OUT OF PRINT / LAST COPY

MCLAUGHLIN JOHN, THIS IS THE WAY I DO IT. 3DVD . LESSON FOR GUITAR IMPROVISATION, SOLOING, CHORDS & STANDARD NOTATION. 

DVD DIDATTICO DI MUSICA JAZZ FUSION.
SPARTITI PER CHITARRA :
PENTAGRAMMA, ACCORDI . 
ARMONIA, SCALE, IMPROVVISAZIONE, SOLOING, 

John McLaughlin
The Ultimate Guitar Workshop On Improvisation 2004

In the hands of all but a few other guitarists, this title would be a self-aggrandisement on a major scale (no pun intended). However, being the distilled sum of knowledge gained by surely the greatest living jazz guitarist of the age throughout more than fifty years of wielding his mighty axe, and couched in the state-of-the-art media format, John McLaughlin has indeed produced a mighty work. If his recorded and live output alone do not provide him with the status of King of the Jazz Guitar, then this three-DVD set will surely be an everlasting artistic legacy to the world of music, which will be seen as a beacon to all aspirants well into the future.

As a player myself of some thirty years, I believe I can offer some authority and relate the work here directly to it's practical application; merely a cursory flick through the material by anyone versed in the art of the guitar would be rewarded by an impression of the huge volume of knowledge, craft and experience that is pouring out through this DVD set. There are many many videos by guitarists for guitarists, but this workshop is meticulously articulated and demonstrated with John's personal approach to often quite common music theory.

On the Intro, Mclaughlin bids us "work well." Work is the key note here. This workshop is not for all, and Mclaughlin himself says that it has been created, assuming that the student has a working knowledge of the guitar. This one will really test your dexterity but ultimately it's intention is for you to break through the barrier of the thought process associated with the theory and just play. Like all good guides, the workshop exists on a number of levels simultaneously, so you can take a comparatively easy pass through the first time and then tackle the advanced route on a second (third or more) sweep.

So what do you get for your investment? Over the three DVDs there are twelve chapters, covering material from the basic modes, scale tone chords, linear triads, the symmetrical scale and melodic minor modes. Each chapter has between two and four "expositions," where McLaughlin explains the core material for that particular chapter. He does this by using practical demonstration to camera, accompanied by the score following feature of EMagic's Logic Software programme. This is further enhanced by the use of a "split screen" effect which allows the viewer to see clearly both the left and right hands in close detail.

Following the "expositions" are the "demonstrations," usually one easier and the second a little more difficult. These words "easy" and "difficult" are hard to quantify in terms of JM's playing but in essence, the first demo is usually characterised by John improvising using the core material, but obviously "reined in" from his recognised performance level. The second or more difficult demo is usually more like the John McLaughlin we see and hear in concert, whilst still employing the material from that chapter's expositions. So these are akin to little vignettes of John performing live for you against a sequenced backing track.

"The clarity and conceptual continuity running through the whole of this DVD reveals McLaughlin's depth of thought through his simplicity of expression."

The forethought with which Mclaughlin has assembled this DVD is really brought home to the viewer in the "analysis" sections which follow the demonstrations in each chapter. Here, McLaughlin has the Logic score to his improvisations in the demonstrations projected onto a large white board and literally takes the student through his improvisations, stopping and starting the music to make specific points about certain phrases and pointing out their relevance to the core material of the particular chapter.

The clarity and conceptual continuity running through the whole of this DVD reveals McLaughlin's depth of thought through his simplicity of expression. His articulation is absolutely precise throughout every demonstration, and nothing is left ambiguous or unexplained. McLaughlin places much emphasis on the analysis of the music in this way and clearly enjoys demonstrating the fruits of his own craft to the viewer.

Finally, to conclude each chapter, the student has the opportunity to improvise over the same backing tracks as McLaughlin has done, to practice employing the methodologies thus far expounded. John chooses mostly very simple and sometimes quite familiar chord sequences with which to demonstrate his improvisations and indeed those students familiar with McLaughlin's recorded works will recognise many of his signature chordal patterns and at least five full compositions, including "Nostalgia," "Mother Tongues," and "Fallen Angels."

