MEL BAY

BLUES HARMONICA STARTER KIT BOOKLET CD ARMONICA A BOCCA LIBRETTO METODO MANUALE

BLUES HARMONICA STARTER KIT. Metodo, CD, manuali, e un'armonica. TAB. per armonica.

Product Description:
Includes Blues Harp Book/CD set, Harmonicare Chart, Blues Harp Pocketbook, Blues Harp Classics Pocketbook, and a Hohner Bluesband harmonica in the key of C. The book discusses the 12 Bar Blues, a touch of jazz, country fills (licks), and country tunes in blues style. The chart shows in considerable detail procedures for pinpointing and fixing common harmonica problems. All items are contained in a handy, white corrugated carrying case with a plastic handle. 152 PAGES.

Price: €39,99
€39,99

COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES Sid Jacobs CD TABLATURE LIBRO SPARTITI

COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES. Jacobs. CD TAB.

Product Description:
An important addition to the improvising jazz guitarist's library, this thoughtful blend of text and musical examples focuses on the vocabulary of modern jazz and some of the applications of modern harmony. With examples written in standard notation and tablature, Jacobs offers instruction on bebop style phrases, playing fourths, inside-outside playing, pentatonic, whole-tone and symmetrical scales, slash chords, polychords, hip lines, fingerings and much more. The companion CD presents the material in the text played with chord accompaniment.

Product Number: 95737BCD
Format: Book/CD Set
Series: Complete
160 PAGES

Price: €31,99
€31,99

JAZZ LICKS ENCYCLOPEDIA Jody Fisher BOOK CD GUITAR TABLATURE VOICING IMPROVISATION

JAZZ LICKS ENCYCLOPEDIA. 280 frasi. CD TABLATURE

By Jody Fisher
ITEM: 00-19420
UPC: 038081184524
ISBN 10: 0739011189
ISBN 13: 9780739011188
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Nearly 300 useful jazz guitar licks organized by chord type. Examples are shown in easy-to-read TAB and standard music notation. Four voicings are given for each chord type along with easy-to-read chord diagrams. Licks for common progressions such as ii-V-I are shown. Includes sections on Important Scales for Improvisation, Articulation, "Feel" and other important topics.

Price: €27,99
€27,99

MASTERS OF THE PLECTRUM GUITAR TABLATURE Eddie Lang-Bucky Pizzarelli-Frank Victor-Satin Doll-Dark Eyes

MASTERS OF THE PLECTRUM GUITAR. 280 pagine, con Tony Mottola, Joe Venuti, Bucky Pizzarelli, Al Valenti, e altri, anche stranieri. 180 pagine in TAB.

Product Description:
This landmark book of music for the plectrum style jazz guitar took years to compile, write and edit. It contains some of the greatest solos and duets ever written and performed on the plectrum or flatpicked guitar, including works by Carl Kress, Dick McDonough, George Van Eps, Bucky Pizzarelli, George Barnes, Eddie Lang, George M Smith, Al Valenti, Mel Bay, Frank Victor, Harry Volpe, Carmen Mastren, Oscar Moore, Mundell Lowe, Tony Mottola, Al Hendrickson, and Cal Collins. All solos are in notation and tablature while the duets are shown in standard notation only.

Product Number: 95293
Format: Book
ISBN: 0786602678
UPC: 796279021722
ISBN13: 9780786602674
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 3/6/1995
280 PAGES

Contents:

Song Title: Composer/Source:
A Handful Of Riffs Eddie Lang
After Thoughts Part I Carl Kress
After Thoughts Part Ii Carl Kress
After Thoughts Part Iii Carl Kress
Andante Cantabile Harry Volpe
April Kisses Eddie Lang
Bang! Bang! George M. Smith
Chicken A La Swing Dick Mcdonough And Carl Kress
Danzon Dick Mcdonough And Carl Kress
Dark Eyes Medley George M. Smith
Easy Listenin' Blues Nadine Robinson
Eighth-Note Triplet Boogie George Barnes
Estrelita, Little Star Arr George M. Smith
Etude I Frank Victor
Etude I Harry Volpe
Feelin' My Way Eddie Lang
For Two In Love Tony Mottola
Gee Baby, Ain't I Good To You Words And Music By Don Redman, Andy Razaf
Helena Carl Kress
I Had Picked You Bucky Pizzarelli
I Think You Always Knew Music By Mundell Lowe
Lament In E Carmen Mastren, Albert Harris
Love Song Carl Kress
Love You Madly Al Hendrickson
Maple Leaf Rag Joplin-Mel Bay
Midnight Clear Harry Volpe
Mighty Lak'a Rose Nevin-Mel Bay
Modern Etude Harry Volpe
My Cherished Prelude Harry Volpe
My Gal Sal Cal Collins
Narcissus Nevin-Mel Bay
None But The Lonely Heart Peter Ilyich Tchaikovsky Arr. By Al Valenti
Over And Over Blues Bucky Pizzarelli
Peg-Leg Shuffle Carl Kress
Pick It And Play It Frank Victor
Pickin' My Way Eddie Lang
Poor Butterfly Cal Collins
Rainbow's End Eddie Lang
Rhythm A La Carte Harry Volpe
Romantic Harry Volpe
Satin Doll Duke Ellington, Johnny Mercer, Billy Strayhorn Arr
Serenade Riccardo Drigo, Arr. By Al Valenti
Slow Burning George M. Smith
Smoke Eyes Bucky Pizzarelli
Snowfall In April Harry Volpe, Jack Donahue
Squattin' At The Grotto John Van Eps And George Van Eps
St. Louis Blues Arr George Barnes
Stage Fright Dick Mcdonough And Carl Kress
Stringin' Along With Annabelle Frank Victor
Stringin' The Blues Joe Venuti, Eddie Lang
Strolling Thru Manhattan George M. Smith
Sunshine Joe Venuti, Eddie Lang
Sutton Mutton (Taking It On The Lamb) Carl Kress
Sweet Lorraine Clif Burwell, Mitchell Parish Arr Mel Bay
Sweet Strings Frank Victor, Harry Volpe
Swingin' The Scale Harry Volpe, Frank Victor
Tango George Van Eps
Test Pilot George M. Smith
To A Wild Rose Edward Macdowell, Arr Mel Bay
Tony's Tune Tony Mottola
Tranquilo Al Hendrickson
Traumerei Schumann-Mel Bay
Two Guitars Harry Volpe
Warm Feelings Tony Mottola
You Tell Me Your Dream Arr Mel Bay

