CHITARRA - GUITAR

LEE ROTH DAVID, BEST OF. A Step-By-Step Breakdown of the Styles and Techniques of the Guitarists of David Lee Roth. Signature Licks Guitar. CD TABLATURE

Discography
Recording
About the Author
EDDIE VAN HALEN
STEVE VAI
JASON BECKER

TUNING

Ain't Talkin' 'Bout Love - VAN HALEN
And The Cradle Will Rock - VAN HALEN
Beautiful Girls - VAN HALEN
Goin' Crazy - STEVE VAI
Hang 'Em High - VAN HALEN
Hot For Teacher - VAN HALEN
Jump - VAN HALEN
Just Like Paradise - STEVE VAI
A Lil' Ain't Enough - JASON BECKER
Mean Street - VAN HALEN
Panama - VAN HALEN
Runnin' With The Devil - VAN HALEN
Skyscraper - STEVE VAI
Unchained - VAN HALEN
Yankee Rose - STEVE VAI

Best of David Lee Roth
A Step-By-Step Breakdown of the Styles and Techniques of the Guitarists of David Lee Roth
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: David Lee Roth
Arranger: Joe Charupakorn

Learn to play the blazing licks and solos as performed by David Lee Roth's renowned guitarists, including Eddie Van Halen, Steve Vai, and Jason Becker. Songs include: Ain't Talkin' 'bout Love - Beautiful Girls - Goin' Crazy - Hot for Teacher - Jump - Panama - Runnin' with the Devil - Yankee Rose - and 7 more. Includes an introduction.

Inventory #HL 00695843
ISBN: 9780634079719
UPC: 073999958430
Width: 9.0"
Length: 12.0"
112 pages

INTRODUCTION

Worshipped by his legions of fans and despised by ex-band members, David Lee
Roth embodies everything that defines the rock star. Sure, he can sing; that's a given.
What makes him "Diamond Dave," however, is that he's incredibly charismatic, vainglorious
beyond belief, has tremendous stage presence, and is a self-promoting, marketing
genius. These are the magic ingredients that separate the extraordinary from the merely
pedestrian. Guitarist Steve Vai characterized Dave as "hysteria personified." Dave craves
the spotlight and, over the course of his career, has created a larger-than-life public persona.
For instance, as Dave was very "giving" of himself, he attempted to get paternity
insurance should he get hit up for child-support payments down the line. Dave can't seem
to separate his public image from his personal life. He's Diamond Dave 24/7, and this
intensity is what makes him the incredible entertainer that he is.
David Lee Roth was born on October 10, 1954, in Bloomington, Indiana, into an
upper-middle-class family (Dave's father was an ophthalmologist). As a child, he was
extremely hyperactive, and by age six he started seeing a shrink regularly. At around the
same time, the Roths moved east to Massachusetts, and Dave, being both a Jew and the
new kid on the block, was quickly ostracized. This alienation led to an inner-rage that still
drives Roth to this day. In his autobiography, Crazy From the Heat, he recalled, "Every
step I took on that stage was smashing some Jew-hating, lousy punk ever deeper into the
deck. Every step." As a loner, he found solace in reading and was particularly affected by
two magazines: Mad and Playboy. These magazines shaped the course of his development.
Another pivotal element in Roth's development was his uncle Manny's club, Cafe
Wha?, in New York City's Greenwich Village. As a kid, Roth hung out there fairly often and
was exposed to every facet of society. This eye-opening experience led to an appreciation
of cultural differences and played a strong part in cultivating Roth's flamboyant persona.
Eventually, the Roths settled in Pasadena, California. As a teen, Dave sang in the
Red Ball Jets (named after a sneaker), an R&B-influenced outfit that played the backyardparty
circuit. It was at a party that Dave first heard Eddie Van Halen, who was then guitarist
and singer for Mammoth, wailin' away on some Black Sabbath covers. Dave was
blown away-"What he does with his hands I wanna do with my feet, with my voice." Roth
would later join Mammoth, and after a simple yet brilliant renaming, Van Halen was born.
Van Halen developed a huge following and conquered the local scene by packing
every gig. It was soon time for greener pastures, and in 1974 Van Halen headed to
Hollywood. It was in Tinseltown that things started to happen. The band secured a residency
at Gazarri's and made its presence known. The next turning point was playing the
Golden West Ballroom with UFO. Prior to this gig, Van Halen's set contained a mixture of
covers and originals; this was the band's first all-original set. The band wowed the audience,
and the generated buzz paved the way for gigs at the Whisky-a-Go-Go and the
Starwood-two essential places for aspiring rock bands to play. It was at the Starwood
that KISS bass player and entrepreneur Gene Simmons heard Van Halen. He immediately
saw the potential and proposed a deal whereby he would produce the band's demo and
shop it to the major labels. If no one bit, the band was free to walk. Van Halen jumped at
the offer, and Simmons flew the band to New York to record. Shockingly, not a single
record label expressed any interest. In hindsight, David Lee Roth suspected that
Simmons was surreptitiously trying to poach Eddie Van Halen.
It was later, in the hands of their first manager, Marshall Berle (actor Vincent
Berle's nephew), that the pieces would come together. He managed to get Warner
Brothers president Mo Ostin and producer Ted Templeman to a Van Halen show at the
Starwood. The band was signed immediately, and on February 10, 1978, Van Halen was
released.