For example, his approach to rhythmic phrasing across basic modes and pentatonic scales lets you see upon what his work in Shakti and Remember Shakti is based and his signature style sails through the opening few chapters (all on C Ionian!), borrowing greatly from Coltrane's use of rhythmical phrases. Indeed his musical influences and teachers are well in evidence, whether it be a phrase reminiscent of Miles, a chord voicing from Bill Evans or a rhythmical division straight from tabla. It is awe inspiring to feel that here the lineage of many of the jazz giants from the 20th century is distilled into one coherent stream soley for the benefit and edification of the student.

The bonus DVD features a humourous "Bloops" section where McLaughlin's outtakes show a very warm, human nature behind the intensity of the "professional" face. There is also a lovely photo album of pictures taken of McLaughlin in his own home and studio to lighten the atmosphere from all the hard work. There is little if anything to be objectively critical of here; I'm at a loss though, to understand the rationale behind the artwork (McLaughlin posing with guitar in a long coat amidst an icy industrial landscape) other than some reference to "workshop." The application of the course to any other instrument is perhaps understandably limited, although many of the improvisational demonstrations were easily applicable to keyboards and saxophone. Perhaps it would have been aesthetically more pleasing to have had McLaughlin playing with some other live musicians rather than the sequenced backing tracks. Then again this may have detracted from it's real intention: this is a serious work for serious students.

To conclude it is, above all, exciting and fascinating to have John McLaughlin as your personal virtual guitar teacher in the comfort of your very own home, since only one Jan Maresz has the good fortune to have JM as his personal tutor in the real world. The course that is represented here will offer sufficient material to fill many years of dedication and application for even the most proficient student and I'm sure will come to be the seedbed for courses in educational institutions in the future, long after the great man has departed this mortal coil (Ph.D. in advanced John McLaughlin Guitar, anyone?). He leaves a legacy here of which he can be truly proud and which will enrich any aspiring guitarist's knowledge base.

It became clear to me some years ago that the real art of teaching lies in the way of showing with detailed clarity the way the teacher accomplishes what he does. The student can then adopt the various techniques he has understood and progressively apply them to his own instrument. This is the philosophy I have adopted in this DVD, and it is for this reason entitled: "THIS IS THE WAY I DO IT". This DVD is a ZONE 2 PAL Version, If you want a NTSC

Technical details
There are 12 Chapters, and each chapter begins with me speaking about the scale with its particular set of modes that the chapter is dedicated to. The chapters are categorized in the following order :
The Basic Modes
Rhythmic Development of Basic Modes + Introduction of the Major Pentatonic Scale
Modal Fluency Development + Phrasing
Introduction of Linear Triads + Scale Tone Chords
Symmetric Scale and Development of Fluency
Chromaticism
Harmonic Minor and its Harmonic Development
Melodic Minor and its Modal Development
Advanced Development of Melodic Minor and Introduction of the 2 :5 :1 Movement

Specials FREE DVD STUFF
12 Chapters(PDF format) - 12 Chapters in tablatures (PDF format)

SHEETS OF SOUND FOR GUITAR, Jack A. Zucker. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ.

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA, TABLATURE .

Sheets of Sound for Guitar is a set of books based on my musical philosophy. This involves approaching the instrument in a new and different way. These methods are not based on any type of picking method and are not technique books. Instead, they are centered around the concept of playing the music you hear rather than playing the familiar patterns that fall under your fingers. This approach is based on years of study with folks such as Pat Martino, Dennis Sandole, Howard Roberts, Joe Pass, Barney Kessel, Andrew White, Larry Woolridge, Randall Dollahan, Stan Samole, Mark Copeland, etc., and fusing that knowledge with the technical freedom of cats like Allen Holdsworth, Joe Satriani, Eric Johnson, Frank Gambale and others.