Price: €35,99
€35,99

PIZZARELLI BUCKY THE ROMANCE OF THE CHORDAL GUITAR SOUND Mel Bay CD TABLATURE LIBRO

PIZZARELLI BUCKY, THE ROMANCE OF THE CHORDAL GUITAR SOUND. CD TABLATURE

Product Description
Bucky Pizzarelli is a giant on today's jazz guitar scene. He has played with virtually every big name in the business. Along the way, he has been a staff musician with NBC, ABC, Skitch Henderson, and Doc Severinsen, has appeared at Carnegie Hall with George Barnes and Les Paul, has performed at the Boston Pops with Stephane Grappelli, and has played a solo concert at Town Hall in New York city. He has countless albums and jazz tours to his credit. In this fine new text, Bucky presents five original solos written specifically to explore the chordal jazz sound unique to the guitar. In notation and tablature. The accompanying CD has 8 samples and 5 original guitar solos as written and played by one of the world's jazz greats, Bucky Pizzarelli.

Foreword
At the same time Andres Segovia was elevating the classical guitar to its proper place, another guitar with metal trings was becoming the "new" instrument in the orchestra, replacing the banjo. Strummed with a pick, the arch-top plectrum guitar made a beautifully subtle, woody acoustic sound. The best of these handcrafted instruments were made by the Gibson and Epiphone Companies and John D' Angelico, a private custom maker. The best players were also emerging. Eddie Lang, backing Bing Crosby; duets by Carl Kress and Dick McDonugh; and solos by George Van Eps were also listened to. These first pioneers were soon to be followed by the likes of Charlie Christian, George Barnes, Les Paul, Johnny Smith, Tony Mottola, etc.
With the advent of the amplifier, favorite guitarists were put into single-string and chordal-style categories and became specialists in one or both fields. Aspiring guitarists were gathering chord formations and single-note runs from every possible means, usually radio, records, teachers, and each other. Published guitar music was not available to all. This guitar was being played chord ally by non-reading guitarists. The hidden beauty of the guitar was being discovered. Opened-string bass notes and chord clusters made the guitar an ideal instrument to accompany another guitar, singer, or any instrument of the orchestra. The guitar range made it possible to duplicate a string quartet. Through the years great melodies have remained the same, only to be harmonized and reharmonized. My quest to find what is inside the guitar has never ended. So give me the harmony to play in a duet setting anytime. There is so much to be explored and discovered. Bucky Pizzarelli

Note
As you work with this exciting material, it would be well to keep a few points in mind. The skeleton chord forms employed will not always contain all of the essential (in contrast to the expendable) ingredients of the chord indicated. These missing notes will usually be present in the melody that follows so that the chord is outlined in the mind's ear. Occasionally this will not be true, but the chord will be a part of a progression where the missing part of the chord is easily imagined. An example of this is the Db dim in the first bar of "I Had Picked You" where the diminished triad is incomplete. When playing a chord, the bass note can usually be held longer than indicated while the other fingers are making the melody. This gives a richer sound and provides a stable anchor for the left hand. Finally, there are places where there are redundant accidentals in the same measure. These are for clarity and do not indicate double sharps or flats. The Publisher

About the Author
John "Bucky" Pizzarelli has enjoyed a career that spans the years from the Vaughn Monroe Orchestra to White House Concerts with Benny Goodman and Frank Sinatra. Along the way, he has been a staff musician with NBC, ABC, Skitch Henderson, Doc Severinson, Mitch Miller, and appeared at Carnegie Hall with George Barnes and Les Paul, performed at the Boston Pops in duet with Stephane Grappelli, and played a solo concert at Town Hall in New York City. An active performer in jazz rooms and college concerts, he is also a Faculty Member Emeritus of William Paterson College in Wayne, in the New Jersey.

Contents
Foreword .
Constructing a Chord Solo .
Smoke Eyes .
Red Beans and Rice .
Over and Over Blues .
Happy Bass Note Waltz .
I Had Picked You .
About the Author .

Price: €199,99
€199,99

REINHARDT DJANGO, THE MUSIC OF Tiger Rag-After You've Gone-Avalon-Swannee River-Charleston-chicago

REINHARDT DJANGO, THE MUSIC OF. The Music of Django Reinhardt. Forty-Four Classic Solos by the Legendary Guitarist with a Complete Analysis by Stan Ayeroff. 272 Pages.

Product Description:
The solos of Django Reinhardt are an endless source of inspiration and amazement for any musician. In this exciting book, the author has compiled precise solo transcriptions (in notation only), as well as a thorough analysis of each. There is also a complete "how to" section that is like a book in itself. This book contains some of Django's best work. It covers a period of 17 years, from Django's first trio and quintet recordings to one of his last bop-influenced sessions, "Live at the Club St. Germain." Multiple versions of many solos are included to show Djangos' musical development over his long career. Studying the music of the master of Gypsy Jazz can help lay a solid foundation for your own sound and style.

Format: Book

Contents:

A Note About Django Reinhardt
Preparation for The Complete Analysis of Django's solos
Symbols and Abbreviations
Scales
Arpeggios
Ornamentation
Chord Substitutions
Chord Progressions
Putting it All Together
Melodic Ideas and Devices
Exercises
Introduction to the Analysis Section

A Complete Analysis of the Solos
Tiger Rag I
After You've Gone I
Tiger Rag II
Avalon I
Swannee River I
Swannee River II
The Sheik of Araby I
Avalon II
Some of These Days
St. Louis Blues I
Limehouse Blues I
After You've Gone II
Limehouse Blues II
Shine
Charleston
Chicago
Hot Lips
Rose Room
Runnin' Wild
The Sheik of Araby II
Limehouse Blues III
Japanese Sandman I
St. Louis Blues II
Baby Won't You Please Come Home I
Baby Won't You Please Come Home II
Farewell Blues
My Melancholy Baby I
Limehouse Blues IV
Japanese Sandman II
My Melancholy Baby II
Tiger Rag III
My Melancholy Baby III
Japanese Sandman III
Limehouse Blues V
A Pretty Girl Is Like a Melody
Margie I
Tiger Rag IV
Dark Eyes I
Improvisation on Tiger Rag V
The World is Waiting for the Sunrise
After You've Gone III
Dark Eyes II
St. Louis Blues III
Darktown Strutter's Ball
Margie II

