpeggios
9) Parallel Harmonies
10) Modal/Diatonic Harmonies
11) Very Violent Riffs and Licks!

Prezzo: €31,99
€31,99

GUITAR COMPENDIUM 1. Technique / improviasion / musicianship / theory. Howard Roberts & Garry Hagberg.

GUITAR COMPENDIUM 1, technique/improviasion/musicianship/theory. Howard Roberts & Garry Hagberg. Picking e tecnica della mano destra, string skipping, arpeggi, connessione vocale, accordi, scale e la loro armonizzazione, il principio di economia, problemi chitarristici e la loro risoluzione, il voicing.

 

Detailed Description

Guitar Compendium, Volume 1. (The Praxis System). By Howard Roberts, Garry Hagberg. For Guitar. Method Book. Published by Advance Music.

Style & Craft - Troubleshooting 1 - The Fingerboard Map: Chords The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. 162 pages.

 

I: Style and Craft

II: Troubleshooting 1

III: Fingerboard Map - Chords

 

Preface: What Is Praxis?

Praxis: The Guide To Twentieth-Century Guitar:

EfficientPractice And Results Now

Chart Your Own Course

A Comprehensive View Of Guitar

Praxis is the firstinstructional book ofits kind. Ittakes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. The Praxis program makes available to all guitarists a comprehensive and unified body of instructional material, and within Praxis, students and teachers are given the freedom to chart their own courses according to their own musical interests and needs.

 

Who Needs Praxis?

The Music Is Already Inside You

Musical Tools For All Styles

Make The Music You Want To Make

Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical zones and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlike traditional guitar books, Praxis realizes that music is already inside you and that itonly needs an avenue to get out. Through the development ofmusical skills,Praxis provides such avenues.

 

The Musician Within:

Theory Can Paralyze

Learn Through The Instrument, Not On It

Get The Sound Out Now

Use Fingerboard Visualization

Hear It In Your Head, Then Play It

Too often in learning to perform music, an initial overabundance of theoretical information precedes the mastery of specific skills. As a result, learning toplay appears tobe overwhelmingly complex: theory paralyzes practice. In these volumes this order is reversed. The material is presented, not first in the abstract and only later placed on the Instrument, but rather through the instrument. Thus, the name of the collection ("Praxis" comes from the Greek word meaning "practice" and "to do") accurately reflects its general orientation. Play it first,getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. Also, although musical fashions come and go, style endures. Praxis provides the player with all the building blocks ofa style which is individual, masterful and lasting.

 

One Step Beyond:

Originators Vs. Imitators

Musicianship Skills

Encourages Musical Innovation

Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators, and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ...someone else's music, your own music, and everything in between. Praxis takes you one step beyond.

 

Over a large number of years we have enjoyed the great benefit of advice, encouragement, and assistance from a large number of people. These include the many guitarists who have studied with us at one time or another at guitar seminars throughout the United States, England, and western Europe, at the Musicians' Institute in Los Angeles, at the School of Music of the University of Oregon, at Lane Community College, and at numerous :-..mher colleges and universities. We have also had the benefit of many conversations, both verbally and musically, on many topics covered in these volumes with guitar teachers of many styles, and we hope one expression of thanks will extend to all. Professional musicians, music educators, educational psychologists, musicologists, philosophers, and many others have been generous with their thought on the topics covered in these volumes; we have found such people throughout North America and Europe, and we are fortunate to have had their help. Some whose support has been particularly valuable over the long course of this project are Horstmann, Jay Roberts, Ed Wight, and Catherine Wilson. We owe a very distinctive debt of gratitude to Evelyn Palmer, who has given us detailed suggestions on earlier versions yielding many improvements, and, more recently, a fully comprehending and close reading of the proofs that saved us from the inaccuracies that managed to survive her earlier scrutiny. Sympathetic understanding and constructive criticism are great luxuries for a work in progress, and we are grateful to all these friends for having afforded them. Lastly, for well over a decade we have worked on manuscripts at many places and at all hours, and Patty Roberts has been unfailingly cheerful in the production of typescripts at many stages of development and unfailingly willing to enter the seemingly endless revisions and additions, which, to her understandable disbelief, have finally come to an end. Authors cannot really repay such support, but as a gesture of thanks for those indispensable long-term labors this book is dedicated - from both of us - to her.

 

Table of Contents

Preface: What Is Praxis?