Eddie Van Halen is the king of modern rock guitar, considered by many to be the
greatest rock guitarist ever. He was born Edward Loedwijk Van Halen on January 26,
1957, in Nijmegen, just outside of Amsterdam, Holland, to a Dutch father, Jan, and an
Indonesian mother, Eugenia. In the early '60s, the Van Halens immigrated to sunny
Pasadena, California, with only $25 and a piano (Alex Van Halen claims that both he and
Eddie played piano on the boat to pay for their passage). It was in their early childhood
that the seeds for Van Halen, the band, were planted. Their father was a professional
musician and made both of the boys take piano lessons (later on down the line, Jan would
play clarinet on "Big Bad Bill (Is Sweet William Now)" from Van Halen's fifth album, Diver
Down). Eddie, in particular, was highly accomplished at the piano and placed first several
times at annual piano tournaments.
During their first few school years, Eddie and Alex, because of their language barrier,
kept mainly to themselves and developed a life-long, impenetrable bond. While still in
grade school, they formed their first band called the Broken Combs; Eddie played piano,
Alex played sax, and they wrote well-titled pieces such as "Boogie Booger" and "Rumpus."
At around age twelve, Eddie heard "Wipe Out" and bought a $125 St. George drum set,
while Alex picked up a flamenco guitar. To pay for the drum set, Eddie took on a paper
route. As Eddie rode around the neighborhood delivering newspapers, Alex banged away
on Eddie's set. Alex got pretty good at the drums so they decided to swap instruments.
Eddie subsequently bought a cheapo four-pickup Teisco Del Ray guitar from Sears. The
high school years saw the Van Halen brothers in various bands. First came The Trojan
Rubber Company and then Genesis, which was renamed Mammoth after the guys found
out about the pre-existence of English prog-rockers, Genesis. In Mammoth, Eddie handled
not only the guitar duties but the lead vocals as well.
The Van Halen brothers first met David Lee Roth when Mammoth went up against
Roth's band at the time, the Red Ball Jets, in a battle of the bands at Hamilton Park in
Pasadena. Mammoth would later wind up renting Roth's PA for gigs because they didn't
own one. Eventually, Eddie stepped down from the lead vocal role and, in a sheer bit of
brilliant opportunism, offered Roth the gig. Roth accepted, and the band gained a charismatic
lead singer, plus free use of his PA.The band was then renamed Van Halen.
Michael Sobolewski (a.k.a. Michael Anthony) lucked his way into the Van Halen
gig. At a Pasadena High School concert, both Van Halen and Snake, Anthony's band at
the time, were on the bill. The PA broke down, and Van Halen was out of luck. Anthony
stepped in and offered the use of his PA.Van Halen used it and was not only won over by
Anthony's generosity but also impressed by his bass playing. Shortly thereafter, original
bassist Mark Stone got the boot, and Michael Anthony became a core member.
In late 1983, everything came together for Eddie and the band. At the request of
music impresario Quincy Jones, Eddie played a killer guitar solo (for free) on Michael
Jackson's pop mega-hit "Beat It" from Jackson's album Thriller. This album was #1 on the
Billboard charts for 37 weeks and, ultimately, became the best-selling album of all time.
At around the same time, Van Halen's 1984 album, an absolute masterpiece with three
heavily rotated MTV videos, went from Gold to Platinum to Multi-platinum to, ultimately,
Diamond status (ten million copies sold). The band was on top of the world. Then, suddenly,
on April 1, 1985 (April Fool's Day), Roth pulled the plug and walked away from Van
Halen to pursue a solo career. Van Halen had recorded six albums with David Lee Roth
and become the most important rock band of the '80s, achieving legendary status; however,
at the height of their career, the party was over.
David Lee Roth pursued a solo career and Van Halen enlisted Sammy "Red
Rocker" Hagar-who Eddie got in touch with through a mutual acquaintance, their
mechanic, Claudio-to continue the Van Halen legacy. After five albums, including a live
album, Live: Right Here, Right Now, Hagar and Van Halen parted ways; their split was...

