ALFRED PUBLISHING

WHO-TOMMY GUITAR TABLATURE BOOK LIBRO SPARTITI CHITARRA Overture Sparks Pinball Wizard SEE ME FEEL ME

THE WHO: TOMMY. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRI DI MUSICA ROCK . 

SPARTITI PER VOCE E CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .  

The Who
Item: 00-41289
UPC: 038081461816
ISBN 10: 0739097334
ISBN 13: 9780739097335
Category: Guitar Personality
Format: Book
Instrument: Guitar
Version: Guitar TAB Edition

Telling the story of a deaf and blind boy, The Who's Tommy made history as the world's first true "rock opera." The album is not only an expansive artistic success that set the bar for bands to come---it's succeeded commercially as well, selling over 20 million copies. This album-matching folio contains authentic guitar TAB transcriptions of all the songs on the album, and is sure to please fans both as sheet music and a collectible. Titles: Overture * It's a Boy * 1921 * Amazing Journey * Sparks * Eyesight to the Blind (The Hawker) * Christmas * Cousin Kevin * The Acid Queen * Underture * Do You Think It's Alright? * Fiddle About * Pinball Wizard * There's a Doctor * Go to the Mirror! * Tommy Can You Hear Me? * Smash the Mirror * Sensation * Miracle Cure * Sally Simpson * I'm Free * Welcome * Tommy's Holiday Camp * We're Not Gonna Take It.
 

Price: €349,99
€349,99

CHITARRA ACUSTICA BLUES LIVELLO BASE LIBRO CD TABLATURE Lezioni tecniche chitarra

Chitarra Acustica Blues 

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

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

 

 

 

 

Price: €20,99
€20,99

PLAYING GUITAR IN JAZZ BAND Practical Guide Students Teachers Sinclair LIBRO CD TABLATURE

PLAYING GUITAR IN JAZZ BAND, A Practical Guide for Students and Teachers. David Sinclair. CD TABLATURE

 

 

Format: Book & CD

Instrument: Guitar

 

Playing Guitar in Jazz Band is for beginning to intermediate guitarists who are interested in playing in a jazz big band. Playing this style of guitar can be challenging, as the chord changes are often complex, yet the guitar parts should remain simple enough to avoid detracting from the overall sound of the band. This book breaks down that process by substituting difficult chord shapes with more flexible voicings that are designed to sound good on the guitar. Learn a wide variety of rhythmic patterns and work with authentic chord charts that are exactly like the ones you will encounter in real-life situations. This is the perfect crash course for students who have just joined their first jazz band and the ideal companion for music teachers who want to better understand the role of the guitar in their ensemble. A CD demonstrating the examples in the book is included. 

Price: €23,99
€23,99

TOTAL LATIN GUITARIST A Fun and Comprehensive of Latin Guitar Playing Doug Munro CD TABLATURE

The Total Latin Guitarist
A Fun and Comprehensive Overview of Latin Guitar Playing
By Doug Munro

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

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. 

Price: €29,99
€29,99

BRAZILIAN RHYTHMS FOR GUITAR, Samba, Bossa Nova, Choro, Baião, Frevo, Other Styles. Arana. CD TABLATURE

 

Brazilian Rhythms for Guitar
Samba, Bossa Nova, Choro, Baião, Frevo, and Other Brazilian Styles
By Carlos Arana
Series: Guitar Masters Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Educator and performer Carlos Arana captures Brazil's rich musical heritage with impeccable stylistic, historic, and technical analyses. The first section of this book covers the fundamental rhythmic and harmonic characteristics of samba, bossa nova, and choro styles followed by practical applications on the guitar. The practical applications break each of the styles down to their historic and regional roots combined with examples that capture the essence of each style. The next section takes you to the northeast of Brazil with the rhythm figures of baião, toada, xote, afoxé, frevo, Marcha, and Marcha Rancho. Over 60 examples, written in standard notation and tablature, are demonstrated on the included CD. 

Price: €22,99
€22,99

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

 

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 .

Price: €21,99
€21,99

MOTLEY CRUE GREATEST HITS UPDATED Authentic Guitar TABLATURE SPARTITI LIBRO CHITARRA

MOTLEY CRUE GREATEST HITS UPDATED Authentic Guitar TABLATURE. 

