MAYER JOHN, CONTINUUM. TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOHN MAYER IN PERSON.

Continuum 

Music by John Mayer

Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - 
Guitar TAB
Artist: John Mayer

Mayer was recently lauded by Rolling Stone for his massive guitar talent. This folio features notes & tab for all 12 songs from his third CD, including the hits “Gravity” and “Waiting on the World to Change,” plus his cover of Hendrix's “Bold as Love.” Also includes an intro on the making of the album.

Grammy Winner! Best Pop Vocal Album

Inventory #HL 02500986
ISBN: 9781575609447
UPC: 884088129477
Width: 9.0"
Length: 12.0"
100 pages

Belief
Bold As Love
Dreaming With A Broken Heart
Gravity
The Heart Of Life
I Don't Trust Myself (With Loving You)
I'm Gonna Find Another You
In Repair
Slow Dancing In A Burning Room
Stop This Train
Vultures
Waiting On The World To Change

... musician, and get to a point somewhere between
the Trio record and Room for Squares-and
that's a really good place to be."
While the Trio tour showcased Mayer's blazing
fretwork, he says he learned lessons from those
shows about restraint. "When I made my first
record, there was no trust in space because it was
all me; everything was just on those six strings," he
says. "With Steve and Pino it was all about space,
using a whole different palette. When your tone is
good on the guitar, you need, like, four notes. The
more concise and right you have it, the less you
need around it." One listen to such spare, carefully
crafted songs as "Slow Dancing in a Burning
Room" or "I Don't Trust Myself (With Loving You)"
instantly reveals this new approach.
Mayer points to one song in particular as
the turning point for Continuum. "I wrote 'Gravity'
last summer, and it changed everything," he
says. "You talk less when you trust that people
understand you. 'Gravity' had to be sparse. And
when I listened to it for the first time, holding
back, it was a whole new game. That might be
the most important song I ever wrote."
Armed with this outlook, Mayer knew
Continuum would tackle larger ideas than
those that defined his previous albums. "A big
challenge was writing about big themes," he
says. "I'm not a better writer in terms of sitting
down in front of a pad, but I'm better in terms
of receiving inspiration and converting it into
something 'real' quicker. I'm better equipped to
deal with those moments."
The hard-hitting "Belief" tackles an
infinitely complex subject. Over a slinky,
hypnotic guitar groove, he sings, "We're never
gonna win the world, we're never gonna stop
the warlWe're never gonna beat this if belief is
what we're fighting for," questioning the power
and the limitations of faith and convictions.
"It's an intellectuallandmine-how do you
write a song about what people believe without
impugning their belie s?" he asks. I wanted
to get right next to people's beliefs and look at
them without threatening them. It's tricky. You
only get x number of syllables and you have to
write something you can defend."
With "Waiting on the World to Change,"
Mayer shot for something even more ambitious something
like an attempt to explain his
generation's attitudes about politics. "It's
meant to shed a little light on inactivity and
inaction," he says, "because I don't believe that
inaction is a lack of interest. I think inaction is
preservation-nobody wants to get involved in a
debate in which the rules and facts will change
so that they'll lose. So we end up with this other
option, which is, I guess we'll just have to wait
for things to get better.
Continuum also includes the first cover
Mayer has put on an album, his version of "Bold
As Love" by the incomparable Jimi Hendrix. "To
me, it's the quintessential Jimi Hendrix song,"
says Mayer. "The sensitivity, the imagery, the
power. I also think the third record is the time
when you challenge everybody. It's your throwdown.
Ilike inviting the challenge of, Should
this guy even touch Hendrix's music? To which I
answer, Well, everybody should. Why not?"
Ultimately, Continuum represents maturity,
both musically and thematically, for John
Mayer-a concept that he wasn't comfortable
with until now. "A lot of these songs are about
coming to terms with getting older," he says.
"My generation was never told we were going to
get older. We thought we were going to hear our
names on Romper Room for the rest of our lives.
For a long time, I was really upset about getting
older, worried that things were just going to level
out. But then I realized that everyone around me
was getting older at the same time. We're all
fighting it together, and we're always going to
be those kids, the first really emotionally aware
generation. When I realized that, I could relax
about it a little bit. And I thought that maybe I
can be the guy to sing about it.