A Praxis Prologue

 

Section I

Style & Craft:

The Alchemy of Unique Style

Introduction to Section I: The Style-Craft Connection

 

Part 1:Inventory of the Basic Moves

Chords

Scales

Arpeggios

Intervals

Synthesis of Moves

 

Part 2: Inventory of the Basic Moves - continued

Hammer-Ons

Pull-Offs

Legato

Staccato

Glissando

Synthesis of Moves 2

 

Part 3: Inventory of the Basic Moves - continued

Bends

Vibrato

Dynamics

Picking and Right-Hand Techniques

Finger Independence, Stretching, Endurance, and Stamina

Synthesis of Moves 3

Note on the Inventory of Basic Moves, the Process of Improvisation, and Learning a Musical Language

 

Section II

Troubleshooting:

The Guitarists' Guide to Problem-Solving

Introduction to Section II: Ailments and Remedies

 

Part 4: Preliminary Questions

Making Practice Time More Efficient

Preventing Tired-Lick Syndrome

What Else to Do with the Em7 Arpeggio

My Solo: The Em7 Arpeggio and a Major Scale

The Weak Link of Technique: the Little Finger

 

Part 5: Further Questions

Not Quite Ready to Perform, but Next Week

Getting and Staying in Tune

Getting a Musical Statement Out of Scales, Arpeggios, Harmony

Smooth Notes Beyond the Four Fret Position

Putting Chords Together Into Progressions That Make Sense

 

Secnon III:

The Fingerboard Map: Chords

Introduction to Section III .

 

Part 6: The Linear Conception of Harmony

The Idea of Linear Movement .

Chords as Linear Consequences .

Internal Voice Movement .

Chord Explosion and Tension Resolution .

Recognizing Chordal Shapes .

 

Part 7: Chord Construction and Control

The Idea of Chord Construction .

Chord Constructions .

Further Constructions .

Further Constructions .

Further Constructions .

Further Constructions .

 

Part 8: Chord Transformation

The Idea of Chord Transformation .

Further Transformations .

Further Transformations .

Further Transformations .

Further Transformations .

 

Part 9: The Harmonized Scale

Major Diatonic Harmony .

Quartal Harmony .

Passing Diminished Chords .

 

Part 10: Chord Progressions Through the Individual Voice

Voicings On All Sets of All Strings .

Chord Transformations - continued .

II-V-I Progressions .

 

Part 11: Creative Directions

Upper Register Voicings .

Inner Voice Movement .

Further Into Voice Leading .

Close Voicings .

Fifth In The Bass .

Power Chords .

 

Part 12: Further Creative Directions

Harmonizing Any Note .

Common Tones .

Contrary Motion .

Pedal Points .

Bi-Tonal Harmony .

The Authors .

Prezzo: €29,99
€29,99

BEYOND POWER CHORDS Leo Cavanagh CD TABLATURE LIBRO SPARTITI ACCORDI ACCOMPAGNAMENTO

BEYOND POWER CHORDS, Leo Cavanagh. 252 pagine. LIBRO CD TABLATURE

 

LIBRO DI MUSICA POP - ROCK - JAZZ - BLUES, CON CD.

SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE.

Take Your Guitar Playing to the Next Level!
Series: Book
Publisher: ArtistPro
Medium: BOOK W/CD
Author: Leo Cavanagh

Many guitar players are limited in their knowledge of chords. Once you get comfortable with bar chords and the concepts taught in this book, however, the number of chords you can play will increase dramatically. Connecting chords in a variety of common progressions, Beyond Power Chords will give you the means to play all types of chords – major, minor, seventh and more – in all keys, as well as build chords on your own. Features an audio CD with 85 tracks of examples that will clarify every lesson, including 18 ways to play chords to the blues. 52 pages

Prezzo: €39,99
€39,99

ARMONIA E TEORIA Keith Wyatt / Carl Schroeder Armonizzazione scale accordi estesi modulazione ritmiche

ARMONIA E TEORIA. Keith Wyatt.

In italiano.

ARMONIA E TEORIA
CONCETTI ESSENZIALI
UNA RISORSA COMPLETA PER TUTTI I MUSICISTI

Il Libro vi porta passo dopo passo all'interno della classe di Armonia & Teoria del Musicians Institute. Vi sono lezioni complete ed analisi che includono:

Trasposizioni, rivolti e centri tonali

Armonizzazione delle scale, accordi estesi, modulazione

Intervalli, ritmiche, scale, accordi e armature di chiavi

 

Keith Wyatt / Schroeder Carl

Una risorsa corretta per tutti i musicisti.

Concetti essenziali

Il libro vi porta passo dopo passo attraverso le classi di Armonia & Teoria del Musicans Institute. Vi sono lezioni complete ed analisi che includono: Intervalli, ritmiche, scale, accordi e armature di chiavi; Trasposizioni, rivolti e centri tonali; Armonizzazione delle scale, accordi estesi, modulazione. Musicians Institute Press è la serie ufficiale della rinomata scuola di musica californiana. Gli insegnanti, alcuni dei più rinomati nel mondo, condividono la loro conoscenza ed esperienza con voi, non importa quale sia il vostro livello attuale.