SHEET MUSIC BOOK WITH GUITAR TAB.

 

SPARTITI LIBRO CHITARRA 

Mötley Crüe: Greatest Hits 2009
Mötley Crüe

UPC: 038081386584
ISBN 10: 0739068725
ISBN 13: 9780739068724

Category: Guitar Personality
Format: Book
Instrument: Guitar
Version: Authentic Guitar TABLATURE

This updated version of Crüe's best-selling Greatest Hits CD features all their classic hits plus their newest singles. Titles: Too Fast for Love * Shout at the Devil * Looks That Kill * Too Young to Fall in Love * Smokin' in the Boys Room * Home Sweet Home * Wild Side * Girls, Girls, Girls * Dr. Feelgood * Kickstart My Heart * Same Ol' Situation (S.O.S.) * Don't Go Away Mad (Just Go Away) * Without You * Primal Scream * Sick Love Song * Afraid * If I Die Tomorrow * Saints of Los Angeles * Animal in Me [Remix].

TITLE COMPOSER

Afraid Nikki Sixx (composer)

Too Fast for Love Nikki Sixx (composer)

Saints of Los Angeles (Gang Vocal) Nikki Sixx (composer); Marti Frederiksen (composer); James Michael (composer); D.J. Ashba (composer)

The Animal in Me Nikki Sixx (composer); Marti Frederiksen (composer); James Michael (composer); D.J. Ashba (composer)

Sick Love Song Nikki Sixx (composer); James Michael (composer)

If I Die Tomorrow Nikki Sixx (composer); Pierre Bouvier (composer); Charles Andre Comeau (composer)

Too Young to Fall in Love Nikki Sixx (composer)

Shout at the Devil Nikki Sixx (composer)

Looks That Kill Nikki Sixx (composer)

Home Sweet Home Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)

Girls, Girls, Girls Mick Mars (composer); Nikki Sixx (composer); Tommy Lee (composer)

Wild Side Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)

Primal Scream Mick Mars (composer); Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)

Dr. Feelgood Mick Mars (composer); Nikki Sixx (composer)

Don't Go Away Mad (Just Go Away) Mick Mars (composer); Nikki Sixx (composer)

Without You Mick Mars (composer); Nikki Sixx (composer)

Kickstart My Heart Nikki Sixx (composer)

Same Ol' Situation (S.O.S.) Mick Mars (composer); Nikki Sixx (composer); Tommy Lee (composer); Vince Neil (composer)

Smokin' in the Boys Room Michael Lutz (composer); Cub Koda (composer) 

Price: €89,99
€89,99

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

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

The Classical Guitarist's Guide to Jazz
Expand Your Playing with a New Style
By Andrew York / ed. Nathaniel Gunod

Item: 00-35452
UPC: 038081396484
ISBN 10: 0739071599
ISBN 13: 9780739071595

Category: Guitar Method or Supplement
Format: Book & MP3 CD
Instrument: Guitar

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. 

INTRODUCTION

There is a desire among many classical guitarists to learn how to play some jazz on the classical

guitar. But they often have expressed reservations or even fear when confronted with the idea

of playing jazz, reading jazz charts or improvising. I've designed the first section of this book to

help classical guitarists learn the necessary harmonic skills to play jazz with confidence and to

have some fun doing it.

Learning jazz harmony will be the focus of this first section; before chord/melody or improvising

with scalesor modes can be learned effectively, it's vital to have a solid grasp of jazz harmony.

Sothat is where I chose to begin.

There are some basic differences between the jazz and classical worlds. Compared to classical

music, jazz uses a different style of notation and has a different rhythmic sensibility. We'll

talk about this, since understanding these differences is important for gaining fluency and

authenticity in playing jazz.

You'll find the layout is not strictly linear; though I've tried to progress somewhat logically, I've

also digressed frequently and put in many things that will stretch you every step of the way. I

didn't want to spoon-feed you. Getting the most out of this book will require your participation and study.

Most of all, I hope you find some inspiring new directions for your music. Enjoy.

 

EDITOR'S PREFACE

At the National Guitar Workshop, the divisions between different styles of guitar playing have

never been drawn with a heavy line; we have always encouraged as much "cross-fertilization"

as students are comfortable receiving. So it was a no-brainer when Andrew first suggested a

course designed to teachjazz guitar to classical guitarists.

