Mimi Fox Guitar Method The, Graduated Soloing. CD TABLATURE


This method book by renowned jazz artist Mimi Fox utilizes a unique approach to helping guitarists develop strong solos. Scales, arpeggios, patterns, and syncopated rhythms are introduced in a logical clear fashion. All of this is then applied to the "graduated" studies that follow.

Starting with simple melodies, and then progressively adding more complex figures based on arpeggios, scales, passing tones, and syncopated rhythms the "graduated" solos will teach students how to develop their own great solos by using the techniques contained herein. "Graduated Soloing" is stuffed full of great ideas/patterns/licks drawn from Mimi's many years of playing with the top musicians in Jazz/Pop music.

The book concludes with an explosive solo of Mimi's over a 12 bar blues and includes tab as well as musical notation with a detailed analysis by the author. CD contains all examples and solos.

Format: Book/CD Set
ISBN: 0786681381
UPC: 796279110525
ISBN13: 9780786681389
Series: Non-Series

Price: €24,99



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. 


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.



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.



About The Author
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)


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
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


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


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


Secondary Dominants


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

Carry On
Chord Voicings for Page
Theory Summary




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.


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.


Editor's Preface


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
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


The Original
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 de Nuevo-Chord/Melody .


CHAPTER TEN - Ode to Joy
Ode to Joy.


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






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.


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
Sequence of Four Notes
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)
Developing Your Ear
Modes of the G Major Scale
Seven Modes Beginning on G  


Price: €36,99




Classic Rock Heroes
Guitar Masters Series
Series: Guitar Masters Series
Format: Softcover with CD - TAB
Author: Joe Charupakorn

Inventory #HL 00699915
ISBN: 9781423423614
UPC: 884088129606
Width: 9.0"
Length: 12.0"
104 pages

Classic Rock Heroes not only contains accurate guitar transcriptions of 10 classic rock anthems and biographical information on each artist, it also includes a CD with the ORIGINAL RECORDINGS OF EVERY SONG! Hear every note as played, every lyric as sung, and every bend as you remember – this is the real deal! Songs include: All Right Now - Born to Be Wild - Cold Gin - Renegade - Rocky Mountain Way - Snortin' Whiskey - Stuck in the Middle with You - Takin' Care of Business - Thirty Days in the Hole • What's Your Name. Also features great photos, detailed gear listings, and album info. 104 pages

Song List:

All Right Now - FREE - 1970
Born To Be Wild - STEPPENWOLF - 1968
Cold Gin - KISS - 1974
Renegade - STYX - 1978
Rocky Mountain Way - JOE WALSH - 1973
Snortin' Whiskey - PAT TRAVERS - 1980
Stuck In The Middle With You - STEALERS WHEEL - 1973
Takin' Care Of Business - BACHMAN -TURNER OVERDRIVE - 1973
Thirty Days In The Hole - HUMBLE PIE - 1972
What's Your Name - LYNYRD SKYNYRD - 1977