Introduzione

Lo spartito racconta una storia, ma è una storia scritta con un linguaggio speciale: il linguaggio della Musica. Esso contiene informazioni che permetrono a qualsiasi musicista, dovunque su questo pianeta, di suonare, o stesso pezzo sul proprio strumento. Per i musicisti che conoscono tale linguaggio, spartiti come questo sono l'inizio di una conversazione musicale; per coloro che non lo parlano, è solo l'insieme di numeri e simboli senza un significato preciso. Se leggere a prima vista uno spartito è per voi una difficolta che richiede molto del vostro tempo e energia, questo è quello che fa per voi.
Questo libro si è evoluto negli anni, durante i quali abbiamo scritro, insegnato, corretro e modificato il corso che teniamo presso il Musician Institute. Questo Istituto è una scuola di musica che pone l'attenzione sul palco, non sulla lezione in classe, cosÌ in questo contesto la ragione per cui si studiano armonia e teoria diventa pratica, non teorica o intelletruale.
Lo scopo di questo corso è semplicemente quello di permetrere a chiunque suoni uno strumento, di leggere uno spartito ed essere in grado di capire. Il punto è conoscere la lingua tanto quanto basta per non soffermarsi troppo nel decidere cosa fare, ed essere in grado di utilizzarla come uno strumento che aiuta a sviluppare il senso della musicalità. Perciò, le nozioni contenute in questo libro non sostituiscono la buona capacità di esecuzione sullo strumento, o l'esperienza nel suonare, o un buon orecchio, o il senso di stile, ma fornisce una struttura che lega questi elementi insieme, facendo di voi un musicista completo.
La maggior parte dei libri di armonia e teoria partono da un punto di vista classico o da una prospetriva più compositiva, ma questo libro è per coloro il cui primo amore è suonare la musica popolare in tutte le sue sfaccettature - rock, funk, blues, pop, country, jazz, eccetera. Molti musicisti popolari, se non la maggior parte, imparano dapprima a suonare a orecchio, copiando ciò che gli altri hanno fatto senza necessariamente vedere come funziona. Questi musicisti tendono ad essere molto insicuri circa la necessità di studiare teoria, sentendosi imprigionati tra un senso di frustrazione ed essendo musicalmente ignoranti, e con la paura che il "troppo" sapere sarà di intralcio alla loro ispirazione creativa naturale. I musicisti a 360°, comunque, imparano ad usare il proprio intelletto per focalizzare e migliorare la loro creatività, così come a volte un pittore studia l'interno del corpo umano per potere poi dipingerne l'esterno. Questo libro vuole offrirvi una comprensione della struttura interna della musica di ogni giorno, cosÌ invece di scappare dalla pagina stampata è possibile leggerla e andare oltre, per tornare all'essenza della musica in primo luogo. Come insegnanti ed autori, abbiamo fatto diverse scelte per decidere cosa metrere in questo libro e cosa tralasciare. Sono stati introdotti nuovi concetti per mostrare come e perché essi si relazionano in termini pratici per capire e suonare la musica. In alcuni casi, quando vi sono modi diversi ugualmente validi di spiegare una data idea, abbiamo scelto il modo più immediato, limitando la spiegazione all'approccio più pratico. Questo non significa che gli altri modi siano sbagliati, ma semplicemente che troppe possibilità spiegate troppo presto invece di aiutare il processo di informazione lo intralcerebbero. Quello che questo libro NON cerca di fare è mostrare metodi per l'improvvisazione, arrangiamento, o composizione. Si parlerà di questi argomenti in alcuni punti, ma l'enfasi qui è sulla comprensione dei principi base della musica cosicché sia possibile cominciare a leggerla, studiarla ed ascoltarla come un musicista colto. Dal momento che questo libro è scritto da musicisti per musicisti, consideriamo essenziale che voi suoniate ciò che vedete in questo libro. Soltanto traducendo le idee scritte in musica, con uno strumento (preferibilmente il piano o la tastiera, o la chitarra, per poter suonare gli accordi), potrete beneficiare appieno delle tecniche insegnate. Non avete bisogno di tecnica approfondita, solo la volontà di usare un po' del vostro tempo per capire le note, per poter sentire ciò che è scritto. Molte volte, un'idea complicata si capisce quando la si sente, in relazione ad un suono familiare.
Quando avrete finito questo libro, guardate ancora lo spartito iniziale, e vedrete come tutta la pagina ora vi racconta una storia. Avrete iniziato a capire una lingua che esprime cose che nessun altro idioma può fare, e come musicisti colti, anche voi potrete far parte della conversazione.

 