This book assumes you play classical or fingerstyle guitar on at least an intermediate level and

have a basic understanding of music theory. There is a quick review of the basics of theory on

page 64, but we make no pretenses about it being complete. If harmony is not a strong area for

you, you may want to brush up a bit.

Guitarists tend to be fun-loving, gregarious and curious, which is one very important reason

why the level of technical skill and musicianship among us continues to improve with each new

generation of players. We believe this book will appeal to that wide streak of curiosity and joy

in music making-music of all kinds-among our fellow guitarists.

 

HARMONY CONTENTS

About The Author
Introduction
Editor's Preface

 

CHAPTER ONE Chord Families
Major Family Chords
Major Muse (with Slashes)
Major Muse (Possible Comp)
Major Muse (Another Possible Camp)
Dominant Family Chords
Prominent Dominant.
Prominent Dominant (Another Possible Camp)
Minor Family Chords
Minor Line
Minor Line (Another Possible Camp)
Review

 

CHAPTER TWO - Five-Position Chords
Five-Position Chords
Five-Position Chords Along the Fingerboard
Five-Position Major 7 Chords
Five-Position Chords Across the Fingerboard
Five-Position Dominant Chords Along the Fingerboard
Five-Position Dominant Chords Across the Fingerboard
Five-Position Minor Chords Along the Fingerboard
Five-Position Minor Chords Across the Fingerboard

 

CHAPTER THREE - Reading Jazz Charts
Identify the Chord Family
Chart Reading Details
Chart Reading General Summary
Chart Examples
Inversions
Diminished Chords

 

CHAPTER FOUR - Dominant Chords
Altered Dominants
Playing Altered Dominants
Diminished 7th Chords
Altered Dominants and Minor Keys
Dominant Chord Chart

 

CHAPTER FlVE - ii-V Progressions
A ii-V Exercise
Carefree

 

CHAPTER SIX - Three-Note Voicings
Inversions of Three-Note Voicings
Inversion Study

 

CHAPTER SEVEN - RHYTHM
Swing
Comping Samba and Bossa Nova Rhythms
Comping in the Style of Freddie Green
Comping with a Two-Beat (Half Note) Feel
Anticipations
Metronome Practice

 

CHAPTER EIGHT - The Blues
Secondary Dominants
Turnarounds
Joroy

 

CHAPTER NINE - Songs
Day One
Analyzing Day One
Day One (with Camping Examples
A and B)
Day One (Final Camping Example)
Day Two
Day Two
A Note on Minor 9 Chords
Day Three
Seulb

Carry On
Discography
Chord Voicings for Page
Theory Summary

 

 

CHORD / MELODY PLAYING

INTRODUCTION
What is chord/melody? Basically, it is playing a melody and the chords at the same time. In
a way, playing a classical guitar piece is playing chord/melody, because everything is there,
melody and harmony-it is complete. But in jazz, chord/melody usually means a setting
of a standard, well-known song. These standards are learned by jazz players as part of the
traditional repertoire; at a gig anyone of these tunes can be called and everybody will know
it, both chords and melody. .
For guitar players, playing these standards with melody and harmony at the same time has
become known as chord/melody style. The aim of this section is to cover the skills needed to
play chord/melody. You'll find examples that are in the style of some of the jazz standards (the
standards themselves won't be used because of copyright restrictions), as well as exercises and
multiple harmonic settings of melodies.
This section presupposes that you have a functional grasp of harmony, and an understanding of
jazz harmony. You should also be able to read music, and have a functional right- and left-hand
fingerstyle technique. TAB is not used, though many of the notation examples also include chord
diagram boxes for help with visualization of chord shapes.
I hope you enjoy this book and learn a lot.

 

EDITOR'S PREFACE
he purpose of this section is to put the information from the first part of this book to work in a
chord/melody context; this, as the author points out, will be the most familiar jazz style to classical
and otherfingerstyle guitarists. An inquisitive, self-motivated classical or fingerstyle guitarist will
e able to use this section as ajumping-off point and enjoy a lifetime of music-making in this st'le.
s fun, and having this set of skills will help working guitarists fill out their sets on the gig.