Billboard Hot 100. The band was now a major act,
breaking attendance records worldwide on its tours.
Skynyrd opened for the Rolling Stones in front of
a crowd estimated at up to 500,000 people at the
Knebworth Fair in Hertfordshire, England. After the
show, members of the band hobnobbed backstage
with society's elite-even smoking a joint with actor
Jack Nicholson!
The band's next album, Nuthin' Fancy (1975), was
recorded with new drummer Artimus Pyle, who
replaced Bob Burns (Burns left the band citing
fatigue and health issues). Other big lineup changes
soon occurred-AI Kooper bowed out of being
Skynyrd's producer and midway through the tour
for Nuthin' Fancy (named the "Torture Tour") Ed
King, exhausted by both life on the road and Van
Zant's abusive behavior when drunk, left the band;
this would later prove to be a life-saving move. In
December 1975, female background vocalists, The
Honkettes (Leslie Hawkins, JoJo Billingsley, and
Cassie Gaines) were added. Mega-producer Tom
Dowd was brought on to produce the band's next
album Gimme Back My Bullets. Dowd agreed to
produce the album only on the conditions that the
band follow his zero tolerance policy for drunkenness
and that they rehearse consistently at a set time. At
the recommendation of Honkette Cassie Gaines, her
brother, guitarist Steve Gaines was added to Lynyrd
Skynyrd. Gaines brought back the three-guitar fury
to the Skynyrd sound and very shortly after joining,
took part in the live album, One More for the Road.
Gaines appeared on the band's next studio album,
Street Survivors (1977). Initially, it seemed like this
album would be a disaster. Producer Tom Dowd
left midway through the recording to finish a Rod
Stewart album, and initial impressions of the album
were lackluster at best. The finished product turned
out to be a miracle and is considered by many to be
Skynyrd's best album. It went platinum and reached
#5 in the US. Unfortunately the album will always
be associated with the tragic events that happened
three days after its release. On October 20, 1977,
while en route to a gig at Louisiana University,
Skynyrd's chartered tour plane ran out of fuel and
crashed into a swamp in Gillsburg, Mississippi. This
crash killed Ronnie Van Zant, Steve Gaines, Cassie
Gaines, and Dean Kilpatrick (road manager). As an
eerie coincidence, the cover of the original edition of
Street Survivors depicted the band in flames. After
the tragedy, that cover was replaced with a different
shot, sans flames.
MCA released a compilation album, Gold and
Platinum in 1979. That same year, the surviving
members performed "Freebird" at Charlie Daniel's
5th annual Volunteer Jam, at the Nashville Municipal
Auditorium. This performance was the impetus
behind the Rossington-Collins band, formed in
1980. Female singer Dale Krantz was added along
with former Skynyrd bassist Leon Wilkeson and
keyboardist Billy Powell. This short-lived band
released two albums between 1980 and 1982. Other
offshoot bands included the Artimus Pyle Band (Pyle
wouldn't join the Rossington-Collins band because
he didn't approve of Krantz fronting the band)
formed in 1981, the Allen Collins Band, formed in
1983, and Rossington, formed in 1986.
To commemorate the tenth anniversary of the crash,
Lynyrd Skynyrd reunited in 1987 with surviving
members Rossington, Powell, Wilkeson, Pyle, and
King. Allen Collins, paralyzed from a 1986 drunk
driving accident, singed on as musical director, and
new members, vocalist Johnny Van Zant (Ronnie's
younger brother) and guitarist Randall Hall (from
the Allen Collins Band) were added. Allen Collins
died on January 23, 1990 from complications caused
by pneumonia. The following year, Lynyrd Skynyrd
recorded its first studio album since the airplane
tragedy, Lynyrd Skynyrd 1991, which was produced
by Tom Dowd, and in 1996, a documentary entitled
Freebird ... The Movie was released. The band's place
in history was cemented on March 13, 2006, when it
was inducted into the Rock and Roll Hall of Fame.