Product Description:
Develop Extreme Chops for guitar. Applicable for all types of music from Shred to Classical to Jazz to Bluegrass to Chickin' Pickin'. This method is endorsed and utilized by some of the best guitarists in the world. There is NO better method for developing chops and efficiency on the instrument.
-Tab and standard notation
-Amazing Chops (works for Fusion, Metal, Jazz, etc)
-Amazing blues scale applications
-Sweep Picking to die for
-Pick & Finger rolls
-Incredible Arpeggios
-Pentatonic Madness
-4th and 5th chords and arpeggios
-Odd Meter Phrasing
-The most comprehensive Chord Sub methodology
-Diminished lines like you've never seen before
-Endorsed and used some of the best guitarists in the world

Contents:
Chapter 1 - Linear Scales
Exercise 1.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Major Scale and Modes . . . . . . . . . . . . . . . . . . . . 
Exercise 1.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . .
Melodic Minor and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 1.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Harmonic Minor and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Harmonic Major and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diminished scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 1.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Whole tone scale, swept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Sweep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 1.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Banjo Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 1.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 1.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Scale Fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Scale Fragments, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Scale Fragments, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Scale Sweeps, Var. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
One, Two, Three, Five, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . 
Exercise 1.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
One, Three, Five, Diatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 1.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Five, Three, One, Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 1.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 1.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Coltrane triad with chromatic approach note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Chapter 2 - Pentatonic Scales
Exercise 2.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Basic Pentatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 2.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic scale fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Table of Contents
Exercise 2.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Sequencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 2.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Sequencing, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 2.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic, Long Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Alternate fingerings for practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 2.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 2.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic 7b9 (5th mode of Harmonic Major) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 2.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Minor 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 2.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic 9sus, Synthetic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 2.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Maj7#5 (3rd Mode of Melodic Minor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 2.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 2.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Blues Scale, Long Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 2.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pentatonic Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . 

Chapter 3 - Arpeggios
Exercise 3.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Triads, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Triads, 2nd Inversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Triads, 2nd Inversion, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
13th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
7th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 7th Chord Arpeggios, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
7th Chord Arpeggio Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
9th Chord Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
11th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave 9th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
9th Chord, Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave 13 chord arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave 9th Chord Arpeggio, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Sus Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
13th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Quadratonic Scale and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Dual 7th Arpeggios (built on root and 6th) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 3.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic Sus Triads Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 3.22.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic, dual arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Chapter 4 - Fourth-based Intervallic Models
Exercise 4.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
4th Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th Diads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Two Octave, 4th Arpeggio Inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Perfect 4th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
4th Quadrads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
4th Quadrad Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th Arpeggio, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th Arpeggio Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th Arpeggio, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th Arpeggio, Var. 3, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave Diatonic 4th Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic G Major, 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
1st Inversion 4th Arpeggios, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th and 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 4.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave Diatonic 4th and 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
9th Chord Arpeggios (Combined with 2nd Inversion 4th Triad) . . . . . . . . . . . . . . . . . . . . . . .
Exercise 4.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
2 Octave Diatonic 4th Arpeggio, 2nd Inversion, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Diatonic 4th Arpeggio / Double Stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 4.22.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 4th Septuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Chapter 5 - Fifth-based Intervallic Models
Exercise 5.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
5th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5th pairs, Cross-String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5ths Diads, Cross-String in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5ths, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Perfect 5th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5ths Quartlets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5th Quartlets, Cross-String in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 5.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5th Arpeggio and Diatonic tertiary Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5th and 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Dual 5th / 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 5.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diatonic 5th Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Chapter 6 - Miscellaneous Lines and Etudes
Exercise 6.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Picking Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pat Martino Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Pat Metheny Muted Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 6.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Wes Montgomery Horizontal Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 6.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
George Benson Diatonic Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
George Benson Blues Scale Fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Miscellaneous Dominant 7th Chord Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
7th Mode, Harmonic Minor Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
4th Mode Major Hexatonic Scale, no 7th . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 6.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
3rd Mode, Melodic Minor Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Mode 4 Harmonic Major (Melodic Minor #4), Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Seven Steps to Pat Metheny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Seven Steps to Pat Martino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 6.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
TraneThang Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Rhythm Method Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Chromatic scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 6.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Chromatic scale, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Chromatic Scale, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Chapter 7 - Diminished Models
Exercise 7.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear Diminished Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear Diminished Pattern, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear 7th #9 Diminished Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 7.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
7th #9 Diminished Quadruplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear Diminished 4th, Maj7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Exercise 7.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
4th Maj7 Diminished Quadruplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear Diminished Septuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diminished Septuplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear Diminished Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exercise 7.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Diminished #9 and 2nd Inversion Major Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
7#9 Triads, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear Diminished Quintuplets, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Exercise 7.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Linear Diminished Septuplet, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Chapter 8 - Appendix
Scale Analysis tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
Introduction to Dodecaphonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