Continuum
Series: Play It Like It Is TABLATURE Guitar
Song List:

Belief - Words and Music: John Mayer - 2006
Bold As Love - Words and Music: Jimi Hendrix - 1968
Dreaming With A Broken Heart - Words and Music: John Mayer - 2006
Gravity - Words and Music: John Mayer - 2005
The Heart Of Life - Words and Music: John Mayer - 2006
I Don't Trust Myself (With Loving You) - Words and Music: John Mayer - 2006
I'm Gonna Find Another You - Words and Music: John Mayer - 2006
In Repair - Words and Music: John Mayer, Charlie Hunter - 2006
Slow Dancing In A Burning Room - Words and Music: John Mayer - 2006
Stop This Train - Words and Music: John Mayer, Pino Palladino - 2006
Vultures - Words and Music: John Mayer, Pino Palladino, Steven Jordan - 2006
Waiting On The World To Change - Words and Music: John Mayer - 2006

METALLICA, DEATH MAGNETIC. BASS TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY METALLICA

Bass Transcriptions
Series: Bass
Publisher: Cherry Lane Music TAB
Artist: Metallica

Projectcoordinator: Rebecca Skidmore

Exact bass transcriptions for all of Robert Trujillo's wicked licks from this smash hit CD. Includes artist-approved notes & tab for the hit single "The Day That Never Comes" and 9 more:

All Nightmare Long
Broken, Beat & Scarred
Cyanide
The Day That Never Comes
The End Of The Line
The Judas Kiss
My Apocalypse
Suicide & Redemption
That Was Just Your Life
The Unforgiven III

116 pages

ULTIMATE GUITAR TECHNIQUE, THE COMPLETE GUIDE. Bill LaFleur. Musicians Institute - PRIVATE LESSONS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

LIBRO DI MUSICA, ROCK, CLASSICAL, LATIN, FOLK, METAL, JAZZ, 

METODO DI TECNICA PER CHITARRA. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Publisher: Musicians Institute Press

From bends and picking styles to multi-finger tapping and animal sounds, this book/CD pack contains loads of guitar techniques to learn and master. Hone your skills with chop-building exercises, and use the demonstration CD to master every technique in the book. Includes: chop-building exercises - tremolo bar, tapping, harmonics - bends, slurs, slides - picking styles, rakes - fret-hand techniques - pick-hand techniques - lead and rhythm guitar - rock, classical, Latin, folk, metal, jazz and more - tricks and sound effects - standard notation and TABLATURE

JAZZ-ROCK TRIAD IMPROVISING FOR GUITAR, Jean Marc Belkadi. Mus. Inst. 50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

SHEET MUSIC BOOK CD WITH GUITAR TABLATURE.

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Jazz-Rock Triad Improvising for Guitar
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Jean Marc Belkadi

In this “private lesson,” MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top, red-hot licks and lead phrases! He covers: modal and tonal usage, triad substitution and superimposition techniques, and much more. The book is in standard notation and tab, and the CD features 50 full-band tracks.

Inventory #HL 00695361
ISBN: 9780634001581
UPC: 073999953619
Width: 9.0"
Length: 12.0"
24 pages

PRIVATE LESSONS

JAZZ-ROCK TRIAD IMPROVISING for Guitar
50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top phrases.

- CD Includes 50 Full-Band Tracks
- Modal and Tonal Usage
- Triad Substitution and Superimposition Techniques
- Standard Notation and Tablature

ISBN 0-634-00158-2

Introduction
In contemporary music, the use of triads is an important element in improvisation and composition.
They are as prevalent as scales, modes, arpeggios, rhythms, and intervallic ideas.
Like scales and modes, triads can be substituted in tonal and modal music. They can also be
superimposed, creating bitonality or polytonality. Superimposed triads give us synthetic scales
such as hexatonic (6 note scales = 2 triads), or nonatonic scales (9 note scales = 3 triads).
What Is a Triad?
A triad is a three-note chord made up of a root, third, and fifth. There are four triad families:
Major triad: 1-3-5
Minor triad: 1-b3-5
Diminished triad: 1-b3-b5
Augmented tri ad: 1-3-# 5
Of course, in everyday applications triads are played with different inversions:
Root position
1-3-5

Inversion possibilities
3-5-1, 5-1-3, 3-1-5, etc.