The Solos
Tiger Rag I
After You've Gone I
Tiger Rag II
Avalon I
Swannee River I
Swannee River II
The Sheik of Araby I
Avalon II
Some of These Days
St. Louis Blues I
Limehouse Blues I
After You've Gone II
Limehouse Blues II
Shine
Charleston
Chicago
Hot Lips
Rose Room
Runnin' Wild
The Sheik of Araby II
Limehouse Blues III
Japanese Sandman I
St. Louis Blues II
Baby Won't You Please Come Home I
Baby Won't You Please Come Home II
Farewell Blues
My Melancholy Baby I
Limehouse Blues IV
Japanese Sandman II
My Melancholy Baby II
Tiger Rag III
My Melancholy Baby III
Japanese Sandman III
Limehouse Blues V
A Pretty Girl is Like a Melody
Margie I
Tiger Rag IV
Dark Eyes I
Improvisation on Tiger Rag V
The World is Waiting for the Sunrise
After You've Gone III
Dark Eyes II
St. Louis Blues III
Darktown Strutter's Ball
Margie II

Discography
Links
Composer Credits
Stan Ayeroff Biography

Price: €33,99
€33,99

VAN EPS, HARMONIC MECHANISMS FOR GUITAR VOLUME 1.

VAN EPS, HARMONIC MECHANISMS FOR GUITAR VOLUME 1. Possente edizione di teoria musicale, sugli intervalli, le triadi gli accordi con notazione tradizionale. 329 pagine.

Product Description:
The most in-depth, revolutionary presentation of the harmonic framework of music is applied to the guitar fingerboard ever presented. Leads to total mastery of harmonic and technical aspects of the guitar. The material in this landmark series of 3 massive volumes address virtually every aspect of playing jazz guitar representing the fruits of years of the author's investigation of harmony and fingerboard mobility. This series of books leads to total mastery of the harmonic and technical aspects of the guitar. In notation only.

General Remarks
The Mighty Triads
Reductions
Sixths with Upper Line Motion
The Visual Fingerboard
Chromatic Triads
Super and Sub Series
Chromatics - Triads
Chromatics - Triads - Major & Series
Blockouts

 

GEORGE VAN EPS ... In Admiration
by Charlie Menees
Rich rewards from this book
were mine considerably before
knowledge began to unfold from
its pages. Title and content were
unknowns as anxiously I awaited
my first opportunity to meet, now
also an author, a musician I had
admired from afar for decades.
The phone jingled and Mel
Bay said George Van Eps was
carfi~ Menees. Jor decodes0jozz
obMrrn; ,.'rirer, reacher, record col. coming to St. Louis to finalize
I«ror, lives in SL Louis, hosrs "Jazz publishing of a guitar book Van
Undo rhe A rrh" every Sarurday
. hronKMOXradio. rhe Voice oJ Eps had written. Would I like
SL Louis. lunch, later dinner, with the visitor?
The heart of a veteran music buff and record collector beat
faster at the thought of shaking hands for the first time with a
longtime idol. Anticipation repeated later at a second similar
in itation.
In those two meetings I got better than casually acquainted
with both George Van Eps, the guitarist, and the person. Now
I feel so at ease with this talented, articulate, warm, and gentle
person that I beg permission to henceforth refer to him on most
occasions in these paragraphs, but always respectfully, by his
first name.
I suspected, but now know for sure, that George is more than
the jazz guitarist that prior reading and recordings had mainly
emphasized I discovered that he is no less capable, knowledgeable,
and concerned in classical and other schools of
guitar.
His knowledge and defense of many musics brought realization
that my own limited musical abilities and knowledge are
insufficient qualification for the indepth expert appraisal that
George's writings deserve. Therefore, I unashamedly admit
that some of the judgments, insights, and forecasts, even to
some exact phrases, evolve from discussion with Mel Bay, and
his son Bill.
But before any of that, it is high priority to cite the zeal and
devotion George has devoted to this guitar text writings in the
recent several years. Concert and recording performances
politely turned down, hopefully only temporarily, he had
labored almost exclusively on this and companion volumes to
follo . The overall project has become something of a
mission, the zenith of a dedicated artist-creator's hopes to
bestow a worthy and abiding legacy to the ages. Perhaps "life's
ork" is apt Rest assured that not forgotten for a moment is
the George Van E ps legion of already indelible guitar legacies
e hed on recordings.
Guitar and guitarist are George's constant concerns. Guitar
playing, to him, is never less than an art. Evolving fresh in.
ISinto the guitar and its playing are based, of course, on his
any years of study, creation, and performance. Enhancing
. recurring freshness is unflagging enthusiasm.
George's concepts transcend anyone particular style of
music they are applicable to anyone who has ever played
guitar whether by pick or finger. His text challenges both
diligent work and that enriching type of concentration deed
scribed as·”thinking through." George probably didn't realize
that his writings, to borrow from an old expression, both "light
a candle and "flll the bucket."