Parte I:
Note, Ritmi e Scale
Non importa lo stile o la complessita, la musica si puo descrivere semplicemente come suono organizzato, e lo scopo di studiare l'armonia e la teoria è quello di imparare i metodi attraverso i quali la musica è organizzata, sia in piccola che grande misura. Il primo passo in questo studio è quello di imparare il linguaggio scritto attraverso il quale la musica viene comunicata da un musicista all'altro. Il sistema della notazione musicale che usiamo adesso si è sviluppato in centinaia di anni e, come ogni altro linguaggio, continua ad evolversi. La capacita di questi simboli di passare attraverso tutta la musica, è la stessa capacita che permette ad un cinese, per esempio, di suonare un pezza oggi come l'aveva inteso 300 anni fa un compositore tedesco, o permette ad un chitarrista di scrivere uno spartito questo pomeriggio e sentirlo suonare stasera dal suo gruppo.
E' molto importante sviluppare un modo chiaro e consistente di scrivere Ie note e Ie pause, in modo che gli altri musicisti capiscano cosa state dicendo. Questo comporta un po' di ripetizione – semplicemente continuando a disegnare i simboli fino a quando diventera naturale. Durante questo processo, il loro significato sarà sempre più chiaro, in modo che penserete sempre di meno alle loro forme e vi potrete concentrare più sulla musica che proviene da essi. Nello stesso tempo, è molto di aiuro se studiate suI vostro strumento la lettura della musica. Usando la notazione in modo pratico, andrete oltre la parte visuale ed arriverete alla musica in se stessa. Come ogni altro linguaggio, diventa facile solo attraverso un allenamento costante. 

 

MUSICIANS INSTITUTE
I CONCETTI ESSENZIALI
ARMONIA & TEORIA

INDICE

Introduzione .
PARTE 1 - ARNESI: Note, Ritmi e Scale
1 L' Altezza .
2 Le Scale Maggiori e i Diesis .
3 I Bemolle e gli Accidenti .
4 GIi Intervalli .
5 Le Triadi .
6 I Valori delle Note .
7 Legature e Indicazioni di Tempo .
8 Le Scale Minori .
9 Le Scale Pentatoniche .

PARTE 2 - STRUTTURE: Accordi e Progressioni di Accordi
Armonizzare la Scala Maggiore .
Armonizzare la Scala Minore .
Accordi di Settima Diatonici .
I Centri TonaIi .
Il Blues .
I Rivolti .
Accordi Estesi .
Altri ti pi di Accordo .

PARTE 3 - VARIAZIONI: Armonia e Melodia nel mondo reale
I Modi .
Variazioni in Armonie Minori .
Variazioni in Melodie Minori .
Interscambio Modale .
Dominanti Secondarie .
Accordi Alterati .
Scale Alterate .
Accordi di Settima Diminuita .
Scale Simmetriche .
Sostituzione di Accordo Diatonico .
Sostituzione b5 .
Modulazione .

EPilogo .
Appendice I: Simboli degli Accordi .
Appendice Il: Soluzione deg li Esercizi . 

Prezzo: €24,99
€24,99

BASIC GUITAR ADJUSTMENTS & SETUPS.

BASIC GUITAR ADJUSTMENTS & SETUPS.

Manule per la regolazione dell'action, dell'intonazione, dei pickup, il montaggio delle corde, il settaggio della chitarra.

Series: Pocket Guide
Author: Various Authors

An essential, easy-to-use guide containing basic set-up and maintenance information for guitar and bass guitar players. Designed to help keep your axe in peak performance condition with tips about tools, cleaning, restringing and adjustments. Along with a good chord book, a must-have! 32 pages.

The purpose of this book is to provide guitar and bass players basic guidelines for setting up and adjusting their own instruments. The text covers general procedures for setting action, pickups, intonation, necks, etc. In addition, long- and short-term maintenance also is discussed. The book is not intended as a reference source for extensive repairs, modifications, construction, design, or instrument building. Rather it serves as a "how to" guide for the do-ityourselfer. When I was a guitar student at Musicians Institute in Hollywood, California, I started a small business in my apartment called Wild Dutch's Guitar Hospital. I would do minor repairs, adjustments, and set-ups for students, teachers, and some of the local bands. Generally the work was run of the mill, no frills, and uncomplicated. Players would pay me good money to make their gear "right." I always thought if these players had a simple and straightforward source of information on how to fix their own instruments, they could have done the majority of the work themselves. People often asked me to instruct them in repair procedures, but unfortunately I never had the time. I was very busy as a student and running my own business. Hopefully, this basic guide will help those of you wanting to do your own work, and provide the information required to do that work. Please be advised this book covers only simple, routine, maintenance procedures. Instruments which are damaged, broken, warped, cracked, or require extensive rehabilitation and reconstruction are beyond the scope of this book. Please refer these types of repair work to a qualified and experienced professionalluthier familiar with advanced guitar repair. Properly adjusted instruments will show dramatic improvements in tone, sustain, gain, playability, and tuning tability not to mention longevity. I have always been amazed, as have my clients, what a difference a set up can make, even on an inexpensive, stock instrument. The added "presence" and "aliveness" can be incredible. By simply making the instrument "right" and allowing it to function and "ring" as a complete system, audible and playable differences become apparent. Fixing your guitar or bass can be a challenging, enjoyable. and rewarding experience. You get a sense of satisfaction and accomplishment from doing your own work. Everything I di cuss in this book can be done by anyone with the ability to use simple hand tools. 