Lynyrd Skynyrd is an icon that has forever impacted
the American cultural landscape and now, more than
three decades later, is still going strong.
Performance Notes
Lynyrd Skynyrd's sixth offering, Street Survivors
(1977), was among the band's most successful
albums, reaching platinum status and peaking at #5
in the US. Sadly, it was the last album recorded with
the original lineup. Among the highlights of Street
Survivors was "What's Your arne:' a ignature song... band had to do the gig, if only to
get gas money for the trip back to Ohio. To everyone's
surprise, the band kicked ass as a power trio and would
consequently retain this format. A lucky break came
in the form of a last-minute slot opening up for The
Who in Pittsburgh, PA. Pete Townsend took a liking
to Walsh, referred to him as "America's answer to all
the English flash guitarists," and brought the James
Gang out for its European tour. After the tour, the
James Gang released The James Gang Rides Again,
which featured one of its all-time classics, "Funk #49."
The band's next album, Thirds, was Walsh's last studio
album with the band. In addition to tour burnout,
Walsh started to feel restricted by the confines of the
trio format. This precipitated his departure from the
James Gang after the live release from Carnegie Hall,
James Gang Live in Concert, which was recorded live
with no studio overdubs or fixes.
After leaving the band, Walsh moved to Boulder,
Colorado and took six months off from guitar,
spending time on his radio hobby. In 1972, he
released his first solo album, Barnstorm, which had
a more fleshed out sound with keyboards, synthesizers,
and vocal harmonies. Walsh's next album,
The Smoker You Drink, the Player You Get, was his
breakthrough album, peaking at #6 on the charts.
The album featured one of his most recognizable
songs, the classic "Rocky Mountain Way." Tragedy
struck in 1973 when Walsh's baby daughter was
involved in a car accident and died shortly thereafter.
This incident forever changed Walsh's life and
propelled his self-abusive personality. Residue of
the tragic event is evident in the title of his next two
releases, So What in 1976, and the live album, You
Can't Argue With a Sick Mind. After the loss of his
daughter, Walsh did not have the strength to continue
a solo career and joined the Eagles in 1976, replacing
Bernie Leadon.
With Walsh on board, the Eagles recorded the
landmark Hotel California, one of the best selling
albums of all time. The album was #1 for eight nonconsecutive
weeks on the album charts and featured
two #1 singles-"Hotel California" and "New Kid in
Town." In 1978, Walsh recorded another solo effort,
But Seriously Folks, which featured the signature
Wal h classic "Life's Been Good" It took the Eagles
two-and-a-half year to rele oll '-up album,
The Long Run, but it was worth the wait. The album
reached #1, earned the Eagles a GRAMMY®, and
spawned three Top 10 singles-"Heartache Tonight,"
"I Can't Tell You Why," and "The Long Run." After
The Long Run, the Eagles took a "fourteen-year
vacation," disbanding until 1994's reunion album,
Hell Freezes Over, a mixed live/studio set that hit
#1 immediately upon release. Now older and wiser,
the Eagles reunited on the condition that everyone
stay clean and sober, prompting Walsh to check into
rehab. In 1998, the Eagles were inducted into the
Rock and Roll Hall of Fame and to this day, continue
to forge ahead, bucking the ever-changing musical
climate. In 2007, the Eagles released The Long Road
to Eden, the band's first studio album since 1979.
In the period since the Eagles' comeback, Walsh
recorded a slew of solo albums including There Goes
the Neighborhood, You Bought It: You Name It, The
Confessor, Got Any Gum?, and MTV Unplugged,
among others. He also regrouped with the James
Gang in 1996 at an election rally for President
Bill Clinton. With Walsh back in the band, the
James Gang has made several television appearances
including The Drew Carey Show, and has since
performed and toured sporadically.