These pages encourage regard of the guitar in new light, as
vehicle for harmonic expression rather than just a medium for
concern with chord forms and inversions as block entities.
Ever on surface are the author's hopes that the guitarist will
view each note and voice in every chordal structure as one
independent entity leading to another independent entity,
The text is chromatically oriented, and explores infinite
harmonic possibilities, both factors necessary in developing
the ear that hears the remarkably unusual in chordal movement.
Exposed are growing respect for the guitar, and constant
striving for mastery of what the author feels are the instrument'
s still unattained potentials. Dedication to techniques, he
emphasizes, is the guaranteed path to future guitar creativity
and achievement. Guitarists unaware of the unexplored and
unattained can hopefully be convinced that only years of study
and impervious dedication will open the windows of this
exciting new guitar world.
George's text outlines exceptional and multi-perspective
working knowledge of the guitar fingerboard in all positions.
The guitarist completing this, and succeeding volumes will
have worked arduously up and down the guitar neck through
countless harmonic possibilities, with hands accustomed to
moving in new and independently creative possibilities.
Developed is an extraordinary degree of independence in
both left and right hand, mastery of which will catapult the
guitarist to a lofty level of coordination between the two. The
ultimate, of course, is George's" thinking" approach to guitar
No room therein for routine and redundant ideas of chordal
formations.
A work of this magnitude, from such a virtuoso. Should be
sought by guitarists of countless generations. These timeless
concepts will remain fresh and viable in the twenty-first
century.
George belongs to that famous Van Eps plectrist family that
eminated from Plainfield, New Jersey. Fred Van Eps, the
famous banjoist, headed that remarkable family tha produced
four sons who became leading professional musicians, Bobby,
Fred, John and George.
From banjo, young George switched to guitar. Became best
known to the wide public for stellar work in the bands of Harry
Reser, Smith Ballew, Freddy Martin, Benny Goodman and
Ray Noble, and for work with Paul Weston, Matty Matlock
and many others. For years he was one of Hollywood's top
studio players. Stars with whom he appeared and accompanied
are now super stars in show biz history.
Guitar followers are aware, of course, that George has long
been distinguished as designer of the 7-string guitar-the
added one being a bass string. He performs on this instrument
on several Capitol and Columbia recordings which, though
now out of print, can be located for study in libraries and
private collections. Titles include "My Guitar,” “George Van
Eps and His Seven-String Guitar:' and soliloquy, Contents
reveal several original works preserved as evidence of
George's gifts as composer.
If George Van Eps were not so modest about his truly
remarkable and creative musical talents and accomplishments,
and about his equall impressive abilities to talk with
enviable articulation, humor, honesty and accurancy about his
illustrious guitar chapters in American musical history, I'd like
to do my own book ... about .

 

FOREWORD
The material in this series of books represents some ofthe
more important findings of my research over the years
conceming harmonics and fingerboard gymnastics.
The playing of keyboard and fingerboard instruments is
highly physical, therefore, knowledge of harmony becomes
quite useless without the mechanical means to produce the
necessary notes-naturally, each depends on the other.
These studies help to build discipline, independent finger
control, multi-thought control, and independent harmonic
chomatic notational selectivity. These, I believe, are the
foremost objectives in order to play an instrument well.
My books contain no single voice studies as such. All of
the studies employ two or more voices, however, single
voices will stand out in most of the various harmonic
structures.
Each book contains some of my concepts and principles
which mayor may not appear to be exactly new to the reader,
but. I believe some of the fresh viewpoints may perhaps add
to one's concepts; my intention being to provide a little food
for thought and add to familiar perspectives, thus showing
some of the various harmonics in a slightly different light.
This material is intended to add to ones present knowledge
It's meant to blend with it, not denounce it, or take its
place, because, all schooling and experience is valuable. In
other words, for those with previous schooling this material
can be supplemental information.
In creating any musical composition, harmony must begin
somewhere, it must go somewhere, and it must end
somewhere; therefore, it is of utmost importance to know
where the voices have been, where they are at the Ir')ment,
where they are going logically, and where they can go by
creative free choice and surprise. This material can help
provide the mental and physical tools for accomplishing this
goal.
Some of the studies may appear to be redundant and
identical at first glance, but careful scrutiny will show that
they are not identical, they are different-bear in mind that
“similar" is not "identical". The study of subtle mechanical
and notational differences is more than just desirable, it is
absolutely necessary. The hands can never be too mechanical,
agile, or well trained-nor can the mind ever know too
much about harmony.
I do not claim that these books, in any way, cover all of the
facets of playing, nor all of the multi-millions of harmonic
possibilities. However, the mechanics, devices, and thought
lines are presented that will enable those who are interested
to pursue them as far as desire and time will allow.
In the many years that I have spent researching and
developing fingerboard gymnastics and harmonic devices of
this nature, I have, quite naturally, delved mainly into the
areas that greatly fascinated me, and my most sincere hope is
that they will be of some interest and benefit to others.

GENERAL REMARKS
The world of harmony is a most gratifying place to
dwell-there is nothing more satisfying than the wonderful
audio pictures that gradually take shape by
manipulating lines of voices within chordal structures.
As Segovia so aptly put it: "The guitar to me is like
looking at a full orchestra through the wrong end of the
binoculars. "
In order to be able to play the guitar well one must be an
athlete; it takes athletic endeavor in the form of a vast variety
of hand and mental gymnastics. This is why the diligent
practice of awkward, difficult, and unusual hand positions,
stretches, formations and finger combinations are of utmost
importance.
The hand must be well-trained to be ready for all attitudes,
and as many different fingering situations as possible.
Practicingjust what lies under the fmgers is not enough-the
ideal is for the hand not to be surprised by the unusual.
The ideal technique must be able to handle the uncomfortable
unusual situations that occur when improvising, within
the limits of the hand, of course.
Physically, exercises have many purposes. Some are
designed to train the hand to walk smoothly on the fingers.
Some are designed to be awkward and difficult, to teach the
hand how to be ready for the nearly impossible. Others are
designed to ftIl the degrees in between. All are necessary- it
is important to keep this in mind.
Of course, one should keep what has been accomplished in
the past, but we must never shy away from the new-the
perhaps uncomfortable areas of more advanced material.
It is understandably human to want to sound good to
ourselves when we practice, and therefore play what we
already know well. However, real advancement comes from
tackling new things; coming to grips with work that is more
advanced, work that is out of reach unless one really tries to
accomplish the seemingly impossible-after all, they're only
impossible for a while.
Progress comes from working with material that
elevates-material that is always a little above and out
of reach.
Acquiring harmonic fingerboard knowledge and technique
is a gradual progressive climb; one must not
expect to jump from first to eighth grade material, for
that is the sure path to disappointment.
About all work material can hope to do is to create an
incentive or desire, whet the appetite for knowledge,
then provide the necessary information and path to
follow for further investigation and experiment.

ACKNOWLEDGEMENT
I wish to thank my daughter Kay (Van Eps) Adikes for her able assistance in preparing this work.