As popular as the guitar is today, playing the instrument does not come naturally to a beginning student. The ability to master any instrument is achieved only through continuous practice and repetition. The critical component (study and effort), can not be trivialized because one is not born with an inherent ability of instrumental mastery. As a consequence, the level of musical competency will grow in relation to the amount of effort one invests. Along with the popularity of playing the guitar, there is a concurrent interest in how the guitar works. John's book directs itself to the basics of how a guitar should play and encourages players to repair and maintain their instrument so they will not become discouraged as they pursue their study of music. He has written a simple book of information valuable to many guitarists. The knowledge of how to maintain an instrument, and a grasp of its basic functions, are sound strengths to develop. I trust you will find the information presented herein to be helpful in the maintenance of your instrument. john Boehnlein is an internationally recognized expert in the field of guitar technology. He is the owner of Wild Dutch's Guitar Hospital in Independence, Ohio. In addition to Basic Guitar Adjustments and Set-Ups for Beginners, John also is the author of the High Performance Marshall Handbook. He is a graduate of Cleveland State University as well as the Musicians Institute Prelude Program. He has a wide variety of experience in nearly every facet of the music business. 

CONTENTS

FOREWORD

PREFACE

ABOUT THE AUTHOR

CHAPTER 1

Tools

 

CHAPTER 2

Instrument Inspection and First Steps

 

CHAPTER 3

Tightening and Cleaning

 

CHAPTER 4

Re-stringing

 How to put strings on

 

CHAPTER 5

Neck Adjustments

 

CHAPTER 6

Action Adjustments

 Tune-O-matic style bridges

 Fender Style bridges

 Gibson style compensating type bridges

 acoustic guitars 

 

CHAPTER 7

Intonation Adjustments

 to set the intonation, follow these steps

 to adjust intonation on a Floyd Rose type vibrato system

 

CHAPTER 8

Pickup Adjustments

 the following are basic steps to adjusting pickups

 

CHAPTER 9

Adjusting Vibrato Bridges

 tradional style vibrato system

 floating, fulcrom style vibrato systems

 

CHAPTER 10

Final Procedures and Long Term Maintenance

BIBLiOGRAPHY 

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A DESKTOP REFERENCE OF HIP VINTAGE GUITAR AMPS, Gerald WEBER.

A DESKTOP REFERENCE OF HIP VINTAGE GUITAR AMPS, Gerald Weber.

A Desktop Reference of Hip Vintage Guitar Amps
Series: Book
Publisher: Kendrick Books
Format: Softcover
Author: Gerald Weber

If you have questions about guitar amplifiers-how to fix them, how to restore them, or how to hot-rod them-this book has the answer. This book is written for the guitarist or collector who desires a common sense approach to understanding the essence of vintage tube amps and vintage tube tone. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you should know. Gerald Weber, a regular columnist for Vintage Guitar magazine, shares the knowledge he has accumulated over the years of repairing and building his line of Kendrick amps.
Inventory #HL 00330225
ISBN: 9780964106000
UPC: 073999302257
Width: 6.0"
Length: 9.0"
512 pages

Gerald Weber has written many articles on tube guitar amplifiers for Vintage Guitar magazine, and this book is a compilation of those articles, plus excerpts from his "Ask Gerald" question and answer column. Written for the guitarist or collector who wants a common sense approach to understanding the essence of vintage tube amps and vintage tube tone, this essential guide will answer questions on how to fix, restore, or hot-rod vintage amps. Includes easy-to-follow text, a complete glossary of terms, many photos and detailed schematics, and a listing of dealers and sources.

If you have questions about guitar amplifiers-how to fix them, how to restore them, or how to hot-rod them-this book has the answer. This book is written for the guitarist or collector who desires a common sense approach to understanding the essence of vintage tube amps and vintage tube tone. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you should know. Gerald Weber, a regular columnist for Vintage Guitar magazine, shares the knowledge he has accumulated over the years of repairing and building his line of Kendrick amps.

If you want to know about vacuum tube guitar amplifiers & what affects tone, this book bypasses the confusion & gets down to the essences of guitar amplifiers. Written for the guitarist or collector, this book is a common sense approach to understanding vintage vacuum tube guitar amplifiers. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you know. When a new term is used for the first time, a definition of that term appears at the end of the chapter in a mini-glossary. The Author is president & owner of Kendrick Amplifiers, who manufacture vacuum tube guitar amplifiers & operate the largest vintage amp restoration shop in the country. He writes question-&-answer columns for "Vintage Guitar Magazine." Many of the articles are reprinted in this book. Over 200 schematics & layout diagrams, dozens of modifications, a whole section of tips & tricks, circuit comparisons & pictures. A must for anyone interested in tube guitar amps.