Performance Notes
Despite his reckless image and his ballsy style, Joe
Walsh is a studied musician with a firm grasp on
music theory. He minored in music at Kent State
University and later received an honorary doctorate
in music from Kent. Growing up, Walsh started on a
diet of Beatles and Rolling Stones, learning George
Harrison's lines note-far-note. He later moved on to
the solos of Eric Clapton and Jeff Beck, meticulously
copying every nuance. This determination, combined
with his relentless gigging schedule, nurtured a
refined, yet powerful guitar stylist.
"Rocky Mountain Way" is one of Walsh's personal
favorite solos. The song is basically an extended
blues, enhanced with slide guitar and talk box. Walsh
nailed the slide parts in one take. After the first take,
Walsh wanted to do another, like most musicians
would, just to make sure. Everyone in the studio
unanimously agreed that it was a perfect run and told
Walsh "you're done." The rest is history.


... experience, having previously played with the moderately
successful MS Funk (a band that had opened for
Kiss). Initially, Shaw didn't know much about Styx
and actually looked down on them. He wasn't interested,
but went to the audition anyway and wound up
getting the gig without even touching his guitar. He
sang "Lady" with DeYoung and because he could hit
the high notes, DeYoung said "we want you in the
Shaw made his debut, playing guitar, singing, and
writing/co-writing several songs on the band's next
album, Crystal Ball. The album did moderately
well, but it was the band's next album, The Grand
Illusion, that would take Styx into the big time.
The album went multi-platinum and "Come Sail
Away," a fantasy-themed single from that album
hit #8 in the US. Styx's next effort, Pieces of Eight,
also went multi-platinum. By this point, Shaw had
been making his mark on the band's sound. Pieces
of Eight featured three singles penned by Shaw,
"Renegade," "Blue Collar Man (Long Nights)," and
"Sing for the Day." The album Cornerstone followed
in 1979 and contained the bands biggest hit "Babe,"
which hit #1 on the charts. Cornerstone veered away
from the prog-rock sounds of previous efforts and
into a more pop/rock vein. As a result, its more mainstream-
friendly sound went multi-platinum, peaking
at #2 on the album charts. The bands momentum
continued with Paradise Theater, which also went
multi-platinum and was the only Styx album to
reach #1. "Snowblind," one of the songs from the
album caused controversy when activist Tipper Gore,
among others, accused the track of containing backwards,
satanic messages.
Although the band was on top of the world, not all
was well in Styx land. Around the time Shaw joined
the band, DeYoung suffered a nervous breakdown
and went for a stay at a psychiatric center. After
his recovery, he brought his wife and daughter on
the road. The DeYoungs were devout Catholics,
which created a major lifestyle conflict with the
band and brought about increasing intrapersonal
tension. Artistic tensions also came to a boil among
the band's songwriters-DeYoung's vision saw the
band going into a more theatrical direction while
Shaw and Young were pushing for a harder, more
rockin' sound. DeYoung got his way with the band's
next platinum album, Kilroy Was Here. The album
was a concept album that spawned the legendary
mega-hit "Mr. Roboto." DeYoung was also hellbent
on making a film version of Kilroy Was Here,
much to the chagrin of the other band members.
The movie was ultimately abbreviated to a fifteenminute
short film (costing Styx $1.5 million) to be
played on the Kilroy tour, which was already an
over-the-top, theatrical affair that had band members
wearing costumes and reciting dialogue. The tour's
ultra-elaborate production proved to be a nightmare
for the crew. Gargantuan sets had to be transported
daily from arena to arena, and numerous technical
snafus plagued the production. DeYoung didn't make
the situation easier. Whenever the film projectors
failed and the Kilroy film couldn't be shown,
DeYoung would refuse to sing and the show would
be over-not a good move considering ticket sales
were already drastically declining. It got so bad that
the last round of the tour was suddenly cancelled.
Tension in the band was at an all-time high and a
breakup was all but inevitable. During this period of
uncertainty, A&M released a live album, Caught in
the Act, which featured material from the Kilroy Was
Here and Paradsie Theater tours. The band went on
hiatus and Shaw and DeYoung pursued solo careers,
each releasing several solo albums. In 1990, after
extensive negotiations, the members of Styx decided
to record another album. DeYoung called Shaw to
start pre-production but got a shocker on the phone.
Shaw, with the aid of A&R legend John Kalodner,
had formed a new band, the Damn Yankess, which
featured Ted Nugent and Jack Blades, and was in the
process of recording an album. Glen Burtnick, who
had a deal as a solo artist with A&M Records, was
brought in as a replacement for Shaw and joined Styx
while they were still recording Edge of the Century.
During the negotiations for this album, DeYoung
used his clout to revamp the financial terms of the
band in his favor. He made himself the sole producer
of the album, thus getting points from the album,
excluding the others in the band.
Also, rather than split the publishing equally as
had been done previously, each songwriter now
solely owned his publishing, and at this point, only
DeYoung and James Young were writing songs for
the album. DeYoung also somehow managed to get...

Price: €25,99


Ask Me No Questions

Chains And Things
Confessin' The Blues
Get Off My Back Woman
I Want You So Bad
I'm Gonna Do What They Do To Me
No Good
Paying The Cost To Be The Boss
So Excited
The Thrill Is Gone



B.B. King - Master Bluesman: Deluxe Edition
Guitar Masters Series
Series: Guitar Masters Series
Format: Softcover with CD - TAB
Artist: B.B. King
Author: Dave Rubin

Learning B.B. King's music has never been more fun! B.B. King – Master Bluesman not only contains accurate transcriptions and in-depth analysis of 10 blues classics and biographical information on B.B. himself, it also includes a CD with the ORIGINAL RECORDINGS OF EVERY SONG! This unique pack analyzes the following songs: Ask Me No Questions • Chains and Things • Confessin' the Blues • Get off My Back Woman • I Want You So Bad • I'mGonna Do What They Do to Me • No Good • Paying the Cost to Be the Boss • So Excited • The Thrill Is Gone.