An MP3 CD is included with this book to make learning easier and more enjoyable. The symbol shown
4 at bottom left appears next to every example in the book that features an MP3 track. Use the MP3s
to ensure you're capturing the feel of the examples and interpreting the rhythms correctly. The track
number below the symbol corresponds directly to the example you want to hear (example numbers
are above the icon). All the track numbers are unique to each "book" within this volume, meaning
every book has its own Track I, Track 2, and so on. (For example, The Classical Guitarist's Gutde to Jazz:
Harmony starts with Track I, as does Chord/Melody and Improvisation.) Track I for each book will help
you tune your guitar.
To access the MP3s on the CD, place the CD in your computer's CD-ROM drive. In Windows, doubleclick
on My Computer, then right-click on the CD icon labeled "MP3 Files" and select Explore to view
the files and copy them to your hard drive. For Mac, double-click on the CD icon on your desktop
labeled "MP3 Files" to view the files and copy them to your hard drive.

 

CHORD / MELODY CONTENTS
Introduction
Editor's Preface

 

CHAPTER ONE - Triads
First Word
MinorTriads in Closed Voicing
A Triad Tune
Chilean Tune with Closed Voicings;
MinorTriads in Open Voicing
Chilean Tune with Open Voicings
A Triad Tune

 

CHAPTER TWO - Harmonizing with Triads
Greensleeves
Greensleeves
Diatonic Harmony
Greensleeves Lead Sheet, A Section
Greensleeveswith Triads in Closed Voicing
Passing Tone Use in Chord/Melody
Greensleeves with Triads in Open Voicing
Greensleeves with Open and Closed Triads
Going up an Octave
Greensleeves Melody One Octave Higher
Greensleeveswith Open and Closed Triads

 

CHAPTER THREE – Greensleeves-Extending the Harmonies
Greensleeves with Extended Chords # 1 Greensleeves up an Octave
with Extensions 86

 

CHAPTER FOUR - Harmonizing Each Note of the Scale
Harmonizing the C Major Scale
with a C Major Chord
Harmonizing the C Major Scale with G7
A Sor Study Phrase
Harmonizing the C Major Scale with D Minor
Dominant Chord Chart.
Quartal Chords

 

CHAPTER FIVE - PassingTones and Deeper Harmony
Using Passing Tones
Using Passing Chords

 

CHAPTER SIX - Romanza
The Original
Romanza
Romanza Chord/Melody (
Romanza Duet
Tritone Substitutions
Romanza Chord/Melody solo

 

CHAPTER SEVEN - A Few of the Things You Might Be
A Few of the Things You Might Be-Lead Sheet
A Few of the Things You Might Be-Chord/Melody

 

CHAPTER EIGHT - Autumn Sleeves 
Autumn Sleeves-Lead Sheet 
Autumn Sleeves-Chord/Melody # 1
Autumn Sleeves-Chord/Melody #2

 

CHAPTER NINE - Lagrima de Nuevo
Lagrima.
Lagrima de Nuevo-Chord/Melody .

 

CHAPTER TEN - Ode to Joy
Ode to Joy.

 

CHAPTER ELEVEN – Blues for J.D.
Blues for J.D .
A Final Word .
Romanza with Chord Changes .

 

 

 

 

IMPROVISATION

INTRODUCTION
To pick up the guitar and play music without knowing what you will play-this is the thrill of
improvising, or creating music spontaneously, and ajoy to which many players feel drawn but at
the same time find intimidating. I wrote this book to help classical players (and players in other
styles too) begin to find their way toward improvising on the guitar. The approach I've taken
for this book is to explore the basics of single-line improvisation over jazz-style harmony. Right
from the beginning, we will work with "the color of sound" to help the ears identify each note
as it relates to a harmonic base.Then we will begin improvising in open position right from the
start. After we get a feel for approaching the guitar in this spontaneous way, we will begin to
work with scalesand chord forms to build the skills necessary for improvising single-line solos
over chord progressions.
hope this book helps to demystify the world of jazz improvisation and inspires you to greater
spontaneity and creativity on your guitar.

