ALFRED PUBLISHING

Chitarra Acustica Blues 

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

Il Metodo completo per la chitarra acustica blues. - Livello Base. Autore Lou M. CD TABLATURE

IL METODO PER CHITARRA ACUSTICA BLUES DEL ''NATIONAL GUITAR WORKSHOP''

Un libro didattico completo destinato al chitarrista blues interessato ad un serio studio dello strumento, da una delle più importanti scuole americane di musica contemporanea.
Incluso un CD audio contenente esempi e basi per suonare.

COMPRENDE:
- Numerosi esempi pronti da suonare, notati in partitura e intavolatura.
- Diagrammi degli accordi di facile lettura
- Lezioni sulle tecniche della chitarra Blues
- Spiegazioni di facile comprensione della teoria musicale

IL METODO COMPLETO PER LA CHITARRA ACUSTICA BLUES
LIVELLO BASE, LOU

Perfetto per i chitarristi acustici Blues alle
prime armi, e per chi vuole ampliare le proprie
conoscenze. Lou Manzi, autore del libro di
grande successo ''Beginning Fingerstyle guitar','
ha realizzato un metodo didattico curato
minuziosamente, destinato specificamente ai
chitarristi acustici. Questo libro rende facile
e piacevole lo studio delle fondamenta della
chitarra blues. Comprende sezioni dedicate alla
teoria musicale, agli accordi, alle tecniche della
mano sinistra, ai patten di chitarra ritmica, e
lezioni sull'improvvisazione nel blues. Studenti,
Insegnanti e autodidatti ameranno allo stesso
modo questo metodo accurato e di semplice utilizzo.
 

Traduzione italiana - Un nuovo libro della già nota collana National Guitar Workshop. Perfetto per i chitarristi acustici blues alle prime armi, e per chi vuole ampliare le proprie conoscenze. Un metodo didattico curato minuziosamente, che rende facile e piacevole lo studio delle fondamenta della chitarra blues. Comprende sezioni dedicate alla teoria musicale, agli accordi (con diagrammi di facile lettura), alle tecniche della mano sinistra, ai pattern di chitarra ritmica, e lezioni sull'improvvisazione nel blues. Studenti, insegnanti e autodidatti ameranno allo stesso modo questo metodo accurato e di semplice utilizzo.

INFORMAZIONI SU QUESTO LIBRO

Hai fatto una grande scelta nel decidere di imparare a suonare il blues - e quale strumento 
migliore per cimentarsi con esso della chitarra acustica, che è stata l’amata e fedele compagna dei 
musicisti blues sin dagli albori di questo stile musicale? Se sei un principiante assoluto, troverai i 
primi passi che ti proporrà questo libro semplici e divertenti. Si offre molto anche al musicista 
con più esperienza. In ogni caso, stai sicuro che troverai nel blues uno stile ricco e appagante.
Con un po’ di esercizio, ti riuscirà facile padroneggiare la maggior parte degli esempi musicali 
proposti in questo libro. La musica sul CD probabilmente ti suonerà familiare; molti grandi 
artisti blues impiegano le tecniche illustrate nel libro. Poniti l’obiettivo di imparare tutta la musica 
proposta in ciascun capitolo, e sarai sulla buona strada per diventare un vero chitarrista blues.
Non è necessario che tu affronti questo libro seguendo strettamente l’ordine delle pagine. 
Potresti trovare più divertente saltare qua e là. Esegui dapprima gli esempi più semplici e, non 
appena ti senti più sicuro, inizia a lavorare su materiale di maggior difficoltà. Un’altra opzione 
è quella di ascoltare il CD e di dedicarti innanzitutto agli esempi o alle canzoni che preferisci. 
Assicurati, in ogni caso, di studiare la teoria musicale proposta; ti renderà un musicista migliore.
Il blues ha influenzato profondamente rock, jazz, country, R&B e sostanzialmente ogni altro 
genere di musica moderna. Come musicista blues, avrai confidenza con molti elementi che è 
possibile rinvenire in questi altri stili, e disporrai quindi di un’ottima base di partenza per studiare 
qualsiasi genere di musica moderna.
Il blues è come un pozzo. Puoi prendere un po’ di acqua dalla superficie ed ottenere una 
bevanda rinfrescante. Ciò potrebbe essere paragonato a una persona che fa i primi passi musicali, 
imparando alcune canzoni. Ma il pozzo è profondo, e c’è ottima acqua a tutti i livelli, sino al 
fondo. Puoi suonare il blues per anni e continuare a imparare e ad abbeverarti a questo pozzo. 
La tua padronanza del materiale proposto in questo libro è solamente il primo sorso. Divertiti!
Questo libro contiene un CD. Utilizzarlo ti aiuterà a rendere lo studio più piacevole 
e le informazioni più ricche di significato. Ascoltare il CD ti permetterà di interpretare correttamente i ritmi e il feel di ciascun esempio. Il simbolo a sinistra appare in 
prossimità di ciascuna canzone o esempio la cui esecuzione è contenuta nel CD. Il 
numero dell’esempio è indicato sopra il simbolo. Il numero della traccia sotto ad ogni 
simbolo corrisponde direttamente alla canzone o esempio che desideri ascoltare. La 
prima traccia ti aiuterà ad accordare lo strumento