A MODERN METHOD FOR GUITAR VOLUME 1. BOOK e DVD ROM

Series: Berklee DVD
Publisher: Berklee Press
Medium: BOOK & DVD ROM PKG
Guitar
Artist: Larry Baione
Author: William Leavitt

This money-saving value pack includes Volume 1 of this practical, comprehensive method book (the basic text for the guitar program at the world-famous Berklee College of Music) PLUS a matching DVD-ROM featuring 14 complete lessons with Larry Baione, chair of Berklee's guitar department. Owning this pack is like having access to a year's worth of private guitar lessons at Berklee ! 128 pages

A legendary method, now bundled in a book and DVD-ROM package...at one low price!
"...THE BEST METHOD EVER WRITTEN FOR GUITAR." - Mike Stern

For Use in Both Windows and MacIntosh Computers! For use in computers ONLY, this is not for use in a DVD player.

THE BOOK. A Modern Method for Guitar by William Leavitt, is one of the world's most popular guitar methods. It is the basic text for Berklee College of Music's guitar program. It has stood the test of time and earned a vast and loyal following of dedicated guitar students and instructors for over 40 years.

THE DVD-ROM. This DVD-ROM version of this proven method is the most comprehensive guitar method DVD-ROM on the market. The instruction on this DVD-ROM is equivalent to a year's worth of guitar lessons at Berklee College of Music! You will be guided through 14 complete lessons with Larry Baione, Chair of Berklee's Guitar Department.

14 Hours of instruction include on-screen demonstrations, with camera close-ups of both hands, as well as interactive duets and play-along segments so you can "sit in" with your instructor.
You will learn essential skills for playing lead and rhythm guitar, including:

scales
chord forms
accompaniment skills
guitar technique
voice-leading approaches
reading music notation

BIO
Larry Baione has been Chair of the Berklee College of Music Guitar Department since 1990 and a faculty member since 1974. He studied with William Leavitt while Leavitt was developing the Modern Method for Guitar, and also studied with Bucky Pizzarelli, Jim Hall, and other legendary players. Baione has taught students using this method for thirty years. He is the author of the Berklee Practice Method for Guitar. Baione continues to record, perform and give clinics throughout the world.

14 ORE DI LEZIONE

MORE CLASSICAL TAB. 31 Pezzi:

Solo Guitar with Tablature
Series: Guitar
Softcover - TAB
Composer: Various Composers

31 more classical masterpieces arranged for guitar with tablature, including:

Allegreto
Allegretto
Andante
Andante Cantabile
Arabian Dance ('Coffee')
Ase's Death
Ave Verum (Jesu, Word of God Incarnate)
Bist du bei mir (You Are With Me)
Bourree
Cancion O Tocata
Caro mio ben
Dedicatoria
Eine Kleine Nachtmusik ('Romance'), Second Movement
Españoleta
Evening Prayer
Gerbe des Fleurs
Intermezzo
Lagrima
Minuet In G
Panis Angelicus
Pie Jesu
Rondeau
Sinfonia
Sleepers, Awake (Wachet Auf)
Sonata In A
Study In D
Study In D Minor
Symphony No. 3, Third Movement Theme
Symphony No. 5
Symphony No. 9 in E Minor ('From The New World'), Second Movement Excerpt

JUBER LAURENCE, POPULAR SONGS FOR FINGERSTYLE GUITAR.