VELVET REVOLVER, LIBERTAD. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Recorded Version TAB

Matching folio to the second release from this superstar band, featuring members of Guns n' Roses and Scott Weiland from Stone Temple Pilots. 13 songs, including:
PARENTAL ADVISORY: EXPLICIT LYRICS

American Man
Can't Get It Out Of My Head
Don't Drop That Dime
For A Brother
Get Out The Door
Gravedancer
Just Sixteen
The Last Fight
Let It Roll
Mary Mary
Pills, Demons & Etc.
She Builds Quick Machines
She Mine
Spay

128 pages

LEE ROTH DAVID, BEST OF. A Step-By-Step Breakdown of the Styles and Techniques of the Guitarists of David Lee Roth. Signature Licks Guitar. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA METAL CON CD. 

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Discography
Recording
About the Author
EDDIE VAN HALEN
STEVE VAI
JASON BECKER

TUNING

Ain't Talkin' 'Bout Love - VAN HALEN
And The Cradle Will Rock - VAN HALEN
Beautiful Girls - VAN HALEN
Goin' Crazy - STEVE VAI
Hang 'Em High - VAN HALEN
Hot For Teacher - VAN HALEN
Jump - VAN HALEN
Just Like Paradise - STEVE VAI
A Lil' Ain't Enough - JASON BECKER
Mean Street - VAN HALEN
Panama - VAN HALEN
Runnin' With The Devil - VAN HALEN
Skyscraper - STEVE VAI
Unchained - VAN HALEN
Yankee Rose - STEVE VAI

Best of David Lee Roth
A Step-By-Step Breakdown of the Styles and Techniques of the Guitarists of David Lee Roth
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: David Lee Roth
Arranger: Joe Charupakorn

Learn to play the blazing licks and solos as performed by David Lee Roth's renowned guitarists, including Eddie Van Halen, Steve Vai, and Jason Becker. Songs include: Ain't Talkin' 'bout Love - Beautiful Girls - Goin' Crazy - Hot for Teacher - Jump - Panama - Runnin' with the Devil - Yankee Rose - and 7 more. Includes an introduction.

Inventory #HL 00695843
ISBN: 9780634079719
UPC: 073999958430
Width: 9.0"
Length: 12.0"
112 pages