Sometimes triads are played with one degree dispersed an octave higher:

regular triads
open triads

This dispersement procedure creates what is referred to as an open triad, and can be applied
to minor, diminished, and augmented triads, as well as major.

Triad Substitution
Triad substitution is where one triad is substituted in place of another. One of the most common
is flat-five-or tri-tone substitution. This is when a triad a flat-fifth degree (tri-tone) away is
substituted for a chord. For example: instead of playing a G major triad over a G7 chord, a Db
major triad (Db is a flat-fifth away from G) is "substituted."

Triad Superimposition
Triad superimposition is where two or more triads are played one after the other, creating a
"dispersed scale" effect of bitonality or polytonality. Of course all triads can be substituted or superimposed
in both tonal and modal music, either using the single-note approach or voiced in chord form.
 

About this Book
The purpose of this book is to help you to create your own ideas using triad concepts. It is
divided into two parts: tonal music (II-V-I chord progressions, Chapters 1 and 2) and modal
music (Chapters 3 and 4). Keep in mind that the examples do not follow a specific order
of difficulty; you can jump in anywhere and work with the licks you like best. You also might want
to listen to the CD first to locate the examples that appeal to you the most.

About the Audio
Throughout this book, the numbers in the audio symbols (+) indicate the CD track number
where each example will be found on the accompanying CD.
Each example is played at full tempo, and most are repeated at half speed. In addition, short
introductory phrases (which are not transcribed in the examples) are sometimes included to provide
a better sense of context and to maintain an improvisational feel.

Acknowledgments
I wish to give special thanks to Marie-Christine Belkadi, Kevin Holmes for editing assistance, all at Hal Leonard Corporation, Frank Gambale and Mike Stern for their support, Keith Wyatt from Musicians Institution, Steve Blutcher from DiMarzio, HHHrrernst Homeyer for his good advice, Marco Biasella and Pierre Pichon for letting me use their equipment, Alain Lasseube-Le frere
Gagarine, Olivier Hermitant for his friendship, and Chris Jero of Yamaha.
This book is dedicated to my dear Grandma, Georgette Bach.

About the Author
Jean-Marc Belkadi started playing guitar at age 14. He graduated from the Toulouse Music
Conservatory in his hometown. In 1984, he left France for the U.S. to study at Musicians
Institute in Los Angeles where he received the Best Guitarist of the Year award.
In 1989 and 1992, he was awarded third and second prize at the Billboard Song Contest.
For three years, he was musical director of the Johnny Hune TV show. He has written three guitar
method books-A Modern Approach to Jazz, Rock, & Fusion Guitar, The Diminished Scale for
Guitar, and Advanced Scale Concepts and Licks for Guitar-and has recorded one solo album.

Table of Contents
About this Book
About the Audio
Introduction

Chapter 1: Substitution and Superimposition Techniques in Tonal Music
Major Key II-V-I Progressions Using Substitution 
Major Key II-V-I Progressions Using Superimposition 
Minor Key II-V-I Progressions Using Substitution 
Minor Key II-V-I Progressions Using Superimposition 
Major Key IImi7b5-V-1 Progressions Using Substitution 
Major Key IImin5-V-1 Progressions Using Superimposition 
Major Key 117-V-1Progressions Using Substitution 
Major Key 117-V-1Progressions Using Superimposition 

Chapter 2: Open Triad Techniques in Tonal Music
Major Key II-V-I Progression Using Open Triads .
Minor Key II-V-I Progression Using Open Triads 
Major Key Ilmi7b5-V-1 Progression Using Open Triads 
Major Key II7-V-1Progression Using Open Triads 

Chapter 3: Substitution and Superimposition Techniques in Modal Music
Ma7 Chord Examples 
Ma7#11 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples
Dominant7 Chord Examples 

Chapter 4: Open Triad Techniques in Modal Music
Ma7 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples 
Mi6 Chord Examples 
Dominant7 and Altered Dominant7 Chord Examples 
Acknowledgments
About the Author
Guitar Notation Legend
Note: Track to tune up.
 