LA SETTIMA BEMOLLE
In questo contesto utilizziamo il termine “bemolle” per indicare genericamente l’abbassamento
di semitono della settima. Ad esempio, se abbassiamo di un semitono un sol #, otteniamo un sol
naturale. Sol # è il settimo grado della scala di LA maggiore, quindi sol n è considerato la b
7. Di seguito viene proposta una variazione sullo schema precedentemente visto che alterna accordi
“5” e “6”. Se utilizzi il quarto dito della tua mano sinistra per premere la corda un tasto più avanti
rispetto alla collocazione della sesta, ottieni una b 7. Si tratta di una sonorità fondamentale nel blues.
Questo shuffle è basato sulla forma di blues più comune. 

suona il suo originale e dinamico stile di chitarra acustica blues dagli anni settanta. Ha scritto quattro libri dedicati al fingerstyle, tra cui Beginning Fingerstyle Guitar (The National Guitar Workshop/Alfred #14099). Lou ha suonato molto come artista solista e come parte del duo Fletcher & Manzi, con Rob Fletcher. Il loro CD, Horsin’ Around Live, comprende pezzi originali che miscelano blues, jazz e rock.  Appare anche su Remembrance, una compilation dedicata ai veterani americani. Lou è insegnante in diverse scuole del Connecticut, e fa parte del National Guitar Workshop dal 1984. Riconosciuto come valido insegnante di chitarra acustica e di blues, ha tenuto seminari didattici in tutti gli Stati Uniti.

TAVOLA DEI CONTENUTI

INFORMAZIONI SULL’AUTORE

INFORMAZIONI SU QUESTO LIBRO

CAPITOLO 1 - Si parte!

Scegliere le corde.

Le corde a vuoto.

Accordatura .

Le altezze musicali e la tastiera.

La notazione musicale standard.

Leggere l’intavolatura

Leggere i diagrammi delle scale e degli accordi.

Leggere le chart degli accordi .

Postura.

Tecnica della mano destra.

Tecnica della mano sinistra .

CAPITOLO 2 – La progressione blues in

12 battute 19

Il blues in 12 battute più semplice.

La progressione blues in 12 battute più semplice .

La forma più semplice di blues in 12 battute, in MI

La forma blues in 12 battute piu’ comune.

La forma blues in 12 battute più comune, in LA .

La forma blues in 12 battute più comune, in MI..

La forma blues in 12 battute più comune, in RE.

La forma blues in 12 battute più comune, in SOL.

CAPITOLO 3 – Ritmica e Teoria Blues

Ottavi swing .

Intervalli.

CAPITOLO 4 – Blues shuffle 26

Accordi su due corde.

Blues shuffle in LA.

Il blues 5, 6, b

7 in LA .

Blues shuffle in MI .

CAPITOLO 5 – Palm muting

Shuffle in palm mute

Palm muting in LA .

CAPITOLO 6 – Ancora sulla scala maggiore

CAPITOLO 7 – Teoria degli accordi

e armature di chiave

Triadi maggiori e minori .

Triadi diminuite ed eccedenti .

Accordi di settima.

Armonia diatonica.

Armature di chiave.

CAPITOLO 8 – Pattern Blues

Boogie Woogie 42

Boogie-woogie in SOL.

Boogie-woogie in MI.

CAPITOLO 9 – Accompagnamento blues

in strumming 44

Blues in 12 battute in DO.

Blues in 12/8

Blues con due pennate per battuta in LA.

Strumming in MI .

CAPITOLO 10 – Solismo blues

La scala pentatonica minore .