 

 

Gerald Weber wrote his first monthly column for Vintage Guitar magazine over three years ago. It was the first technical, article that we had' ever printed and Gerald's writing soon became a very popular part of the magazine. Since that time, his articles have generated more reader mail than any other regular feature of the magazine. The letter writers almost always express their appreciation for Gerald freely sharing his vast knowledge of guitar amplifiers and how to "tweak" them for better performance. Whether the readers use this information to work on the amps themselves, or just to be able to deal with repair people, Gerald's words make for a better informed-and happier-guitar player. In the pages of this book, Gerald continues to freely share this information-knowledge that he has accumulated over the years repairing and building guitar amps. His line of Kendrick amplifiers and related components come with the highest references and he is always striving for quality and that "Killer Tone." So, if you have questions about guitar amplifiers- how to fix them, how to restore _ them, or how to hot-rod them-look inside,

Gerald Weber has the answer! Alan Greenwood Publisher

Vintage Guitar Magazine

 

 

PREFACE

When I began writing articles for Vintage Guitar Magazine several years ago, my original intention was to share my knowledge with those who care as much about tube guitar amps as I do. At the time, I had no idea that this book would eventually write itself. This book is actually a compilation of those articles and a compilation of the" Ask Gerald" question and answer column with the addition of some schematics and a reprint of the "Trainwreck Pages" and some other reprints. This book is written for the guitarist or collector who desires a common sense approach to understanding the essence of vintage tube amps and vintage tube tone. Not written for engineers, it does not contain engineering formulas, polar mathematic equations, or abbreviations that are assumed you should know. In fact, when a term is used for the first time, a definition of that term will appear at the end of the chapter in a mini-glossary. When you come across a word that is unfamiliar, you should look at the mini-glossary at the end of the chapter and clarify the word before proceeding. This will keep everything clear for you. DISCLAIMER: Tube amplifiers contain potentially lethal high voltages even after they are unplugged, that may cause personal injury or death. Do not attempt to repair or modify any amplifier unless you are absolutely certain that you know what you are doing.

 

Schematic. One of these losses occurs in the audio transformer. In times of old, virtually all transformers were wound directly on a laminated core with only paper insulating the windings from the core; modern transformers are wound on plastic or nylon bobbins, much thicker than paper, resulting in greater loss and consequently less fidelity. Try this: hook up your guitar and play it and listen to how it sounds. ow take a small screwdriver and adjust the pickups so they are a quarter of an inch further away from the strings. Now how does it sound? From this experiment, you can see for yourself that the further a magnetic source your guitar strings) is away from an inductive coil (your pickups), the less efficient the signal transfer. This is exactly the same phenomenon occurring in a plastic bobbin transformer. The extra distance of a plastic bobbin kills tone that would have been captured by the closer, paper-insulated vintage style transformers. Also many vintage transformers were interleaved, a practice not common in modern amps. Any audio transformer generally has two coils wound on the same core. Interleaving means winding a little bit of the first winding, then a little bit of the second winding, then a little of the first, then a little of the second, etc., until both windings have the correct number of turns. Modern transformers are usually wound by winding all the turns of one winding, and then all the turns of the other winding. Obviously the interleaved transformer will sound better because it is more efficient and better at producing low end, with richer harmonics. In the 50s and 60s, coupling capacitors were typically made by placing two small sheets of paper (called the dielectric) between two small pieces of foil. A lead was attached to each piece of foil, and the paper and foil sandwich (double decker) was rolled up like a cigarette. Often, the finished cap was encased in plastic, wax, or epoxy. These caps had a very rich sound with nice low end. Nowadays however, technology and automation have taken us to a new level in capacitor manufacture. Polystyrene, mylar, polyester, and anything but paper are commonly used as the dielectric but do not have the same sound as paper dielectrics. Although audiophiles will tell you that polystyrene caps have the best sound (and maybe they do for stereo systems), I prefer the polyester tubular foil capacitors as the ones sounding the most like vintage for guitar amps. These caps are the Mallory 150 series caps and are made by spraying ...

 

Amps of Our Times - Vintage vs. Modern

 

... conductors of a capacitor. Paper, air, electrolyte, mica, mylar, polyester, and ceramic are some of the dielectrics that are used.

DISTORTION-noun- The difference between what goes into an electronic device and what comes out.

DYNAMICS-noun-The loud/soft quality of music that gives it character.

ENVELOPE-noun-The changing dynamics of a vacuum tube circuit that can be heard as an attack, decay and sustain volume level when a note or a chord is played through the amp.

E.Q.-noun-Abbreviation for "equalizer."

FIXED-BIAS-adjeetive-A way to achieve bias in a vacuum tube in which a fixed amount of negative voltage is placed on the grid of a tube. This is almost always done on output tubes and almost never done on preamp tubes.

GAIN-noun-The amount of voltage amplification in the preamp section of an amplifier. This voltage amplification ultimately drives the power tubes which do not add any more gain. The power tubes add current (power).

GRID-noun-One of the internal parts of a vacuum tube. This is usually where

the input signal connects.

HARMONICS-noun-The frequencies that are related to the fundamental frequency by being multiples of the fundamental frequency.

HEADROOM-noun-The volume level that is attainable before clipping occurs.

IMPEDANCE-noun-Sum of all resistance, capacitive reactance, and inductive reactance.

INTERLEAVED-adjeetive-A way of winding a transformer in which a little bit of the primary is wound, then a little of the secondary is wound, then a little primary, then a little secondary, etc. until the transformer is wound. The more interleaves, the better the efficiency.

