John heussenstamm

GUITAR WORKOUT, SPEED PICKING, SWEEPS, ARPEGGIOS AND HARMONY For The Modern Guitarist, John Heussenstam. CD TABLATURE

Guitar Workout

Speed Picking, Sweeps, Arpeggios & Harmony for the Modern Guitarist
Serie: Guitar Educational
Formato: Softcover with CD - TAB
Autore: John Heussenstamm

Guitar Workout è un programma intensivo e completo che aumenterà la tua velocità, agilità e creatività. Questo è  un libro di esercizi fondamentali per i chitarristi che vogliono accellerare e articolare lo speed picking. Preparazione professionale insieme alla migliore comprensione delle scale maggiori diatoniche, armonia delle scale, la tecnica del picking che richiede unione di riff e assoli superveloci con l'intelligenza e creatività melodica. Il chitarrista di fama internazionale John Heussenstamm vi dimostrerà gli esercizi di riscaldamento a note singole, esercizi per aumentare la velocità, schemi di ditteggiatura, sweeps, arpeggi, costruzione melodica.

Larghezza: 9.0"
Altezza: 12.0"
154 pagine

ABOUT THE AUTHOR

I come from a musical family.My great grandfather and grandmother Erica had a music conservatorium in Germany. Mygrandmother fled Germany soon after World WarIand settled in Hollywood, California, where she raised four children and taught classical piano and voice lessons. My uncle George taught advanced music theory at the college level and beyond. I started learning piano at the age of four, but that didn't last long! Like most kids, I found playing football on the street with my brothers much more to my liking. I fought with my grandmother about practicing the piano. She claimed that I did all my exercises correctly and had my parents excited about my potential as a pianist. Not long after that, I heard my uncle Peter practicing Flamenco guitar, and that was the sound that inspired me to learn. It was Peter that gave me my first guitar lesson when I was eight years old. In elementary school, they didn't offer guitar, so I was given a cornet from my uncle Sonny on my mother's side of the family. I played that horn for four years in the school band but eventually traded it for a Gibson EBOelectric bass. Around that time, my aunt Barbara, who was married to famous saxophonist George Weidler of the Stan Kenton Band, gave me an old Fender Precision bass and a Standel amp. I used to load that gear on my red wagon, haul it around the neighborhood, and jam for hours with kids in local surf bands. Back in the early sixties, there weren't many bassists, so I was in demand and constantly working in groups until I left high school. After graduating, I traveled to Mexico in a VWcamper on a three-month surfing trip with my brother Paul. I brought along an old Gibson L12 archtop jazz guitar and constantly practiced the entire tripwhenever my brother was driving, I would sit in the back of the vehicle and practice. By the end of the journey, I was ready to start playing in bands. When I turned 21, I hit the road and started touring. Through a friend, I got an audition with a group out of New Orleans called Lovera. That job introduced me to rhythm and blues, and that influence has remained with me. I try to instill in all my students the feeling of that music-a music that we should be proud of.My first jazz teacher, Tito at WestLAMusic, used to say to me, "You should be proud of the great jazz and blues that comes out of America." I also had private lessons with some great guitarists: Joe Pass, Ted Greene, and Bob Conti. I auditioned for a gig with the great soul singer Deniece Williams and got the job playing funky soul music. I was the only white guy in the band. Because of my experience with Lovera, I was familiar with that style. Deniece later went on to win two Grammy Awards, and I am proud to have been a small part of her career. While visiting my brother, Mark, in West Australia, I met my future wife, Julie. After returning to California, I briefly studied Indian music with Ali Akbar in San Rafael, California. We eventually returned to Australia and settled in Perth. From 1980 to 1990, I taught guitar and toured around Australia in my own bands. I've always had a burning desire to play music, and that has led me back to America where it all started. John Heussenstamm John is currently living in Laguna Beach, California, and teaches at The Guitar Shoppe in Laguna.  

CONTENTS:

TITLE

Foreword

Introduction

Section I: The Major Scale

Chapter 1 - Basic Major-Scale Theory

Chapter 2 - Picking

Chapter 3 - Positions and Fingerings

Chapter 4 - The Three-Octave System

Chapter 5 - Three-Note Exercises

Chapter 6 - Two-String Fingering Patterns

Chapter 7 - Concept Review

Section II: Arpeggios

Chapter 8 - Three-Note Arpeggios

Chapter 9 - Four-Note Arpeggios

Chapter 10 - Transferring Melodies

Chapter 11- Modern Inventions

Chapter 12 - Advanced Arpeggios

Chapter 13 - A Note on Musicianship

Chapter 14- Melodic Invention

Section III: Modes and Other Scales

Chapter 15- Modes

Chapter 16- Scale Treatment

Chapter 17 - The Harmonic Minor Scale

Chapter 18 - The Melodic Minor Scale

Chapter 19- The Diminished Scale

Chapter 20 - The Whole Tone Scale

Section IV: Pentatonic Scales

Chapter 21 - The Minor Pentatonic Scale

Chapter 22 - The Major Pentatonic Scale

Chapter 23 - The Minor Pentatonic 6th Scale

Chapter 24 - The Eastern Pentatonic Scale

Section V: Special Guitar Techniques

Chapter 25 - The Ornaments (Colorations)

Chapter 26 - Tapping

Chapter 27 - Monster Licks

Appendix

Harmonic Description (in the key of C)

Changing Keys

Understanding Keys

About the Author

Guitar Notation Legend