La scala pentatonica maggiore.

La scala blues.

Fraseggio .

CAPITOLO 11 – Tecniche della

mano sinistra 55

Legati ascendenti.

Legati discendenti.

Bending.

Slide.

Vibrato..

Combinare le tecniche.

CAPITOLO 12 – Altre ritmiche blues e pattern

per la mano destra 62

Blues in SI b

Arpeggi .

Blues arpeggiato.

Lo strumming basato su note da un sedicesimo.

Funky blues in SI

Strumming in levare.

Blues in levare in FA.

CAPITOLO 13 – Turnaround

CAPITOLO 14 – Blues basati su riff

Blues basato su riff in MI minore.

Riffin’ in FA.

Octave Blues.

Blues funky in sol minore

CAPITOLO 15 – Pattern trasponibili

su due corde

Shuffle in SOL

Chuck’s blues

Shuffle in MI

CAPITOLO 16 – Accordi con barrè

Blues in LA b

con accordi in barrè .

CAPITOLO 17 – Blues in otto battute

Key to the Turnpike.

Too Long Blues.

Capitolo 18 – Blues minore

Blues minore in LA

Blues con tre pennate per ogni battuta

Blues per B. B.

CAPITOLO 19 - Blues fingerstyle

Blues minore per il reverendo Gary

Blues per Missisipi John

Keep on pickin’

Blues per Lightnin’

Boogie-woogie time

APPENDICE

RIFLESSIONI CONCLUSIVE

The Total Latin Guitarist, A Fun and Comprehensive Overview of Latin Guitar Playing. BOOK WITH CD & GUITAR TABLATURE
By Doug Munro

LIBRO METODO DI MUSICA LATINA, CON CD. 

SPARTITI PER CHITARRA E BASSO CON : 

ACCORDI, PENTAGRAMMA, TABLATURE DELLA CHITARRA. 

BASSO SOLO IN PENTAGRAMMA.

Serie: The Total Guitarist
Categoria: Guitar Method or Supplement
Formato: Libro & CD
Instrumento: Chitarra

It’s time to infuse your playing with a little hot-blooded romance! The Total Latin Guitarist is an exciting journey into the world of Latin guitar playing. The book begins by teaching you soloing and accompaniment techniques used in all genres of Latin music, as well as the rhythmic backbone of many Latin styles, the clave. You'll learn to play in the Afro-Cuban styles of salsa, rumba, guaguancó, cha-cha-cha, mambo, and songo. You'll get a solid introduction to the Brazilian styles of choro, samba, batucada, partido alto, bossa nova, baião, and frevo. Other Latin styles featured are meringue (Dominican Republic); calypso, soca, and bachata (Trinidad); tango (Argentina); and ranchera, mariachi, norteño/conjunto, and tejano (Mexico). Aside from all of the important techniques involved with playing these styles, you will also learn all of the relevant theory. This book is for guitar players who are already familiar with the basics, but are looking to expand their vocabulary and repertoire in new and exciting ways. The CD features a full band demonstrating the examples in the book. 

This book is intended for the intermediate to advanced guitarist who hasan interest in exploring Latin guitar styles. To get the most out of this book, you should have a firm grasp on playing technique and theory, including scale theory, chord theory, and diatonic harmony. You should also be able to read standard music notation or tablature (TAB). For a refresher on some of these topics, refer to the Appendix on page 126.

The Total Latin Guitarist is a sampler of 23 different Latin music styles from six different countries. For every famous person mentioned in this book, there are many more that are not mentioned. In doing the research for this book, I found many contrasting explanations and points of view on musical and historical information. This book only includes material that musicians and historians are in general agreement about. Many of the common questions asked by musIcians studying Latin music are addressed in these pages. Concepts like the clave and specific rhythmic patterns are explained and demonstrated. All of the examples are hands-on, practical solutions for creating the distinctive sounds of each style. The Total Latin Guitarist, while not a history book, provides some background on each style of music played. Gaining a historical perspective on the music helps in interpreting and understanding the particular harmonic and rhythmic patterns intrinsic to each style. Every recording listed in this book is still available (at least at the time of this publishing). It is vital that you listen to the music that you study in this book. There are subtleties that can only be learned through immersing yourself in the music. Be sure to memorize the musical examples and play along with the recorded tracks on the CD. As you master the information in this book, it is vital that you go out and play it. Get together with like-minded musicians and play in these styles. There is a whole other education you get from playing and sharing this music with others. Most of all, it is so much fun to feel the groove and be a part of making this unique and exciting music. A compact disc is available with this book. Using the disc will help make learning more enjoyable and the information more meaningful. Listening to the CD will help you correctly interpret the rhythms and feel of each example. The symbol to the left appears next to each song or example that is performed on the CD. Example numbers are above the symbol. The track number below each symbol corresponds directly to the song or example you want to hear. Track I will help you tune your guitar to this CD.