Alison, ELVIS COSTELLO
-Angie, ROLLING STONES
-Every Breath You Take, POLICE
-God Only Knows, BEACH BOYS
-In My Life, BEATLES
-Let It Be, BEATLES
-Maybe I'm Amazed, PAUL MC CARTNEY
-My Girl, SMOKEY ROBINSON
-My Love, BEATLES
-Oh! Darling, BEATLES
-Stand By Me, JOHN LENNON, BEN E. KING
-Your Song, ELTON JOHN. CD TAB.

12 Songs Arranged for Solo Guitar
Series: Guitar Solo
Softcover with CD - TAB
Arranger: Laurence Juber

12 songs arranged for solo guitar in standard and altered tunings, arranged by Wings lead guitarist and two-time Grammy-winning fingerstylist Laurence Juber. Extensively fingered in notation and tablature, with a bonus one hour Masterclass CD with Juber teaching and playing each song.

THE GUITAR PLAYER REPAIR GUIDE, 3RD REVISED EDITION. Dan Erlewine. DVD

Moltissimi suggerimenti, consigli, segreti per la regolazione e la cura del vostro strumento, come i famosi tubicini di plastica che Stevie Ray Vaughan usava al ponte per proteggere dalla rottura le corde; tutti i trucchi e le misure della Lucille. 

Series: Book
Publisher: Backbeat Books
Medium: Softcover with DVD
Author: Dan Erlewine
This expanded edition for beginners to experts is a step-by-step manual to maintaining and repairing electric and acoustic guitars and basses. Players learn how to set up a guitar and keep it in top form by mastering basic maintenance. Features an essential DVD that makes guitar maintenance easier than ever. New features include set-up specs of leading players; stronger coverage of guitar electronics, including pickups and wiring diagrams; and expanded coverage of acoustics. 322 pages

Book/DVD pack. Newly expanded edition of this indispensable step-by-step manual for maintaining and repairing electric and acoustic guitars and basses. Learn how to adjust your own truss rod, install tuners, close and glue cracks, replace a nut, make finish repairs, wind your own pickups, and much, much more. Content is now highlighted based on skill level: Basic, D.I.Y., and Deep. New features include stronger coverage of guitar electronics, including pickups and wiring diagrams and expanded coverage of acoustics. DVD features segments on: how to evaluate any guitar before buying, how to set your own intonation, how to install strings without damaging your guitar, more. 

In my boundless optimism, I expected clues to sonic miracles. I was talking to Bob Ezrin, who produced Alice Cooper, Lou Reed, Pink Floyd, Kiss, Peter Gabriel and many others, and, in the process, conjured some of the hippest guitar sounds ever blasted across the airwaves. Surely, there must have been some voodoo in his microphone selection, his mic placement and his choice and manipulation of preamps, compressors and other arcane signal processors. But Ezrin made it clear that everything started with the guitar itself. "An excellent setup is at the center of every good, complex guitar recording," he said. "The pickups must be in good shape, the electronics must be as clean as possible, and the fretboard must be buzz-free." At a time when the quality of inexpensive, off-the-rack guitars can be downright awesome, we tend to forget how a beautifully set up instrument-more specifically, one tailored to a player's every ergonomic desire and technical idiosyncrasy-can enhance a guitarist's tone and performance. Perhaps we also forget that some guitars have souls that influence our playing in mysterious ways. (Just ask Clapton about Blackie, or B.B. King about Lucille, or Brian May about his Red Special.) The lesson here is just because you can easily replace an instrument that's broken, cranky or sickly, it doesn't mean that you should. In some cases, a few simple repairs can bring a guitar back to life-or even make it better than ever. And don't forget the whole concept of hot-rod ding. With a little guidance and tech savvy, you can swap pickups, futz with wiring and enlist some other tricks to make a cheap guitar rage like a cornered panther, or turbocharge a fine guitar until it's something truly magical. As Ezrin revealed, it all comes down to the guitar and what you do with it. And that's where Dan Erlewine becomes your guru, mentor, coach, visionary, taskmaster, guide and, most likely, savior. Dan knows more about guitars and guitarcraftthan pretty much anyone left standing on this planet, and decades of his wisdom, tips, and techniques are encapsulated in this musthave book-which should now and forever be your guitar-repair bible. Dan has been a vital and much-respected member of the Guitar Player family for many years, writing the seminal "Repairs & Modifications" column, as well as the "Repairs" column and the innovative "Mod Squad" feature (which profiled Dan's youthful shop crew pimping out various guitars) during my tenure as editor. Dan has also produced several how-to DVDs, and is currently developing a series of video repair guides for Guitar Player's Web television station, GPTV. To quote a cliche, "Dan is the Man." But that's the whole truth. And after this book inspires you to transform your guitars into the easiest-playing, best-sounding machines you've ever plugged into an amp, you'll probably build a little shrine to Dan Erlewine in your music room, rehearsal space or home studio. Yeah, you'll be that thrilled with your instruments, and the man deserves it. Now, read on and start making your guitars play better and sound great. Guitar Player