80 pages


Price: €31,99

PRO CHARTS FOR JAZZ GUITAR. Luis Bonfa - Joe Pass - Barney Kessel - Dan Libertino. CD TABLATURE



Pro Charts for Jazz Guitar
Series: Guitar Solo
Publisher: Professional Music Institute
Format: Softcover with CD - TAB
Editor: Dan Libertino

Eight jazz classics transcribed as they were played by legends Wes Montgomery, Joe Pass, Luis Bonfa, Barney Kessel, and Johnny Smith. This book also includes a CD with two tracks for each song: one at a practice tempo and one at performance speed. Songs include: Body and Soul • A Day in the Life of a Fool (Manha De Carnaval) • Do Nothin' Till You Hear from Me • Don't Get Around Much Anymore • Midnight Sun • Moonlight in Vermont • There Will Never Be Another You • Whisper Not.

Body And Soul
A Day In The Life Of A Fool (Manha De Carnaval)
Do Nothin' Till You Hear From Me
Don't Get Around Much Anymore
Midnight Sun
Moonlight In Vermont
There Will Never Be Another You
Whisper Not


Width: 9.0"
Length: 12.0"
32 pages

Price: €20,99


B.B. KING, BLUES LEGEND. A Step-by-Step Breakdown of His Guitar Styles and Techniques. CD TABLATURE

B.B.'s Boogie
Blue Shadows
Everyday I Have The Blues
Help The Poor
How Blue Can You Get
It's My Own Fault Darlin'
Just Like A Woman
Please Accept My Love
Shake It Up And Go
So Excited
Woke Up This Morning


B.B. King - Blues Legend

A Step-by-Step Breakdown of His Guitar Styles and Techniques
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: B.B. King
Author: Dave Rubin

Learn the guitar licks that made B.B. the undisputed King of the Blues! Dave Rubin teaches 12 signature tunes: B.B.'s Boogie • Blue Shadows • Everyday I Have the Blues • Help the Poor • How Blue Can You Get • It's My Own Fault Darlin' • Just like a Woman • Lucille • Please Accept My Love • Shake It Up and Go • So Excited • Woke Up This Morning.

Width: 9.0"
Length: 12.0"
48 pages

Price: €29,99

STERN MIKE Guitar Styles & Techniques of a Jazz-Fusion Signature Licks CD TABLATURE SPARTITI


Mike Stern, A Step-By-Step Breakdown of the Guitar Styles & Techniques of a Jazz-Fusion Pioneer

Serie: Signature Licks Guitar

Formato: Softcover with CD - TABLATURE
Autore: Joe Charupakorn
Artista: Mike Stern

Scopri la magia di un asso di chitarra Mike Stern con l'edizione speciale di Assoli d'Autore che includono le interviste e le lezioni con Stern, informazini esclusive sull'attrezzatura, l'analisi approfondita di 14 titoli e in più un CD audio con tutti  gli esempi musicali del libro. Le canzoni sono: After You • Jigsaw • Like Someone in Love • One Liners • Play •Sunnyside • Swunk • There Is No Greater Love • Tipatina's • Wing and a Prayer • e altre.

Larghezza: 9.0"
Lunghezza: 12.0"
128 pagine


After Blood, Sweat & Tears, Stern returned to Boston and played with saxophonist

Jerry Bergonzi (who he met through his teacher, the late Charlie Banacos). He also took

over Bill Frisell's spot in trumpeter Tiger Okoshi's Tiger's Baku, a band that Frisell helped

put together. In 1979, Stern landed his next big gig, with drummer Billy Cobham. During

a gig with Cobham at the now-defunct Bottom Line in New York City, Miles Davis (at the

suggestion of saxophonist Bill Evans) came to check out Stern. He liked what he heard

and Stern got the ultra high-profile gig for Davis's 1981 comeback tour. It was a major

milestone in Stern's career, and one that catapulted him into jazz stardom.

Stern played on three Miles Davis albums: The Man With the Horn, which featured a

burning solo on the first cut "Fat Time" (named in Stern's honor for both his great timefeel

and his at-the-time, corpulent physique); We Want Miles, a great live album; and Star

People, which also featured guitarist John Scofield, who was recruited as a second guitarist

because of Stern's then drug and alcohol problem. Having gradually become unreliable,

Davis ultimately let Stern go, to sober up.