Doug Munro is a critically acclaimed New York jazz guitarist. Since 1987, he has released I I albums as a bandleader and has appeared on over 50 recordings as a sideman, producer, and arranger, working with a diverse array of artists including Dr. John, Michael Brecker, and Dr. Lonnie Smith. Doug has over 75 published compositions and over 300 recorded arrangements by the finest players on the scene today. Doug has received two Grammy nominations and two NAIRD awards. Amazon.com picked Boogaloo to Beck, which Doug performed on, arranged, and co-produced, as one of its Top Ten Jazz CDs of 2003. Doug also did orchestration work on the Oscar-winning 1997 documentary When We Were Kings. Doug continues to actively perform with around 100 live dates per year.

As an educator, Doug created and was Director of the Jazz Studies Program at The Conservatory of Music at Purchase College from 1993-2002. He continues to teach there as Director Emeritus. This esteemed jazz program boasts a faculty that includes John Abercrombie, Todd Coolman, Jon Faddis, Eric Alexander, John Riley, and many other top jazz performers. Doug has written three books on jazz improvisation for Alfred Music Publishing: • Swing to Bebop (Alfred 00-0388B) (Winner of The Music and Sound Retailers' Instructional Book of the Year Award in 2000)

• Bebop and Beyond (Alfred 00-0609B)

• Organ Trio Blues (Alfred 00-0758B)

Acknowledgements

There are many people who helped make this book possible. I would first like to thank Aaron Stang, my longtime editor and friend, from back in the Warner Brothers days. After Alfred Music Publishing merged with Warner, it was Aaron who put me in touch with the people at Workshop Arts, who co-publish many instructional music books with Alfred. Thanks to Jason Shadrick for introducing me to everyone at Workshop Arts; he has always been very generous with his time and contacts, and his help and friendship has been invaluable to completing this project. Next up is Burgess Speed, my new editor; working with Burgess has been great, he has a solid view of the "big picture" but never loses sight of the small details involved in writing a meaningful book. I look forward to, hopefully, doing many more projects together. Thanks also to Gil Parris, a longtime friend and guitarist. His generosity in helping me with this, and pretty much every project I've ever done, is greatly appreciated. Lastly, I would like to thank the good Lord for his love and guidance and my wife, Kathleen, and my sons, Eugene and John, for their love and support.

About the Author

Introduction

Chapter I: Latin Accompaniment Techniques

Accompaniment Styles Without a Bass Instrument

Accompaniment Styles with a Bass Instrument

Chapter 2: Latin Soloing Techniques

Soloing Based on a Scale or Mode

Soloing Based on an Arpeggio

Voice Leading

Chapter 3: Clave

Son Clave

Rumba Clave

BossaClave

Chapter 4: Montuno/Guajeo

Chapter 5: Afro-Cuban 

Son 

Salsa 

Salsa solo

Rumba

Rumba Solo

Guaguancó

Guaguancó Solo

Cha-Cha

Cha-Cha solo

Mambo

Mambo Solo 

Songo

Songo Solo

Mozambique

Mozambique

Chapter 6: Brazil

Choro 

Choro Solo 

Samba 

Samba

Batucada 

Batucada Solo 

Partido Alto 

Partido A/to

Bossa Nova 

Bossa Nova Solo 

Baião .

Baião Solo .

Frevo .

Frevo Solo

Chapter 7: The Dominican Republic

Merengue

Merengue Solo

Bachata

Bachata Solo

Chapter 8: Trinidad

Calypso

Calypso Solo

Soca

Soca Solo

Chapter 9: Argentina

Tango

Tango Solo

Chapter 10: Mexico

Ranchera

Ranchera Solo

Mariachi.