... serious problem. Most acoustic guitars with problems suffer from sharpness and need to be compensated by adding to the string length. Occasionally, though, flat- ness caused by over-compensation isfound on acoustics on which the bridge has been installed out of position. Don't expect the guitar you buy to have perfect intonation. Tweaking the intonation needs to be done to suit the the individual player's needs, governed by the factors mentioned here. When setting intonation, we try to get a stri ng to play the same note when fretted at the 12th fret aswhen played open, only an octave higher. In theory, the distance from the nut to the 12th fret isthe same asfrom the 12th fret to the saddle. The 12th fret octave is the halfway point of the scale (scale length equals the measurement from the nutto the 12th fret, times two). In practice however, the string length must be increased to compensate for the sharpness that results when the string is pressed down during playing. The mathematical distance of the scale is based on a straight line from the nut to the saddle's center, but when you press the string down it becomes stretched, and goes sharp. This isa basic explanation of the need for compensation. Add in the factors below, and you'll see why the seemingly simple job of setting the intonation can cause you to tearyour hair out before you finally take the guitarto a repair shop, so they can teartheir hair out! The closer the strings are to the fingerboard, the less compensation is needed, since the strings go sharp lesswhen pressed. However, guitars with lighter strings generally need more compensation than heavier ones, since asstring tension decreases (going from heavier-gauge strings to lighter), the compensation need increases.Therefore, the lighter the strings and the lower the tension, the more need for compensation. So, perhaps one cancels out the other. Confusing, but you can prove it for yourselfby trying this test: Using an electronic tuner, check your guitar's intonation on the low Estring at concert pitch. Retune the string to D.lt will intonate sharper, which indicates the need for more compensation, or added string length. That's why the modern electric player, who uses .010 strings or lighter, often searches far and wide to find a repairman to set the intonation.
Wound strings need more compensation than plain ones. Because of their extra weight and slower, low-pitched vibrations, wound strings need more clearance from the fingerboard to avoid buzzing. The extra clearance isgained by raising the string height from the fingerboard for wound strings. This increase in heigh causes the strings to go sharp more than the unwounds when depressed. This iswhy bridge saddles slant toward the bassside on steel-string acoustics or electrics. I like the term "speaking length" of a string. Franz Jahnel's comprehensive Manual of Guitar Technology refers to the mathematical string length asthe "true" length (the measured distance from nut to bridge saddle), and the actual vibrating length asthe "playing” or speaking, length. A string, especially a wound one, doesn't actually start vibrating, or speaking, until it gets a certain distance from the nut orthe saddle. So, part of the string's length (in terms of sound) isalways lost-another reason for compensation. Notice that c1assicaI guita rs have sadd les with no slant. Why? The wound strings have a stranded core rather than a solid one, and sharp out at a rate similar to that of the solid nylon treble strings. Classical strings have a more even tension acrossthe fingerboard than steel strings. Therefore, they require close to the same amount of compensation per string, and in general are more uniformly spaced from the fingerboard in terms of height. You may find saddles that have been slightly filed off-center (compensated) under the Band G strings some classicals. Instruments with longer scales need less compensation than shorter-scaled ones, because the longer string must be tighterto reach the same pitch. Thus the longer string is lessapt to be sharp when fretted and needs lesscompensation (the higher the tension, the lessa string goes sharp).The two most common scales are long and short. Long scales are 25-112" or thereabouts (these include Strats, all their clones, and many Gibsons; Martin uses a 25.4" and guild a 25-518",but we lump them all together as long scale): short scales are 24-314" or thereabouts (Gibson Les Pauls, ES-335s,smaller Martins at 24.9",etc.).Classical guitars have long scales.There are many other scales, but only a few really common ones: a "medium" 25" scale is used ...