During this time, Stern reconnected with Jaco Pastorius, playing in his Word of Mouth

band. They also played together nonstop when Stern lived above 55 Grand Street, a New

York City jazz club they played at since its inception (not to be confused with the 55 Bar

on Christopher Street, where Stern currently plays twice a week when he's in town). Jaco

wound up crashing at Stern's pad and the two were inseparable, playing at all hours of

the day and blowing lines over changes. Alas, they were also doing "white lines" to the

point of losing control. Stern checked into rehab, and in 1985, the cleaned-up guitarist

rejoined the Miles Davis band. Pastorius, however, never cleaned up. The drugs and alcohol

had severely impacted his mental state and behavior for the worse, and in 1987, during

an altercation with a bouncer outside a nightclub in Florida, he was tragically beaten

to death.

Since his tenure with Miles Davis, Stern has gone on to perform and record with

Michael Brecker, the Brecker Brothers, Bob Berg (with whom he co-led the Mike Stern/

Bob Berg band), Jaco Pastorius's Word of Mouth band, Steps Ahead, David Sanborn, Joe

Henderson, George Coleman, Ron Carter, Jim Hall, and Pat Martino, among others.

Stern has also recorded numerous solo albums-the first being Neesh, in 1983, which

was recorded for Trio (a Japanese label), right after Stern first left Miles Davis's band. It

was recently re-released, but only in Japan (on Absord Music Japan). In 1986, Stern

signed a deal with Atlantic Records and recorded Upside Downside. This marked the

beginning of a 15-year association with Atlantic Records that spawned ten albums and

three Grammy nominations. In 2004, with the demise of the jazz department at Atlantic

Records, Stern recorded his first album for ESC Records, These Times (now available on

BHM Records). In 2006 Stern moved to Heads Up International Records for his release

Who Let the Cats Out?, which garnered Stern a fourth Grammy nomination. A live DVD,

Live-New Morning The Paris Concert was also released in 2006, by independent

German label, lnakustik. This DVD featured Richard Bona, Dennis Chambers, and Bob

Franceschini. In 2009, a sequel to Live-New Morning The Paris Concert was released

and features Tom Kennedy, Dave Weckl, and Bob Franceschini. Big Neighborhood,

Stern's most explosive guitar album to date, was also released in 2009 and featured virtuoso

guitarists Steve Vai and Eric Johnson, among others. Stern's earlier Atlantic recordings,

with the exception of Play and Voices (which are still available through Warner

Music), are now distributed by Wounded Bird Records, a CD-only re-issue label.

Despite Stern's enormous status as a world-renowned jazz-fusion guitar virtuoso, his

prodigious technical abilities (which he seamlessly combines with a heartfelt lyricism),

and his impressive history onstage with countless jazz legends, Stern is a humble and

grounded musician whose sole mission is to constantly grow as a player. "The more I

know, the less I know" is one of Stern's favorite quotes, and it is indicative of his approach

to music, as a neverending quest.

For this Signature Licks edition we have enlisted Mike Stern as a consultant. He offers

not only unique analytical and historical insight for each selection but also a special private

lesson, to help you understand the theory behind his burnin' lines. And indirectly,

large portions of the information in this book have been gathered over the years, during

my studies with Stem and om itnessing countless live shows.



What was the first jazz solo that had an impact on you?

Well that's a hard question because my mom used to playa lot of jazz records so I always

heard jazz around the house. I started playing when I was 12, but I was 17 when I started

getting more into jazz. I guess it was something off a Miles Davis record. One of the

first records I used to scope was Herbie Hancock's Maiden Voyage. That was one of the

first albums that I checked out and tried to play along with. At the time, I was listening to

more blues, rock, and Motown, and playing along by ear.

When you played along with Maiden Voyage, were you soloing over it or were you

trying to play the actual parts?

I was doing a little bit of both-the actual parts and the solos.

Do you remember the first solo you transcribed?

Yeah, it was a Joe Pass solo. I picked a blues because it's an easy form and Joe's solo

had a lot of inside bebop. It was a medium swing, not a real fast tempo.

Did he playa lot of sixteenth notes in the solo?