Mariachi Solo

Norteño / Conjunto

Norteño Solo

Tejano

Tejano Solo

Conclusion

Appendix

Reading Tablature (TAB)

Scale Diagrams

Major Scale Theory

Intervals

Diatonic Harmony

Circle of 4ths/5ths

Extended Chords

PENTATONIC SOLOING STRATEGIES FOR GUITAR, Modern Ideas for All Styles. Erik Halbig. CD TABLATURE

Pentatonic Soloing Strategies per la chitarra prende i più comuni strumenti di improvvisazione, le scale pentatoniche, e vi  fa vedere le sue praticamente illimitate possibilità.  Inizia con scale pentatoniche standard magiori e minori nelle 5 posizioni base e continua con la sfida delle variazioni pentatoniche per string skipping e sweep picking. Il libro culmina con le serie delle scale ?, compreso la 9-a tonica, diminuita, e la scala pentatonica a tono pieno aumentata. CD con la dimostrazione di tutti gli esempi inclusi nel libro.

Pentatonic Soloing Strategies for Guitar Modern Ideas for All Styles
By Erik Halbig
Item: 00-35302
UPC: 038081396064
ISBN 10: 0739070967
ISBN 13: 9780739070963

Series: The Improv Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Pentatonic Soloing Strategies for Guitar takes the most common improvisational tool, the pentatonic scale, and shows you its almost limitless possibilities. It begins with standard major and minor pentatonic scales in the five basic positions and quickly moves into challenging pentatonic variations for string skipping and sweep picking. The book culminates with a series of substitution scales, including the rootless 9th, the half-diminished, and the whole-tone augmented pentatonic scales. A CD demonstrating all the examples in the book is included:

FEATURES

THEORY, FORMS AND VARIATIONS FOR MAJOR AND MINOR PENTATONIC SCALES.

PENTATONIC SCALE PATTERNS THAT INCORPORATE SWEEP PICKING AND STRING SKIPPING.

EXTENDED INTERVAL FINGERINGS

12 SUBSTITUION SCALES TO EXPAND YOUR TONAL VOCABULARY AND ADD COLOR TO YOUR PLAYING.

EXAMPLES IN TAB AND STANDARD MUSIC NOTATION.

INTRODUCTION
The pentatonic scale is a scale consisting of five notes. It can be found in almost every style of music, from early African-American spirituals such as "Swing Low, Sweet Chariot" to the classical compositions of Claude Debussy and Maurice Ravel to the bluesy rock guitar sounds of Jimi Hendrix, Jimmy Page, and Eric Clapton.
Players sometimes fall into the rut of playing the "same old pentatonic licks." This book-which will change how you think about the pentatonic scale-is the remedy for this situation.
This is not a beginner's book. To use it effectively, you should already have a working knowledge of music, music theory, and the minor and major pentatonic scales. However, a quick review of the basics is included on page 5. A review of the minor and major pentatonic scales follows (starting on page 11), after which you will learn many new and exciting ways to manipulate and rework these basic scales. Most importantly, practical applications are provided.
There are lots of new ideas in this book to stimulate your own creativity. You can write
down ideas that come to you on the blank page (page 95) at the end of this book. Good luck!

A compact disc is included with this book. Use the CD to help ensure you're capturing the
feel of the examples and interpreting the rhythms correctly. The symbol shown at the left
appears next to every example that is on the CD. Example numbers are above the symbol,
while the track number below the symbol corresponds directly to the example you want to
hear. If there's a decimal (1.1,1.2, etc.), it means that there's more than one example on the
track. Track I provides tuning notes for your guitar.

ABOUT THE AUTHOR
Erik Halbig holds a degree in studio/jazz guitar performance from the University of
Southern California School of Music. He has presented numerous clinics and special
seminars at the California and Nashville campuses of the National Guitar Workshop.
He is also the author of two other Alfred/National Guitar Workshop titles: Mastering
Rock Guitar (#14096) and Stand Alone Tracks: Country (#17805). Currently living
in Nashville, Tennessee, Erik is busy doing session work and touring. He has toured
and recorded with Sugarland, Sara Evans, Blackhawk, Tanya Tucker, Wynonna,
and many others.

Acknowledgements
Thanks to Bruce Bolen, Jr. at Fender Guitars, Myles Rose at Groove Tubes, Ryan
and Chris at Gadow Guitars, Derek Brooks at Ernie Ball, Danica Levy at Levy's
Leathers, James Heidrich at Bad Cat Amplifiers, Steve Blucher at DiMarzio,
Michael Tuttle, Don Grosh, and Ampeg Amplifiers.