 

 

 


GENERAL REMARKS
The areas of harmonic/mechanical investigation are so
vast that it would take tons of manuscript to show just a small
portion ofthem in detail. Since time and space will not permit
following every facet to any kind of finality, the understanding
of the basic principles and formulas that can provide the
tools for further pursuit seem most important. After the
principles are understood, they can be carried as far as
desired and used in any direction; they can be applied at any
time to any situation in any phase of development. Therefore,
I deemed it necessary to present the basic principles and rules
pertaining to my findings that will make further investigation
possible. I believe enough written material is presented in
these books to establish the thought lines.
I have been known for verbal redundancy for many
years-however, there is a very good reason: through many
years of teaching, I have found that directives, explanations,
rules, warnings, etc. must be repeated periodically over and
over to make absolutely certain that they not only are
understood, but that they become firmly implanted in the
mind-so firmly embedded that they are ever present. They
must become habitual. Particularly in text books, periodic
repetition is necessary because so many people open books
in the middle, the end, or any place.
Fundamentals don't teach one how to compose. Composing
by fundamentals would be by rote, (parrot fashion).
However, they do tell you what not to do.

All laws and rules of music can be warped, twisted,
distorted, and still make sense if the principles are
clearly understood in the first place. As I have said
before, "Luck won't do it, and ignorance can't."

A person cannot be taught to compose. The creative spark
must be there. Taste cannot be taught, it must be there.
Fundamentals don't teach taste-"influence-by-associaon
affects taste, but it does not create it. Listening to, and
analyzing good music of all types, be it classical or jazz, is the
real teacher. In other words, it can rub off.
A painter doesn't paint with a book on the technique of
painting in one hand and a color chart in the other. Writers
learn to write by reading the works of great authors, not books
on how to write. All a teacher can do is provide the necessary
tools and show the student how they work. The teacher can't
be by the student's side constantly to tell him when and where
to use the tools-his judgment, sense of taste, balance, and
proportion must do that.

Music is inspirational in concept, but mechanical in
reproduction. Therefore, mechanisms are necessary to enable
voices to move freely. When the technique level is achieved
that allows voices this freedom, ideas flow like water.

Scales, arpeggio's and exercises are the instrumentalist's
tools. One cannot play without these tools. The knowlectge
and physical dexterity that comes from working with these
tools is absolutely necessary to the instrumentalist; without
the disciplined practice of these tools, one cannot play.
I would like to talk about the word "exercise" for a
moment. An exercise can be quite long or very short; it can
have many forms. A long exercise can embody many notes
and mechanisms, or, it can bejust the reverse and contain just
one or two notes.

Here is a one note example:
Drop the left arm down by your side, relaxed. Now
bring your hand up to the fmgerboard and try to hit any
predetermined note immediately; let's say a "G" on the
third string. As you know now, it is not easy to do; your
average is pretty bad. Now, try it with your eyes closed.
Now, your average is awful. What good is an exercise
like this; what does it do? It helps quite a few basically
important things such as judgment of distance, orientation
and the general feeling for the instrument.

It is impossible to play anything without using parts of
scales, because all melodic/harmonic lines come from the
chromatic scale, and since the chromatic scale is an exercise,
this "exercise" produces all music.
A young man once told me that "he didn't wanno play
scales or exercises." I just told him that he might try
concentrating on "watching grass grow" for he could not play
music, ever.
All scales and arpeggios are exercises-but not all
exercises are scales and arpeggios.

Going back and forth from "C" to "B" repeatedly is
exercising. Playing a B seventh chord to E major repeatedly
becomes an exercise. They are very basic examples but they
are exercises.
What I'm leading up to is this: make exercises out of all
musical situations by taking one or two steps of any scale,
arepggio, or progression, and repeat them over and over until
they are very smooth. Then go on to the next step and repeat
the process. Select a scale that contains many notes and
gradually eliminate notes until down to just a few. In other
words, reduce these stations down to their smallest part.
Practice them forward· and backward, inside out, upside
down, outside in, etc. Apply this format to all ofthis material,
no matter how simple or complicated the form.
Take all studies apart note by note to analyze them. Select
sections of different variations and blend them together to
make other variations etc. Compound them as far as possible.
Don't just run scales up and down, break up the regular
continuity by skipping some of the intervals to make short
and long arpeggios out ofthem. Skip intervals and insert them
some place else. Change the order by rearranging the stations
of the scales. Work with them using as many different
variations as possible. Here are just a few suggestions for
scale patterns:
1-2-8-1-3-8-1-4-8-etc. 1-7-8-2-7-8-3-7-
8-etc. 7-8-1-6- 7-1- 5-6-1-etc.
1-2-7-8-1-2-3-7-8-1-2-3-4-7-8-etc. 1-3-2-
4-3-5-etc. 1-4-2-5-3-6-et<:.
TRY CONTRARY MOTION:
1-8-2-7-3-6-4-5-5-4-6-3-7-2-8-1-etc.
These are just a few of the vast possibilities. This kind
of work helps one's judgment of distance. It is good
practice gymnastically also... 

Price: €44,99
€44,99

COMPLETE FINGERSTYLE JAZZ GUITAR BOOK ALAN De MAUSE CD TABLATURE CHITARRA LIBRO METODO

COMPLETE FINGERSTYLE JAZZ GUITAR BOOK. Mause CD TAB.