He was playing a lot of eighth notes, just a lot of really cool bebop lines. Joe was a very

clear, inside player in a lot of ways. He didn't go outside the key too much, and it was very

clear what he did when he did go out, the way he outlined it. He was amazing like that.

There was a lot of bebop vocabulary; he used to play with Oscar Peterson. It took me

about three weeks to transcribe the solo. I had to slow the record player down, which

almost ruined the record. Finally I taped it and finished the rest. Later on I showed it to

some people and they said most of it was wrong [laughs]. But doing it myself was amazingly


After you learned the solo did you take licks from it and use them in your own playing?

A little bit, and some of the phrasing, too. It's like when you read a book or short storyyou

don't memorize every word; you just take certain things away from it and then enough

of the remaining information goes unconsciously into your brain, or in the case of music,

into your ear. Over time, if you take from enough different solos from different people, you

don't sound like just one guy.

For a long time now, I've been more into copping piano and saxophone solos. But

when I was first transcribing, it was guitar because it was my own instrument-and that

was hard enough. But like I said, transcribing lines for myself was really helpful; I got a lot

more out of it that way than from reading it from a book.

Were you writing out the solos?

Yeah, I wrote them down. Then I'd read through it, not so much to cop licks but more like

reading a magazine or a short book, where you might remember a couple of phrases and

quote from it-you don't memorize every word. Some people go too far and memorize the

whole solo, but the idea is to learn how to phrase unconsciously and then twist it around

your own way, as a kind of springboard for your own ideas. That way you get a vocabulary

in a certain style; for instance, if you want to work on your bebop vocabulary, you do

a lot of bebop players. I did a bunch of guitar players at first-Joe Pass, Jim Hall, Wes

Montgomery, George Benson-and then I got into horn players.


After You - Mike Stern - 1986
Jigsaw - Mike Stern - 1989
Like Someone In Love - Words: Johnny Burke, Music: Jimmy Van Heusen - 1944
Odds Or Evens - Mike Stern - 1991
One Liners - Mike Stern - 1997
Play - Mike Stern - 1999
Showbiz - Mike Stern - 1996
Sunnyside - Mike Stern - 1996
Swunk - Mike Stern - 1994
That's What You Think - Mike Stern - 1997
There Is No Greater Love - Words: Marty Symes, Music: Isham Jones - 1936
Tipatina's - Mike Stern - 1999
Upside Downside - Mike Stern - 1986
Wing And A Prayer - Mike Stern - 1996

Price: €32,99




Guitar Workout
Speed Picking, Sweeps, Arpeggios & Harmony for the Modern Guitarist
Series: Guitar Educational
Format: Softcover with CD - TAB
Author: John Heussenstamm

Guitar Workout is an intensive, comprehensive program that will increase your speed, agility, and creativity. This is the ultimate workout for any guitarist who wants to accelerate and articulate their speed picking! Train like a professional while gaining a greater understanding of the diatonic major scale, scale harmony, and the picking technique needed to play super-fast licks and riffs with melodic intelligence and creativity. Internationally renowned guitarist John Heussenstamm leads you through rigorous single-note warm-up exercises, speed drills, fingering patterns, sweeps, arpeggios, and melody construction.
Width: 9.0"
Length: 12.0"
154 pages

Price: €25,99



Pentatonic Scales for Bass

Fingerings, Exercises and Proper Usage of the Essential Five-Note Scales
Series: Bass Builders
Format: Softcover with CD - TAB
Author: Ed Friedland

The pentatonic is one of the most widely used scales in music. This book teaches fingerings for these essential five-note scales all over the neck, and how to use them to create solid, functional bass lines. The CD contains 56 tracks and features full-band demonstration examples. Covers: major and minor pentatonic scales; one- and two-octave scale patterns; pentatonic modes and their applications; soloing with pentatonic scales; and much more ! 64 pages


The Pentatonic is one of the most nwidely used scales in the world of music. In pentatonic scales for bass, you'll learn fingerings for these essential five-note scales all over the neck and see how you can use them to create solid, functional bass lines. The CD included contains 56 tracks and features full-band demostration examples.