CONTENTS
About the Author .
Introduction .
Getting Started .
Whole Steps, Half Steps, and Scales .
Standard Music Notation .
Tablature (TAB) .
Sliding .
The Guitar Fretboard .
Pentatonic Theory , .
The Major Scale .
The Minor Pentatonic Scale .
The Major Pentatonic Scale ; .
The Minor Pentatonic Scale .
Five Minor Pentatonic Scale Forms in A .
The Major Pentatonic Scale .
Five Major Pentatonic Scale Forms in A .
Variations .
Variation I-Sliding Combinations .
Variation 2- Weaving Combinations .
Variation 3-Extended Weaving Combinations .
Variation 4-Extended Weaving and Sliding Combinations .
Variation 5-Skipping and Weaving .
Variation 6-Sequenee Weaving .
Variation 7-Weaving and Sliding .
Extended Interval Fingerings .
Extended 4th Intervals .
Extended 5th Intervals ,. .
Extended 7th Intervals .
Penta-Scales .
Pentatonic Motives .
Four-Note Motives .
Five-Note Motives .
String-Skipping Pentatonics .
One-Note-Per-String Pentatonics-Sweep Picking .
One-Note-Per-String Pentatonic Combinations .
Substitutions .
Rootless 9th Pentatonic Scale .
Dominant 7th/9th Pentatonic Scale .
Minor 6th Pentatonic Scale .
Minor 6th Blues Pentatonic Scale .
Lydian Dominant Pentatonic Scale .
Half-Diminished Pentatonic Scale .
Lydian Pentatonic Scale .
Dominant Pentatonic Scale .
Altered Dominant Pentatonic Scale .
Whole Tone Augmented Pentatonic Scale .
Dominant 7b9 Pentatonic Scale .
Diminished Pentatonic Scale .
Conclusion .
 

YORK ANDREW, THE CLASSICAL GUITARIST'S GUIDE TO JAZZ, Expand Your Playing with a New Style. CD 

LIBRO METODO DI MUSICA, SPARTITI PER CHITARRA CON CD E MP3. 

ACCORDI, PENTAGRAMMA, GRAFICO DELLA TASTIERA. 

The Classical Guitarist's Guide to Jazz

Expand Your Playing with a New Style

By Andrew York / ed. Nathaniel Gunod

Categoria: Guitar Method or Supplement

Formato: Libro & CD

Istrumento: Chitarra

Chitarrista e compositore Andrew York presenta la sua ultima guida jazz per la chitarra classica. Le prime due sezioni delle tre del libro riguardano l'armonia e gli accordi/melodie jazz, focalizzandosi sul comping, chord voicing, voice leading e arrangiamenti per la chitarra solo. La terza parte è dedicata all'improvisazione che potrebbe essere l'aspetto più emozionante del jazz per chitarristi classici. York dimostra che l'improvvisazione è un'abilità che può essere imparata e praticata come altre. Eseguendo gli esercizi del libro per l'allenamento dell'orecchio e gli esercizi  di visualisazzione imparerai come trasformare la musica che senti nel tuo "orecchio mentale” nei più fantasiosi e buoni jazz solo. Il CD contiene gli esercizi e esempi eseguite dall'autore.

Guitarist and composer Andrew York presents the ultimate guide to jazz for classical guitarists. The first two sections of this three-part book cover jazz harmony and chord/melody, focusing on comping, chord voicings, voice leading, and arranging for solo guitar. Part three looks at improvisation, which may be the most exciting—yet foreign—aspect of jazz for classical guitarists. York shows you that improvisation is a skill that can be learned and practiced just like any other. By practicing the ear training and visualization exercises in this book, you will learn how to turn the music you hear in your "mind's ear" into imaginative, great-sounding jazz solos. The CD contains the exercises and examples performed by the author.

MODAL SOLOING STRATEGIES FOR GUITAR, Modern Ideas for All Styles. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA CON CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, DISEGNO DELLA TASTIERA, PENTAGRAMMA, TABLATURE

SOLISTA, ARMONIA, STUDIO, MANUALE, 

By Jody Fisher
Item: 00-35461
UPC: 038081396576
ISBN 10: 0739071629
ISBN 13: 9780739071625

Series: The Improv Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Modal Soloing Strategies for Guitar is a comprehensive, multi-faceted study of the seven major-scale modes. Start applying and understanding the modes through sample licks, extended solos, and play-along tracks. In addition, you'll play each mode in all 12 keys, learn different types of fingerings, and even learn the formula for each mode and its relationship to the diatonic chord. Soon, you'll be harmonizing the modes and deriving them by altering other scales. A CD with play-along tracks and demonstrations of all the examples in the book is included. 