Product Description:
This book is complete in the sense that there is something for everyone: beginners, intermediate players and professionals. Along with learning the basics, this book teaches fingerstyle guitar players to play two-string harmonies, accompaniment styles and much more. Alan De Mause has filled the companion CD to capacity with 90 examples of music from his landmark text. The recording features nylon-string guitar throughout in both solo and midi-accompanied settings. A full range of jazz guitar stylings is offered, starting from square one and proceeding through advanced fingerstyle solo material. 184 PAGES

Format: Book/CD Set
Series: Complete

Contents:

SECTION ONE: Getting Started with Fingerstyle Jazz Guitar

INTRODUCTION
Being your own band
About the author
Acknowledgments

SECTION ONE/PART 1: Guitars, hand positions, fingerstyle strokes
Your guitar
Centering the guitar
Naming fingers
Right arm and hand position
Melody playing with the rest stroke
When hammering your nails
Let two fingers do the walking
On the other hand, the left--
Restrain the wayward thumb
May I presume--?
Open strings: E, B, and G
Three notes on open strings
Music, meter, and measures
Three beats per measure
Time signatures: 3/4
Time signatures: 4/4
Four beats per measure
Picking pairs of alternating fingers: m-a
Quarter notes, half notes, and whole notes
Matching right hand fingers with strings
Rematch
Open choice on open strings
Thumbing along freely
E, A, and D
Digging deep
Fingers and thumb
Uppers and lowers
Reader's choice

SECTION ONE/ Part 2: Learning the blues: fretted notes, rests
The old open six
The new fretted two
Left-hand technique
B, E, and some friends
The oldies and the newies
Make a blues sound
Blues background
Go form a blues
A and D complete the blues scale
Picking up notes
E blues scale
Time for a rest
Go and Stop
Stopping an open string from ringing
Damping
Thumb work
Strings 'n things
Accuracy in notation
Something simple
Too simple?
Music in two parts
Rests in two part music
Ties that bind
Not so hard
Try it, you'll like it
Twofers
One more note
Lower ledger lines workout with G
Complete two octave blues scale
Try it two ways
Let it rip blues trip
Sun rhythmics
House of the Rising Sun

SECTION ONE/ Part 3: Rhythming around
Can we talk?
Swimming in rhythm
Find a rhythmic reference
Basic and specific rhythms
Review of whole note, half note, quarter note, and rest equivalents
Take a rest (notes and rests)
Ties that bind
Dots incredible
Equivalent tied and dotted notes
Rhythm in 3/4 time
Two part rhythm
Blues with the whole thing

SECTION ONE/ Part 4: The flow of jazz: Eighth notes
Simple eighths
Counting eighths
Eighth notes and others
Talking to yourself
Mixes bag of note values
Take a rest
Simple ties that bind
Swinging the blues
Doo-ba Doo-ba blues
Eighth notes with mixed rests
Ties in disguise?
Same guise with ties: Eighth-Quarter-Eighth and Tie
Same guys with rests: Half rest-Quarter rest-Eighth rest
The readability factor
Dots and ties incredible
Ties with dotted note equivalents
Dotted quarter notes with eighth notes and eighth note rests
Dot's all in 3/4, folks
Pause to catch your wind and finish up
Rhythmic review
Bop Stop

SECTION ONE/ Part 5: All together, now
Playing to or more strings simultaneously
Two strings and parts, one rhythm, same bass notes
As above, with a variety of bass notes
More note movement
pattern playing
Rhythmic independence in both parts
Independence in 3/4
Blues with a beat
Whompin' the blues
Back to the future
Half note bass
Quarter note bass
Quarter note bass in 3/4 time
Half note plus quarter note in 3/4 time
Refurbishing Twofers
Deja vu: Part 4 review
Slower melody, faster bass
Shuffling Home
It's a wrap!
Further study

SECTION TWO: Creating Fingerstyle Jazz Guitar Solos
SECTION TWO/Part 1: Preparing to create a fingerstyle jazz solo
May I presume--?
Special Note: No TAB or audio here
Selecting a tune
Both melody and chord symbols are on the original sheet music
Lead sheet fragment
It can be played easily as is
It is basically in one key
It is in a good guitar key
It is in a range convenient for adding harmony below the melody
Trial run for tunes
Tune 1
Tune 2
Raising the melody one octave higher
Changing keys by counting steps
TALE OF KEYS (arranged by half step intervals)
You could trace them down
Accidentals
Chord symbols
Tune 2 transposed to D
How high is high enough?
Setting up the tune for arranging
Conventions of notation for fingerstyle guitar
Tune 2 in G, stems up
It's a singer's world
Tune 3 with original piano lead sheet and vocal part
Tune 3 with stems up, eighth notes beamed

SECTION TWO/Part 2: Accompanying yourself
What's next
Adding to this band of one
Rooting for the root
When to change the bass note
Rhythm changes
Two more
Twofers
Bass notes in 3/4 time
Threefers
Making the bass more independent
Rhythm Changes with quarter notes in the bass
Making repetition less repetitious
Variation on four quarter notes
Rhythm Changes with syncopated bass
Alternating octaves
Alternating Octave Blues
When to use which bass rhythm
Getting it down on paper

SECTION TWO/Part 3: Oom-pah power
Root/fifth
Great Scott!
Finding the root/fifth of a scale
Root/fifth of the C major chord
Oom-pah Rhythm Changes
Putting some oomph into the oom-pah
Lowering the oom-pah
The not-so-perfect fifth
Let's all root for the fifth
View of Blues
Your turn

SECTION TWO/Part 4: Marking major and minor
Distinguished notes
Locating thirds using scales
Using the C major scale to locate major thirds
finding minor thirds
Using the C melodic minor scale to locate minor thirds
Absolute measuring: the chromatic scale
The chromatic scale spelled in sharps
The chromatic scale spelled in flats
Juggling thirds
Exercise A
Exercise B
Building chords by stacking thirds
Two plus two
Using major and minor thirds in arranging
Mandatory thirds
Rhythm Changes with thirds
An OK Place to Be
Sequences
Answers to Exercises A and B

SECTION TWO/ Part 5: Accompanying with arpeggios
The Natural
Rhythm Changes with arpeggios
Right-hand fingering
Left-hand fingering
Alternate arpeggiation style
Arpeggio samples
Reality enters
Rhythm Changes with reality
Your turn

SECTION TWO/ Part 6: Harmonizing a melody with a third below
Quick and EZ thirds
Making the top note ring out
Rhythm Changes in thirds
Interval makeup of chord symbols
Perfect matches-- or not
Adjusting the fit
Bringing back the bass
Rhythm Changes in thirds plus bass
Third this blues
Third this blues (completed)
TABLE OF THIRDS

SECTION TWO/ Part 7: Harmonizing with tenths
Tenths: the dropped third
Rhythm Changes with parallel tenths in the bass
Rhythm Changes with mixed intervals
Improvisation on Rhythm Changes
Trippingly, with tenths
Walking tenths
Accompaniment using walking tenths
TABLE OF TENTHS
There's tenthing tonight on the old camp ground