An MP3 CD is included with this book to make learning easier and more enjoyable. The symbol shown
at bottom left appears next to every example in the book that features an MP3 track. Use the MP3s
to ensure you're capturing the feel of the examples and interpreting the rhythms correctly. The track
number below the symbol corresponds directly to the example you want to hear (example numbers
are above the icon). All the track numbers are unique to each "book" within this volume, meaning
every book has its own Track I, Track 2, and so on. (For example, The Classical Guitarist's Guide to jazz:
Harmony starts with Track I, as does Chord/Melody and Improvisation.) Track I for each book will help
you tune your guitar.
To access the MP3s on the CD, place the CD in your computer's CD-ROM drive. In Windows, doubleclick
on My Computer, then right-click on the CD icon labeled "MP3 Files" and select Explore to view
the files and copy them to your hard drive. For.Mac, double-click on the CD icon on your desktop
labeled "MP3 Files" to view the files and copy them to your hard drive.

 

CONTENTS
Introduction
Editor's Preface

 

CHAPTER ONE - Colors of Scale Tones
Root Note (R),orTonic
Perfect 5th (P5)
Major 3rd (M3)
Perfect 4th (P4), or 11th
Major 2nd (M2), or 9th
Major 6th (M6), or 13th
Major 7th (M7)

 

CHAPTER TWO - Improvising with G Ionian, Lydian and Mixolydian in Open Position
G Ionian, or Major
G Lydian
G Mixolydian

 

CHAPTER THREE - Open Position Scale Work
Permutating the Major Scale
3rds
Sequence of Four Notes
6ths
Arpeggio Permutation
Chord Tones Within Scale Forms-ii, V and I

 

CHAPTER FOUR - ii-V-I in Open Position
Am7: Improvising in Two-Measure Phrases
D7: Improvising in Two-Measure Phrases
GMaj7: Improvising in Two-Measure Phrases
ii and V Chords Together
ii, V and I Chords Together
Adding an E7 Chord

 

CHAPTER FIVE - 2nd Position Chords and Scales in G Major

 

CHAPTER SIX - Fly Me Through the Tune If Changes
Fly Me Through the Tune (2nd Position Voicings)
The ii Chord in E Minor
The V Chord in E Minor
Beginning to Improvise Over the Progression
Fly Me Through the Tune (Improv to "Slow Changes" -2nd Position)

 

CHAPTER SEVEN - 7th Position Chords and Scales in G Major
Voicings for "Fly Me Through the Tune"

 

CHAPTER EIGHT Seeing How Changing Chord Tones Relate to Each Other
Fly Me Through the Tune (7th Position Improv)
Conclusion
Afterword
Developing Your Ear
Appendix
Modes of the G Major Scale
Seven Modes Beginning on G  

 

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SANTANA GUITAR HEAVEN The Greatest Guitar Classics of All Time Authentic TABLATURE SPARTITI LIBRO

SANTANA, GUITAR HEAVEN The Greatest Guitar Classics of All Time. Authentic Guitar. TABLATURE

 

Santana: Guitar Heaven

The Greatest Guitar Classics of All Time
Carlos Santana

Category: Guitar Personality
Format: Book
Instrument: Guitar
Version: Authentic Guitar TAB

For Santana's Guitar Heaven, Carlos Santana and Clive Davis compiled a list of some of the greatest rock guitar songs of all time. For each song, the legendary guitarist performs with a who's who of guest vocalists ranging from Chris Cornell to Joe Cocker. The album also includes a very special dedication to George Harrison, “While My Guitar Gently Weeps,” featuring India.Arie and master cellist Yo-Yo Ma. Now you can play all songs from the record with this authentic guitar TAB release! Titles: Whole Lotta Love * Can't You Hear Me Knocking * Sunshine of Your Love * While My Guitar Gently Weeps * Photograph * Back in Black * Riders on the Storm * Smoke on the Water * Dance the Night Away * Bang a Gong (Get It On) * Little Wing * I Ain't Superstitious * Fortunate Son. 

Price: €159,99
€159,99

MODAL SOLOING STRATEGIES FOR GUITAR-MODERN IDEAS FOR ALL STYLES-JODY FISHER CD TABLATURE LIBRO

Modal Soloing Strategies for Guitar

Modern Ideas for All Styles

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 

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