INTRODUCTION

Worshipped by his legions of fans and despised by ex-band members, David Lee
Roth embodies everything that defines the rock star. Sure, he can sing; that's a given.
What makes him "Diamond Dave," however, is that he's incredibly charismatic, vainglorious
beyond belief, has tremendous stage presence, and is a self-promoting, marketing
genius. These are the magic ingredients that separate the extraordinary from the merely
pedestrian. Guitarist Steve Vai characterized Dave as "hysteria personified." Dave craves
the spotlight and, over the course of his career, has created a larger-than-life public persona.
For instance, as Dave was very "giving" of himself, he attempted to get paternity
insurance should he get hit up for child-support payments down the line. Dave can't seem
to separate his public image from his personal life. He's Diamond Dave 24/7, and this
intensity is what makes him the incredible entertainer that he is.
David Lee Roth was born on October 10, 1954, in Bloomington, Indiana, into an
upper-middle-class family (Dave's father was an ophthalmologist). As a child, he was
extremely hyperactive, and by age six he started seeing a shrink regularly. At around the
same time, the Roths moved east to Massachusetts, and Dave, being both a Jew and the
new kid on the block, was quickly ostracized. This alienation led to an inner-rage that still
drives Roth to this day. In his autobiography, Crazy From the Heat, he recalled, "Every
step I took on that stage was smashing some Jew-hating, lousy punk ever deeper into the
deck. Every step." As a loner, he found solace in reading and was particularly affected by
two magazines: Mad and Playboy. These magazines shaped the course of his development.
Another pivotal element in Roth's development was his uncle Manny's club, Cafe
Wha?, in New York City's Greenwich Village. As a kid, Roth hung out there fairly often and
was exposed to every facet of society. This eye-opening experience led to an appreciation
of cultural differences and played a strong part in cultivating Roth's flamboyant persona.
Eventually, the Roths settled in Pasadena, California. As a teen, Dave sang in the
Red Ball Jets (named after a sneaker), an R&B-influenced outfit that played the backyardparty
circuit. It was at a party that Dave first heard Eddie Van Halen, who was then guitarist
and singer for Mammoth, wailin' away on some Black Sabbath covers. Dave was
blown away-"What he does with his hands I wanna do with my feet, with my voice." Roth
would later join Mammoth, and after a simple yet brilliant renaming, Van Halen was born.
Van Halen developed a huge following and conquered the local scene by packing
every gig. It was soon time for greener pastures, and in 1974 Van Halen headed to
Hollywood. It was in Tinseltown that things started to happen. The band secured a residency
at Gazarri's and made its presence known. The next turning point was playing the
Golden West Ballroom with UFO. Prior to this gig, Van Halen's set contained a mixture of
covers and originals; this was the band's first all-original set. The band wowed the audience,
and the generated buzz paved the way for gigs at the Whisky-a-Go-Go and the
Starwood-two essential places for aspiring rock bands to play. It was at the Starwood
that KISS bass player and entrepreneur Gene Simmons heard Van Halen. He immediately
saw the potential and proposed a deal whereby he would produce the band's demo and
shop it to the major labels. If no one bit, the band was free to walk. Van Halen jumped at
the offer, and Simmons flew the band to New York to record. Shockingly, not a single
record label expressed any interest. In hindsight, David Lee Roth suspected that
Simmons was surreptitiously trying to poach Eddie Van Halen.
It was later, in the hands of their first manager, Marshall Berle (actor Vincent
Berle's nephew), that the pieces would come together. He managed to get Warner
Brothers president Mo Ostin and producer Ted Templeman to a Van Halen show at the
Starwood. The band was signed immediately, and on February 10, 1978, Van Halen was
released.