SECTION TWO/ Part 8: Harmonizing with sixths
Another natural
Rhythm Changes déjà vu
Multipurpose sixths
Parallel Me, Baby
Crackers and Muscles
Show Me the Way to Go Sixths
TABLE OF SIXTHS
Crackers and Muscles (completed)
Congratulations!
More is less
Training in A

SECTION THREE: Professional Fingerstyle Jazz Guitar

SECTION THREE/Part 1: Harmonic background
Complete fingerstyle jazz guitar
May I presume--?
Something to play upon
Jazz harmony
Chord qualities
Standard chord voicings
Root position, thirds an octave higher
Root position, thirds and fifths an octave higher
HARMONIC MOVEMENT
Harmonic movement based on scale steps
Diatonic walking tenths
Diatonic walking sixths
Harmonic movement based on the cycle of fifths
Root movement using the cycle
Focusing on fifths
Chromatic harmonic movement
Mixers
Ascending by half step

SECTION THREE/Part 2: Self accompanying
One is company
SINGLE NOTE ACCOMPANIMENT OF MELODY
Root movement
Double bass notes, root movement
Mixes bass rhythms
Repeated figure bass
Root/fifth alternation (simple)
Other alternating bass notes
Non-root movement
Walking bass (diatonic)
Walking bass (chromatic)
Anticipation
Delaying
Folk jazz
More
TWO NOTE ACCOMPANIMENT OF THE MELODY
An abundance of riches
Stomp romp
Alternating bass on hormones
When melody and bass overlap
Oom-pah meets arps
Melody accompanied by tenths in the bass
Autumn Sneeze
Piano movements
Closer voicing
Leading with a two-note comp
Sneezing and comping
More non-root movement
Music in three parts

SECTION THREE/Part 3: Capable accompanist accoutrements
Fingerstyle accompanying
Those other playmates in your sandbox
Accompanying singers
Crush
Guitar and bass comping behind a soloist
Some Day My Prints Will Arrive
Guitar duets
Imagine Nation
Accompanying with one note at a time
My Gummy Valentine
Walking-bass-plus-chord
Bird Adobe Song
Guitar and flute duet
Body and Sole
Guitar and --

SECTION THREE/Part 4: Expressive devices of jazz
Making jazz jazzy
The underlying rhythmic pulse: Quarter note
The feeling of swing
Accented notes on off-beats
Oo-bah oo-bah
Ghosting notes by plucking lightly
Ghosting notes by using slurs
Slides and fall-offs
Bends
Rhythmic displacement
The whole thing
In a Yellow Phone

SECTION THREE/Part 5: Pedaling the cycle of fifths
Why the cycle of fifths is important
Notation conventions
Root movement
V7-I with opposing movement
V7-V7 with mixed movement
V7-I tritone pull
Chords, pieces, and lines
The spread
More tenths
Bassman--the bass, man!
Challenge
Harmony today
Less relentless
Cycled out

SECTION THREE/Part 6: Intros, endings, turnarounds, tags & modulations
Yipes!
An introduction by any other name
The ins and outs of I-V7, V7-I, and IV-I
INTRODUCTIONS
A moving experience
Classic drama
Vamp
II-V7 within one measure
II-V7 over two measures
Purposeful ambiguity
Peaceful, easy feeling
2-in-1 EZ cheap trick
ENDINGS
Cycling to the end
Minor matter
Turnarounds (turnbacks)
Turnaround with modulation
TAGS (Codas)
Tag me if you can
Tag, you're it
MODULATION
Nothing special
Instant modulation: V7-I
Taking time
Back cycling
Smoother moves: II-V7-I
Descending chromatically
Approaching by half step
Mozart's fakeroo

SECTION THREE/Part 7: Fun Jazz
Are we having fun yet?
Blew Moo
Good Evening, Friends
Ain't Miss Bee Haven
Stringing the World Along
Roots in A
Bird Abode Song
3 on 4
Walkdown
Further study

Price: €49,99
€49,99

BRAZILIAN JAZZ GUITAR-John Zaradin-Mike Christiansen-Felicidade-Desafinado CD TAB TABLATURE

BRAZILIAN JAZZ GUITAR. Zaradin. CD TAB.

Ogni titolo è scritto e registato in due versioni, la trascrizione completa dell'accompagnamento ritmico e in fingerstyle, nel libro anche la parte della voce. CD TAB.

Product Description:
Contains a collection of beginning to intermediate arrangements for Brazilian Guitar. All tunes included in standard notation and tablature. Tunes arranged by John Zaradin and Mike Christiansen. All tunes included on companion CD in solo and rhythm styles.

Thirteen classic Brazilian songs arranged for guitar solo. A comping etude is included for each song. A Felicidade -Chega De Saudade -Quiet Nights of Quiet Stars -Day in the Life of a Fool -Desafinado -Gentle Rain -Girl From Ipanema -How Insensitive -The Island -Meditation -One Note Samba -Sabia -So Nice (Summer Samba).