By definition, a pentatonic scale is simply a group of five consecutive notes within the

range of an octave. With this loose framework, there can be many variations of five-note

patterns that fit this description. Throughout this book, we will focus on the two most

common variations: the major pentatonic (1-2-3-5-6-S) and minor pentatonic (1-h3-4-

5-~7-S). These pentatonic scales are undoubtedly the most commonly used musical

elements in the world. Cultures as far-flung as Africa, Europe, Asia, the South Pacific,

and the North and South Americas use these five-note patterns as the basis of their

musical traditions, and their influence on contemporary music is just as far-reaching. As

the primary building blocks of the rock and roll musical vocabulary, the pentatonic scale

can be traced directly to West Africa, Ireland, and Scotland. When African captives were

brought to the Western world, they carried with them a deep musical tradition whose

rhythmic basis morphed over time into shuffle and swing feels. Melodically, the minor

pentatonic scale (1-h3-4-5-h7-S) was at the core of their music-eventually evolving into

the blues scale (1-h3-4-#4-5-h7-S), the melodic foundation of the blues. The journey from

the blues to rock and roll has been well-documented.

But the pentatonic scale's influence on popular music can also be traced back to the music of

Ireland and Scotland. As Celtic people settled in the New World, they brought their

songs, reels, jigs, and sea shantys-many of which were based on the pentatonic scale.

This music became the seed of the Appalachian folk tradition, which over the years

evolved into Old Timey, Bluegrass, and Country. Between the late 1940sand 1950s,these

styles crossbred with the emerging "boogie" genre to create rockabilly as well as rock

and roll. When you look at this crosscurrent of influence, the differences between artists

like Muddy Waters and Hank Williams seem less significant.

The pentatonic scale (in its major form) is simply a major scale without scale degrees 4

and 7. The interval created between the 4th and 7th scale degrees is known as the tritone, and it

is the principle source of dissonance in Western music. By removing these two degrees,

we have a scale that is void of any potential dissonance. German composer Carl Orff

(best known as the composer of Carmina Burana) devised a system of music education

for children based on the use of pentatonic scales for this very reason. Since there are no

"bad" notes, children can improvise freely on pentatonic-based instruments to develop

their creativity. It has been said that in medieval times, the use of the tritone in musical composition

was banned due to its disharmonious quality. It is documented that the tritone was once

referred to as Diablo en Musica, or the "Devil in Music," and considering most music of the

time was composed for use in church, it is not hard to see why the pentatonic scale might

have been favored.



 Using the CD

 Learning the Pentatonic Scale
 Minor Pentatonic

 Major Pentatonic

 Two-Octave Pentatonic Scales

 Technical Exercises

 Pentatonic Modes
  - Using Pentatonic Modes

 Common Out-of-Scale Chords

 Other Chord Movements

 Soloing with Pentatonic Scales
 - Major 7th Chords
 - Minor 7th Chords
 - Dominant 7th Chords

 In Closing

Price: €20,99



Jaco Pastorius Bass Method
Lessons, Tips, and Techniques from His Private Teaching Archives
Series: Bass Instruction
Format: Softcover with CD - TAB
Artist: Jaco Pastorius
Author: Ray Peterson

Hailed as the “greatest bass player who ever lived,” Jaco Pastorius (1951-1987) lives on through his groundbreaking legacy of musical brilliance. And now for the first time, one of Jaco's private students imparts the wisdom gained from one-on-one lessons with the bass genius himself. Complete with songs, solos, techniques, theory, and personal experiences with Jaco, this one-of-a-kind book/CD is finally here to give the world what it craves – bass guitar lessons with Jaco Pastorius. We've even included a few scans of actual pages of Jaco's personal practice book – in his own handwriting – for the ultimate personal Jaco experience. The song list includes: Chromatic Fantasy • Continuum • Donna Lee • Havona • Opus Pocus • Portrait of Tracy • Teen Town • and more. The accompanying CD includes audio tracks of all the examples in the book.


Chromatic Fantasy
Come On, Come Over
Donna Lee
I Can Dig It Baby
Liberty City
Okonkole Y Trompa
Opus Pocus
Portrait Of Tracy
Teen Town
(Used To Be A) Cha Cha

Width: 9.0"
Length: 12.0"
80 pages

Price: €26,99
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