Eddie Van Halen is the king of modern rock guitar, considered by many to be the
greatest rock guitarist ever. He was born Edward Loedwijk Van Halen on January 26,
1957, in Nijmegen, just outside of Amsterdam, Holland, to a Dutch father, Jan, and an
Indonesian mother, Eugenia. In the early '60s, the Van Halens immigrated to sunny
Pasadena, California, with only $25 and a piano (Alex Van Halen claims that both he and
Eddie played piano on the boat to pay for their passage). It was in their early childhood
that the seeds for Van Halen, the band, were planted. Their father was a professional
musician and made both of the boys take piano lessons (later on down the line, Jan would
play clarinet on "Big Bad Bill (Is Sweet William Now)" from Van Halen's fifth album, Diver
Down). Eddie, in particular, was highly accomplished at the piano and placed first several
times at annual piano tournaments.
During their first few school years, Eddie and Alex, because of their language barrier,
kept mainly to themselves and developed a life-long, impenetrable bond. While still in
grade school, they formed their first band called the Broken Combs; Eddie played piano,
Alex played sax, and they wrote well-titled pieces such as "Boogie Booger" and "Rumpus."
At around age twelve, Eddie heard "Wipe Out" and bought a $125 St. George drum set,
while Alex picked up a flamenco guitar. To pay for the drum set, Eddie took on a paper
route. As Eddie rode around the neighborhood delivering newspapers, Alex banged away
on Eddie's set. Alex got pretty good at the drums so they decided to swap instruments.
Eddie subsequently bought a cheapo four-pickup Teisco Del Ray guitar from Sears. The
high school years saw the Van Halen brothers in various bands. First came The Trojan
Rubber Company and then Genesis, which was renamed Mammoth after the guys found
out about the pre-existence of English prog-rockers, Genesis. In Mammoth, Eddie handled
not only the guitar duties but the lead vocals as well.
The Van Halen brothers first met David Lee Roth when Mammoth went up against
Roth's band at the time, the Red Ball Jets, in a battle of the bands at Hamilton Park in
Pasadena. Mammoth would later wind up renting Roth's PA for gigs because they didn't
own one. Eventually, Eddie stepped down from the lead vocal role and, in a sheer bit of
brilliant opportunism, offered Roth the gig. Roth accepted, and the band gained a charismatic
lead singer, plus free use of his PA.The band was then renamed Van Halen.
Michael Sobolewski (a.k.a. Michael Anthony) lucked his way into the Van Halen
gig. At a Pasadena High School concert, both Van Halen and Snake, Anthony's band at
the time, were on the bill. The PA broke down, and Van Halen was out of luck. Anthony
stepped in and offered the use of his PA.Van Halen used it and was not only won over by
Anthony's generosity but also impressed by his bass playing. Shortly thereafter, original
bassist Mark Stone got the boot, and Michael Anthony became a core member.
In late 1983, everything came together for Eddie and the band. At the request of
music impresario Quincy Jones, Eddie played a killer guitar solo (for free) on Michael
Jackson's pop mega-hit "Beat It" from Jackson's album Thriller. This album was #1 on the
Billboard charts for 37 weeks and, ultimately, became the best-selling album of all time.
At around the same time, Van Halen's 1984 album, an absolute masterpiece with three
heavily rotated MTV videos, went from Gold to Platinum to Multi-platinum to, ultimately,
Diamond status (ten million copies sold). The band was on top of the world. Then, suddenly,
on April 1, 1985 (April Fool's Day), Roth pulled the plug and walked away from Van
Halen to pursue a solo career. Van Halen had recorded six albums with David Lee Roth
and become the most important rock band of the '80s, achieving legendary status; however,
at the height of their career, the party was over.
David Lee Roth pursued a solo career and Van Halen enlisted Sammy "Red
Rocker" Hagar-who Eddie got in touch with through a mutual acquaintance, their
mechanic, Claudio-to continue the Van Halen legacy. After five albums, including a live
album, Live: Right Here, Right Now, Hagar and Van Halen parted ways; their split was...

BLACK LABEL SOCIETY, SHOT TO HELL. SHEET MUSIC WITH GUITAR TABLATURE .

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Series: Play It Like It Is
Softcover - TAB
Artist: Black Label Society
Exact transcriptions with tab for all 13 tunes off the Roadrunner Records debut from Zakk Wylde and company, Includes an intro on Zakk.

Zakk Wylde – guitar, vocals, talkbox, piano, keyboards, mellotron, organ
Nick Catanese – guitar
John DeServio – bass
Craig Nunenmacher – drums

TUTTI I TITOLI SONO DI ZACHARY P. WYLDE
Zachary Phillip "Zakk" Wylde (born Jeffrey Phillip Wielandt, January 14, 1967),

Black Mass Reverends
Blacked Out World
Blood Is Thicker Than Water
Concrete Jungle
Devil's Dime
Faith Is Blind
Give Yourself To Me
Hell Is High
The Last Goodbye
Lead Me To Your Door
New Religion
Nothing's The Same
Sick Of It All