FEATURES
• Each mode of the major scale in all 12 keys, examined from five different perspectives
• Harmonized modes with suggested voicings
• Open, closed, and single-string fingerings
• Licks and play-along tracks for every mode
• Extended solos showcasing the modes in various combinations
• Examples in TAB and standard music notation

ALSO AVAILABLE
Pentatonic Soloing Strategies for Guitar (35302)

The Improv Series
MODAL SOLOING STRATEGIES FOR GUITAR
Modern Ideas for All Styles
JODY FISHER

ISBN-10: 0-7390-7162-9 (Book & CD)
ISBN-13: 978-0-7390-7162-5 (Book & CD)
Alfred Music Publishing Co., Inc.

This book was acquired, edited, and produced by Workshop Arts, Inc., the publishing arm of the National Guitar Workshop.
Nathaniel Gunod, acquisitions, managing editor Burgess Speed, acquisitions, senior editor
Timothy Phelps, interior design Ante Gelo, .music typesetter

CD tracks 1, 4, 7, 10, 13, 16, 19, and 22 recorded by Robert Brown at Workshop
Sounds Studio, Cranford, NJ; tracks 2,3,5,6,11, 12, 14, 15, 17, and 18 recorded at
Studio Blue, Derry Hill, TX; tracks 8 and 9 recorded by Glenn Riley; tracks 20 and 21
recorded by Steve Robertson at Standing Room Only Studios, Fontana, CA

Alfred, the leader in educational publishing,
and the National Guitar Workshop,
one of America's finest guitar schools, have joined
forces to bring you the best, most progressive
educational toolspossible. We hope you will enjoy
this book and encourageyou to lookfor
other fine products from Alfred and the
National Guitar Workshop.

Cares. Contents printed on recycled paper.

INTRODUCTION

Welcome to Modal Soloing Strategies for Guitar, the only book about the modes
you may ever need. This book is for intermediate to advanced guitarists desiring
a thorough understanding of modes and their applications for improvising. For
those unfamiliar with the basics of notation and music theory, there is a review
starting on the next page. If you are already familiar with these basics, you can
skip the review and jump ahead to page 20.
The modes have been in existence for centuries as compositional tools for classical,
folk, and ethnic musicians, as improvisational devices for jazz musicians, and a
source of "new" sounds for rock, pop, and country artists. But, unfortunately,
the subject has been shrouded in mystery, causing many guitar students a lot of
confusion. The confusion may be due to an incomplete overview of the subject.
There are many ways of looking at modes and each one has an important place
in understanding and applying the modes to improvising, composition, or both.
Although modes can be derived from both major and minor scales, this book deals
only with the modes of the major scale. Each chapter is devoted to a particular
mode and will include:
• A notated list of the mode in twelve keys
• Perspective #1: The modal formula, a look at where the half steps occur in
the scale and how it relates horizontally to the fretboard
• Perspective #2: The mode's relationship to the diatonic harmony
• Perspective #3: The mode created by altering another scale
• Perspective #4: The mode's intervallic distance from the "parent" key,
measuring from the root of a chord
• Perspective #5: Deducing a mode's key signature
• Six closed-position fingerings
• Open-position fingerings in every key
• The harmonized mode, with sample chord voicings
• Mode usage
• Practice suggestions
• Licks
• Melodic patterns
• Backing track to practice soloing
Also, sample solos utilizing most of the modes in various combinations have been
included at the end of the book.
One way this book is different from many others is that three fingering options are
covered. The first is the horizontal approach along the single string. The second
is the use of "locked" fingerings or scales that are played in a fixed position. The
third fingering option is the "open" position. When any musical concept is explored
on the guitar, a more complete understanding is accomplished by examining all
three fingering options.
It should be noted here that, while a clear understanding of the modes is important,
it represents only a part of what is needed to become an accomplished improviser.
Modes, in conjunction with other scales, arpeggios, and licks, are only part of the
picture. Improvisation is a lifetime study. Try to keep this in mind.
Each chapter of this book is complete so it's all right to skip around. You can also
move straight through from beginning to end for a very comprehensive study. To
get the most out of this book, you need to transpose all exercises and fingerings in
all twelve keys. At first this may seem like a hassle, but in time it will get easier
and payoff in the form of greater fluency.
 