50 YEARS OF THE GIBSON LES PAUL, Half a Century of the Greatest Electric Guitars. Tony Bacon. 160 pagine.

LIBRO ILLUSTRATO

Series: Book
Publisher: Backbeat Books
Medium: Softcover
Author: Tony Bacon

This exciting book documents the complete decade-by-decade story of one of the world's most important and influential electric guitars. The Gibson Les Paul turned 50 years old in 2002, and since its invention, its sweet, urgent sound has been used by a host of major rock players - from Eric Clapton in Cream to Steve Jones of The Sex Pistols, from Joe Walsh in The Eagles to Slash of Guns N'Roses. Unique color photographs feature a multitude of luscious Les Paul models and highlight great players in action with their Les Paul guitars. Meticulous listings for the collector document every model produced from 1952 to the present day. 50 Years of the Gibson Les Paul is a beautiful, detailed examination of six decades of great guitars and the fine musicians inspired to play them. 160 pages.

FIFTY YEARS OF THE GIBSON LES PAUL

Les Paul created on record a magical orchestra of massed guitars playing catchy instrumental tunes, and his first multi-guitar single was a big hit.

Les Paul is not just the name on a guitar headstock. The man himself was born Lester William Polfus in Waukesha, Wisconsin, in the mid 1910s, and started professional life as a talented, teenage guitarist. By age 17 he was broadcasting on local radio stations, playing country as Rhubarb Red and adding jazz to his expanding repertoire. The kid had an apparently natural technical ability, which he applied to music as well as to making his own bits and pieces of instrumental and electrical gadgetry. Like a number of performers in the 1930s, the young Lester soon became interested in amplifying his guitar. He recalled later that in his early teens he'd managed to create a pickup out of a telephone mouthpiece and an amplifier from his parents' radio, allowing him to bring his guitar to the attention of the audience at a local roadhouse gig. Around this time companies such as Rickenbacker, National and others began to sell the first commercial electric guitars, instruments with electric pickups and controls built into regular archtop acoustic guitars. By the middle of the 1930s the Gibson company had got into this market with an "Electric Spanish" guitar and amplifier, as had their biggest competitor, Epiphone of New York City. Meanwhile, Lester Polfus had permanently adopted a suitably shortened version of his name - Les Paul - and for three years from 1938 led a jazz-based trio broadcasting out of New York on the Fred Waring show. It was at this time that he moved from an acoustic archtop model to one of Gibson's first electric guitars, the ES-300. Later he would visit the empty Epiphone factory at weekends to experiment with an instrument he called his "log". The nickname came from a four-by-four solid block of pine that he inserted between the sawn halves of a dismembered Epiphone body, with a Gibson neck and Larson Bros fingerboard, adding his own vibrato and pickups. He didn't play this one much - it was more of a testbed. A little later Paul modified a second and third Epiphone, which he named his "clunkers", and he and vocal/guitar partner Mary Ford would use these semi-solid guitars regularly on stage and in recording studios through the early 1950s. Other explorations into solidbody electric guitars were being made elsewhere in America at this time, not least by Rickenbacker, National, Bigsby and Fender, all in California. A solidbody electric was appealing to manufacturers because it would be easier to construct than an acoustic guitar, using a body or body-section made of solid wood to support the strings and pickups. For the player, it would cut down the annoying feedback produced by amplified acoustic guitars. A solidbody guitar reduced the effect that the body had on the instrument's overall tone – something that players of electric hollowbody guitars criticise - but the solid body had the benefit of more accurately reproducing and sustaining the sound of the strings. Paul knew that Gibson was the biggest in the guitar business in the 1940s. After all, he'd appeared in the company's catalogues and ads as a famous player, both as Rhubarb Red and as Les Paul, and he'd played various Gibson guitars, including L-50, L-5 and Super 400 models (all acoustics) and that electric ES-300. So now he decided to try to interest them in his "log". Gibson was big, and ...

LES BEFORE THE PAUL

THE 50'S

THE 60'S

THE 70'S

THE 80'S

THE 90'S

THE NOUGHTIES

REFERENCE SECTION

INDEX

ACKNOWLEDGEMTES