PHASE INVERTER-noun-The circuit in a push pull amplifier that feeds the power tubes signal. It feeds one power tube an in phase signal and the other power tube an out of phase signal. The tube for this circuit is always located next to the power tubes.

PICOFARAD-noun-A very small amount of capacitance that is equal to a trillionth of a farad (.000,000,000,00 I farads). Sometimes also called "micro micro

farads."

PLATE-noun- The part of a vacuum tube that has high voltage on it. Except in a cathode follower circuit, the output is always taken from this part of the tube.

PLATE VOL TAGE-noun- The voltage that is applied to the plate of a vacuum tube. Higher voltages give more headroom and high end, lower voltages give more breakup and a browner tone. All tweed amps had relatively lower plate voltages.

PREAMP-noun-The section of an amplifier whose function is to add gain. Preamps are always before the output stage.

RECTIFIER TUBE-noun-A vacuum tube with no grid, whose purpose is to change alternating current to direct current. Current flows from the cathode to whichever of the two plates that happens to be positive at the time.

 

... relatively lower impedance cathode follower circuit. This circuit increases odd order harmonics thus giving a crunchy tone. This is the same crunch that you hear in all early Marshalls. Originally, this circuit was used so that the tone controls would not load down the signal. Later blackface Fenders did not use this circuit and that is why blackface amps will have no volume if all the tone controls are turned to the lowest setting. (The signal is loaded down to the point that nothing is left to amplify.) Shortly after the 5E6 came out, Fender changed the design slightly to a 5E6A. This amp was identical to the 5E6 except that the bias voltage was increased somewhat. (They were probably having problems with power tubes blowing and increasing the bias would have the tubes run cooler.) Also the tone cap values were slightly different on the 5E6A. In 1958, the 5F6 became the next evolution of the 4X10 Bassman. Sometimes referred to as a four hole Bassman (it had two inputs for bright and two inputs for normal-each channel having a high and low gain input), this model had quite a few design changes, although cosmetically it looks like they simply added two inputs and a middle control. There is much more to it than that. For instance, the negative feedback across the second stage was removed, thus increasing gain. Although the 12AY7 was still used on the first gain stage, the second tube was changed to a 12AX7 increasing gain even further. The tone control design was changed to what would become a classic design later used by Marshall, Vox, and many others. A cathodyne style phase inverter was dropped in favor of the familiar long-tail pair style phase inverter that has remained a characteristic of virtually all Fender tube amps to date. The choke was moved between the screens and center tap of the audio transformer-a place it has been ever since in all Fender amps. 100 ohm screen grid resistors were added and the output tubes were changed to the higher fidelity 5881s. The wattage increased to about 40 watts because the plate voltage was increased from 405 volts on the 5E6A to 427 volts on the 5F6 and the preamp gain was increased considerably. 5881 power tubes are different from the 6L6Gs in several ways. First the 5881 has always been considered a high fidelity version of the 6L6G which is considered an industrial public address tube. 5881s are rated at 23 watts per tube compared to the 6L6G's 19 watts. Being a ... Kendricks

 

HIP VINTAGE AMPS

Amps of Our Times-Vintage vs. Modern

The Tweed Champ

The Tweed Deluxe

The Definitive 4X10 Bassman

The Deluxe Reverb

The Super Reverb

The Vibroverb

 

TIPS AND TRICKS

A Tube is a Tube, Right?

The Simple Truth About Biasing Your Amp

Unwinding the Transformer Puzzle

Important Facts About Jensen Speakers

How to Make Your Amp Sound Right

Easy Tricks to Juice Your Vintage Amp

Ten Easy Mods for Your Super Reverb

Ten Easy Mods for Your Pro Reverb

Juice Up That 6G15 Fender Reverb

Resurrecting That Tube Echoplex

Silver to Blackface Conversion for Twin Reverb

 

THE TRAINWRECK PAGES-By KEN FISCHER

 

QUESTIONS AND ANSWERS

 

SCHEMATICS

Ampeg

Fender

Gibson

Hiwatt

Magnatone

Marshall

Rickenbacker

Silvertone

Vox

 

REVIEWS OF KENDRICK PRODUCTS

Gerald Weber, the Tweed King

 

CATALOG OF KENDRICK PRODUCTS

 

 

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KOTTKE LEO EIGHT SONGS-BOOK GUITAR TABLATURE CHITARRA SPARTITI LIBRO INTAVOLATURA

KOTTKE LEO, EIGHT SONGS. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA PER CHITARRA ACUSTICA.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.  