ABOUT THE AUTHOR
Jody Fisher has worked professionally in virtually all
styles of music during his career, from straight-ahead
and contemporary jazz to rock 'n' roll, country, and
pop. For several years, he was a director of the National
Guitar Workshop. He also taught guitar and jazz studies
at both the University of Redlands and Idyllwild School
of Music and the Arts (ISOMA TA). He is an active
performer in the Southern California area, where he
maintains a busy private teaching practice as well.

Acknowledgements
One does not survive in the music business without
help and support from a large network of family and
friends. I would like to thank my wife, Julie; my son,
Josh; Shauna Perry; and my parents, Howard and Edith
Fisher. Also, thanks to my brother, Rich; my uncle, Sid;
David Smolover, Nat Gunod, Ted Greene, Joe Diorio,
George Stanley, Bob Scarano; and the entire gang at
Caleb's Guitar.

Other Instructional Materials by Jody Fisher
3D-Day Guitar Workout (AlfredlNational Guitar Workshop-Book #17867)
Ear Trainingfor the Contemporary Guitarist (AlfredlNational Guitar Workshop-Book & CD #19370)
Jazz Skills (National Guitar Workshop-Book & CD #07-1012)
Rhythm Guitar Encyclopedia (AlfredlNational Guitar Workshop-Book & 2 CDs #14838)
Stand Alone Tracks: Smooth Jazz (AlfredlNational Guitar Workshop-Book & CD #17808)
The Complete Jazz Method:
Beginning Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14120)
Intermediate Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14123)
Mastering Jazz Guitar: Chord/Melody (AlfredlNational Guitar Workshop-Book & CD #14126)
Mastering Jazz Guitar: Improvisation (AlfredlNational Guitar Workshop-Book & CD #14129)
Jazz Guitar Harmony (AlfredlNational Guitar Workshop-Book & CD #20440)
Teaching Guitar (AlfredlNational Guitar Workshop-Book & CD #22916)
Jazz Licks Encyclopedia (AlfredlNational Guitar Workshop-Book & CD #19420)

A compact disc is included with this book. Use the CD to help ensure you're capturing the feel
of the examples and interpreting the rhythms correctly. The symbol shown at the left appears
next to every example that is on the CD. The track number below the symbol corresponds
directly to the example you want to hear. Track 1 provides tuning notes for your guitar.
0001 Soloing Strategies for Guitar

CONTENTS
About the Author
Introduction
otation and Theory Review 5
Tablature (TAB)
Scale Diagrams
Chord Diagrams
Reading Roman Numerals
Left-Hand Techniques
The Chromatic Scale
The Major Scale
Key Signatures
Intervals
Minor Scales

The Ionian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
C Ionian Backing Track

The Dorian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
D Dorian Backing Track

The Phrygian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings ; .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
E Phrygian Backing Track .

The Lydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
F Lydian Backing Track .

The Mixolydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale ,
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
G Mixolydian Backing Track .

The Aeolian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position fingerings: in every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
A Aeolian Backing Track .

The Locrian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
B Locrian Backing Track .

Concluding Solos .
Ionian/Dorian .
Ionian/Dorian/Phrygian .
Lydian/Dorian .
Mixolydian .
Aeolian/Mixolydian .
Locrian/Mixolydian/ Aeolian .

Modal Soloing Strategies for Guitar 

NOTATION AND THEORY REVIEW

Tablature (TAB)
Tablature (TAB) is a system of notation that graphically represents the strings and frets of the guitar fingerboard. Each note is indicated by placing a number, which indicates the fret to play, on the appropriate string.

Scale Diagrams
This book is loaded with scale diagrams. The top line represents the first string of the guitar, and the bottom line the sixth. The vertical lines represent frets, which are numbered with Roman numerals.

The root Scale tones First string
Frets Fret numbers

Chord Diagrams
Chord diagrams are similar to scale diagrams, except they are oriented vertically instead of horizontally. Vertical lines represent strings, and horizontal lines represent frets. Roman numerals are used to number the frets.

Chord Name First String -C7
Barre + Fret number
Frets Sixth String

Reading Roman Numerals
Roman Numeral Review
Here is a review of Roman numerals and their Arabic equivalents.
I or 1
II or 2
III or 3
IV or 4
V or 5
VI or 6
VII or 7

Left-Hand Techniques
SL= Slide
H = Hammer-on
P= Pull-off
Bend and Release
Whole-Step Bend
Half-Step Bend
Left-hand fingering