Song Title: Composer/Source:
01) Introduction
02) A Day in the Life of a Fool (lead sheet)
03) A Day in the Life of a Fool (solo) arr. Mike Christiansen
04) A Day in the Life of a Fool (rhythm) arr. Mike Christiansen
05) Chega de Saudade (lead sheet)
06) Chega de Saudade (solo) arr. Mike Christiansen
07) Chega de Saudade (rhythm) arr. Mike Christiansen
08) Desafinado (lead sheet)
09) Desafinado (solo) arr. John Zaradin
10) Desafinado (rhythm) arr. John Zaradin
11) A Felicidade (lead sheet)
12) A Felicidade (solo) arr. John Zaradin
13) A Felicidade (rhythm) arr. John Zaradin
14) Gentle Rain (lead sheet)
15) Gentle Rain (solo) arr. John Zaradin
16) Gentle Rain (rhythm) arr. John Zaradin
17) The Girl From Ipanema (lead sheet)
18) The Girl From Ipanema (solo) arr. Mike Christiansen
19) The Girl From Ipanema (rhythm) arr. Mike Christiansen
20) How Insensitive (lead sheet)
21) How Insensitive (solo) arr. Mike Christiansen
22) How Insensitive (rhythm) arr. Mike Christiansen
23) Meditation (lead sheet)
24) Meditation (solo) arr. Mike Christiansen
25) Meditation (rhythm) arr. Mike Christiansen
26) One Note Samba (lead sheet)
27) One Note Samba (solo) arr. Mike Christiansen
28) One Note Samba (rhythm) arr. Mike Christiansen
29) Quiet Nights of Quiet Stars (lead sheet)
30) Quiet Nights of Quiet Stars (solo) arr. Mike Christiansen
31) Quiet Nights of Quiet Stars (rhythm) arr. Mike Christiansen
32) Sabia (lead sheet)
33) Sabia (solo) arr. John Zaradin
34) Sabia (rhythm) arr. John Zaradin
35) So Nice (lead sheet)
36) So Nice (solo) arr. John Zaradin
37) So Nice (rhythm) arr. John Zaradin
38) The Island (lead sheet)
39) The Island (solo) arr. John Zaradin
40) The Island (rhythm) arr. John Zaradin
41) About the Authors

Price: €29,99
€29,99

CONTEMPORARY TROPICAL CLASSIC GUITAR COMPOSITIONS. José Febles. MEL BAY CD TABLATURE

CONTEMPORARY TROPICAL CLASSIC GUITAR COMPOSITIONS, José F CD TABLATURE

PREFACIO

Es una gran responsabilidad ademas de una satisfaccion personal escribir una o varias
composiciones para este hermoso instrumento, la guitarra, especialmente si pensamos en esos
grandes compositores como Agustfn Barrios Mangoré, Heitor Villalobos, Joaquin Rodrigo,
Antonio Lauro, Jorge Morel y otros. Humildemente y con gran respeto a estos grandes
compositores, he sentido la necesidad y el deseo de contribuir, mantener viva y en expectativa
la composicion para guitarra, pensando en aquellos aficionados que se deleitan en escuchar y
ejecutar la musica para este instrumento.
Este libro ofrece una excelente oportunidad a guitarristas y estudiantes a poder
interpretar musica contemporanea y fresca sin perder la esencia y la belleza que merece la
composicion de este bello instrumento. He aquf mi humilde aportacion a la musica para
guitarra clasica contemporanea.
José Febles

PREFACE
It is a great responsibility and also personally satisfying to write one or several compositions
for this beautiful instrument, the guitar. This is true especially when we think about the
great composers like Agustin Barrios Mangoré, Heitor Villalobos, Joaquin Rodrigo, Antonio
Lauro, Jorge Morel and others. Humbly and with great respect for these great composers and
thinking of those enthusiasts who enjoy listening and making music for this instrument, I have
feH the need and desire to contribute to the composition for guitar keeping it alive and full of
expectation.
This book offers an excellent opportunity for guitarists and students alike to play fresh,
contemporary music without losing the essence and beauty that a composition for this beautiful
instrument deserves. This is my humble gift to the music for contemporary classic guitar.
José Febles

 

EL AUTOR

José Febles nacio el18 de julio de 1949 en la ciudad de Ponce, Puerto Rico. Su
inclinacion musical desde una edad tiernafue evidente. Su padre J. Angel Febles (Gelo)
acordeonista, y su madre Nereida Toro, cantante aficionada, le dejaron como herencia el arte
musical. Comenzo sus estudios de musica a la edad de 9 anos en la escuela Libre de Musica
Juan Morel Campos donde estudio teoria, apreciacion musical, solfeo e instrumento siendo
este la trompeta.
Su aficion por la guitarra comenzo a los 13 anos cuando consiguio una guitarra y
comenzo a estudiar por su propia cuenta con diferentes métodos. Sus primeras lecciones
formales de guitarra fueron con los senores Rafael Martell y Francisco Laboy. A los 14 anos
escribio su primer arreglo musical el cual marco su futuro como uno de los mas destacados
arreglistas de el ambiente latino hoy dia.
En el ano 1969 se mudo a Nueva York donde ha cosechado tremendo éxito como
arreglista y compositor durante décadas. José ha sido arreglista de casi todos los artistas de
renombre en el mundo latino al igual que compositor, no solo en Nueva York sino también ha
realizado trabajos para artistas de otros paises como Japon, Holanda, Alemania, Francia,
Espana, paises de Sur América, Puerto Rico y de otros ciudades de los Estados Unidos. No fue
hasta la década de/80 cuando José comenzo a estudiar con el profesor de guitarra Jorge Morei,
quien en realidad desperto e/ interés en José por la composicion de guitarra.

THE AUTHOR
José Febles was born on July 18th, 1949 in the city of Ponce, Puerto Rico. His musical
inclination was evident from an early age. His father J. Angel Febles (Gelo), accordionist, and
his mother Nereida Toro, amateur singer, left him a legacy of musical artistry. He started his
musical studies at the age of 9 at the Escuela Libre de Musica Juan Morel Campos where he
studied theory, musical appreciation, solfeggio and instrument, the trumpet being the instrument
of study.
His love for the guitar started at the age of 13 when he found a guitar and started to study
by himself with different methods. His first formaI guitar lessons were with Rafael Martell and
Francisco Laboy. At 14 years of age he wrote his first musical arrangement which marked his
future as one of the most outstanding arrangers in the Latin field today.
In 1969 he moved to New York where he has had great success as an arranger and composer
for decades. José has been an arranger for almost alI the famous artists in the Latin world
not only in New York, but he has also produced arrangements for artists from other countries
like Japan, Holland, Germany, France, Spain, countries of South America, Puerto Rico and from
other cities in the United States. It was not until the ' 80s when José started to study under guitar
professor Jorge Morel, who in fact sparked José's interest in guitar composition.

8 Pieces:

l - Preludio d'Aida (Prelude d'Aida)
2 - Coral
3 - Ternura (Tenderness)
4 - Madrigal
5 - Black and White
6 - El Arpa del Rey David (King David's Harp)
7 - Oasis
8 - Cascada (Cascade).

CD Contents

Recording by Ben Bolt: Guitar 

 

Price: €22,99
€22,99
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