This Repair Guide is the leading step-by-step

1 Cleaning and care

basic basic

Supplies 1

Cleaning the finish

Cleaning the fingerboard

Avoiding cracks, dealing with humidity

2 Installing strings

basic

Installing strings on electrics

Installing strings on acoustics 1

Installing strings on c1a~sicals 1

3 Neck evaluation and truss rod adjustment

basic

Neck evalution

d.i.y.

Truss rod adjustment

Understanding relief

Pro-quality straightedges

Typical neck adjustment scenario

deep

Rescuing a broken truss rod

4 Setup and action

basic

What is a setup?

d.i.y.

The basics of setup

Setting up an electric guitar

Setting up a guitar with tremolo

Setting up an electric bass

Setting up a flattop acoustic

Setting up an archtop

Setting up a classical

deep

Low action and the blues

Setups for pro players: Stevie Ray Vaughan and Jeff Beck

John Mooney's slide

Albert Collins

BuddyGuy

B.B.King

5 Intonation and compensation

basic Understanding compensation

d.i.y. Setting intonation

Adjustable bridges (electrics)

Non-adjustable bridges (acoustics)

deep Buzz Feiten Tuning System

6 Tuning machines

Tuner basics

d.i.y. Installing tuners

Steinberger tuners

Tuner repairs, broken mounting screws

Damage from over-oiled tuners

deep

Rotted plastic knobs

Making new tuners look old

Reconstructing rotted knobs

7 Electric guitar bridges: non-tremolo

basic

The manyTune-O-Matics

TonePros and Pigtails

Steve Rowen on T-O-M hardware

d.i.y.

Slotting Gibson bridge saddles

Adjusting an ABR-1bridge radius

Bridge posts and tailpiece studs

De-rusting metal bridge saddles

8 Electric guitar bridges: tremolos

basic

Setting up your tremolo system

d.i.y.

Floyd Rose installation and setup

Kahler installation and setup

Fine-tuning a Strat tremolo

The Trem-Setter

Roller nuts

deep

String benders

9 Acoustic guitar bridges

basic

Fitting flattop bridge pins

Evaluating acoustic action

d.i.y.

Replacing a bridge saddle -

Archtop bridges

Fitting an archtop bridge

10 Acoustic body repairs

d.i.y.

Clamps and glues

Closing and gluing cracks

Gluing loose braces

deep

Reattaching loose bridges

Bridge pad problems

Neck resets

11 Necks

basic d.i.y.

Fender guitar neck shapes

Fender bass neck shapes

d.i.y.

Installing bolt-on necks

Fret buzz in the high registers

deep

Broken pegheads

12 Fretwork

basic

What to expect from afret job

d.i.y.

Loose frets

Fret files

Compound radius fingerboards

Fret dressing

Refretting:

Choosing yourfretwire

Hammer-in method

Compression fretting

Martin bar-style fretting

The glue-in method

Bound fingerboards

Vintage Fender fretting

Fret slots and tang size

deep

The neck jig

The Plek machine

13 Nut replacement

basic

About nut replacement

d.i.y.

steps for replacing a nut

Tools

Removing the old nut

Roughing in the blank

Cutting slots, finishing up

String spacing

14 Bindings and pickguards

d.i.y.

Loose bindings

Shrinking Strat pickguards

Regluing an acoustic pickguard

15 Guitar electronics

Tools and supplies for electronics

Soldering technique

Using a multi meter

Caps and pots

Switches

Shielding

Acoustic guitar amplification

Seml-hollowbody wiring

Pickup replacement

Pickup repair

Rewiring, modifications

Wiring diagrams

deep

Wind your own pickups

6 Finishing and finish repairs

d.i.y.

A basic finishing schedule

Spraying necks and bodies

Finish repairs

Supplies for finish repairs

Fixing chips

Fixing dents and scratches

Touching up color

deep

Faking an aged finish

17 Shipping a guitar or amp

How to pack a guitar

How to pack an amp

18 Tools

basic tool list

d.i.y. tool list

deep tool list

sharpening chisels and scrapers

19 Resources and schools

Training for a career in lutherie

Lists: schools, suppliers, organizations

Index