Guitar Solo
Series: Transcribed
Artist: Leo Kottke
Composer: Leo Kottke

Enjoy 8 of Kottke's greatist hits and personal favorites in notes and tab. 96 pages

Bean Time
Blue Dot
Fisherman, The
Jack Fig
Machine 3
Mona Ray
Ojo
Three Walls And Bars

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EMMANUEL TOMMY ONLY Biskie-DriveTime-Luttrell-Mombasa-padre-Questions-robin-GUITAR TABLATURE LIBRO

EMMANUEL TOMMY, ONLY. GUITAR TABLATURE

LIBRO PER CHITARRA CON TABLATURE

NOTE FOR NOTE TRANSCRIBED SOLOS FROM THE ALBUM BY TOMMY EMMANUEL Certified Guitar Player.

Tommy Emmanuel has electrified audiences across the globe. This book contains note-for-note transcriptions of solos from Emmanuel's album Only in standard notation and tablature. Transcribed by Mark Pritcher.

 

TOMMY EMMANUEL
Hailed by Chet Atkins as "Without a doubt, one of the greatest guitar players on the
planet," Tommy Emmanuel has electrified audiences from Steve Kaufman's diminutive
Palace Theater in Maryville, Tennessee to the closing ceremony of the 2000 Olympics
in Sydney, Australia. Having concertized throughout much of the civilized world, this
dynamic performer who, in his words "happens to be a pretty good guitarist," made his
way to the fabled competition in Winfield Kansas as a guest artist for the first time in
2000. Shortly before Tommy's performances there, parking lot pickers were said to
have ceasedjamming and moved trance like in droves to a venue designed to hold perhaps 500,
now packed with three times that number ali to hear Tommy Emmanuel play
an acoustic guitar!
Although he has acted as a mentor to a dedicated few young guitarists in his native
Australia, Tommy seems destined to make his mark performing on the world stage. His
impeccable taste, flawless technique, and engaging personality have inspired fans and
critics alike.
 

ACKNOWLEDGEMENTS
I sincerely hope that you enjoy learning these works of art from Tommy's CD
"QNLY". Many thanks to Tommy for the joy that his music brings usoThe folks at Mel
Bay have been very gracious in providing space for the entire tunes. There is enough
variation in the choruses to make "repeats" impractical and I couldn't bear to leave
anything out. Italian guitarist Daniele Bazzani had worked on these tunes independently
and was kind enough to supply me with his notes early on, and that made my
task easier. Thanks to Brett Wood for help with some "impossible" licks. These tunes vary in difficulty, and please remember that interpreting notes and positions by ear can be subjective at best! Feel free to let me know if you have questions about the music. And very special thanks
to my wife Carol and daughter Katelynn, who allowed me to take on this project. I
Mark Pritcher, Tennessee
 

THOSE WHO WAIT Played with a plectrum (straight pick) 6th string = D; guitar tuned down 1/2 step

"We learn so much in life/ dont we? Ufe is our teacher. Ufe is the school/ and if we're
smart we learn the lessons and learn from each other. I think one of the hardest things
that I've ever had to learn is patience; and trust and faith in believing that things are
going to work out. That's really hard to learn/ to be patient. That's what this song is
about. About truly trusting that if your motives are right/ and everything about you is
heading in the right direction/ then there is no way that you can go wrong. /'
The plectrum is held by the thumb and first finger, and you then use the pick and your
second and third fingers to play the strings. This is sometimes called "hybrid picking".
For a given tune, and a desired effect, the plectrum gives a different sound than the
thumb pick. But if you have never played in this style it can be a challenge. Take it slow
and easy and you will get it! It is not practical to put a plectrum direction on each note,
but you can lay your right hand on the strings, and get a feel for what strings the pick
contacts, and which strings your second and third fingers touch comfortably. If this
style is new to you, go through the tune first using thumb and three fingers, and when
you are familiar with it, you can start on the hybrid technique. It is helpful to study
Tommy's performance videos or DVD's and watch his right hand. Also the fingering is
often critical. In places, fingering can be an individual thing, and you play the way your
left hand feels the best. But most of the time that I have indicated fingering, it is
because it is as Tommy intended it to be played. What seems to be awkward at times,
usually turns out to be brilliant because he has a way of making the melodic ideas flow
together, due in large part to the choice of fingering.
In this tune the tempo is fairly even throughout. It starts with natural harmonics at the
seventh fret, as you lay your first finger across the neck. Tommy uses his left-hand
thumb often to fret the 6th string. This is the case with the opening motif, starting
with the bass in measure 4. For the most part, let notes ring and sustain whenever possible,
even if it is not indicated in the music. Tommy's left hand reach is remarkable, as
you can tell from the five fret stretch in measure 26. Measure 32 has one of the awkward
fingerings on the hammer-on that will take some practice! The left hand thumb
is put to use again for the passage starting in measure 37. In measure 82, there is a
quick natural harmonic on the fifth string, and then you use your left hand to play the
hammer-on on the sixth string.

 

 

- Biskie

- DriveTime

- I've Always Thought Of You

- Luttrell

- Mombasa

- Ol Brother Hubbard

- Padre

- Questions

- Sonce We Met  

- Stay Close to Me

- The Robin

- Those Who Wait

- Timberlake Road

- Train to Dusseldorf. 

 

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