LIBRO CON CD

100 GUITAR TIPS YOU SHOULD HAVE BEEN TOLD. David Mead. CD TABLATURE

100 Tips for Guitar You Should Have Been Told

Series: Music Sales America
Publisher: Music Sales America
Format: Softcover with CD - TAB
Author: David Mead

Essential information and tips to become as great as the professionals. David Mead shares his expert knowledge, revealing the secrets of the playing styles of some 50 great guitar heroes including Eric Clapton, David Gilmour and Peter Green. Lessons include reading tablature, rhythm work, lead techniques and tricks, scales and pentatonics, improvisation, and solo building. An accompanying CD is packed with examples to help along the way.

Inventory #HL 14036723
ISBN: 9781860742958
UPC: 752187438625
Publisher Code: SMT1760
Width: 8.5"
Length: 11.0"
120 pages

COMPLETE BOOK OF SCALES & ARPEGGIOS IN TABLATURE FOR GUITAR, Wallach. Centinaia di diagrammi di scale, modi, decine di arpeggi. CD TAB.

THE GUITAR LICK TIONARY, Musicians Institute. CD TABLATURE

Composer: Dave Hill. Learn the essential lines and techniques of the world's greatest guitarists with this super cool book/CD pack from Musicians Institute! Set up like a dictionary, it provides clear, concise instruction and application tips in standard notation and tab for licks in all styles of music, including rock, blues, jazz, country, pop, acoustic and fusion. The accompanying CD features 99 demo tracks so you can hear how each lick should sound. 72 pages.

The Guitar Lick·tionary
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Dave Hill

Learn the essential lines and techniques of the world's greatest guitarists with this super cool book/CD pack from Musicians Institute! Set up like a dictionary, it provides clear, concise instruction and application tips in standard notation and tab for licks in all styles of music, including rock, blues, jazz, country, pop, acoustic and fusion. The accompanying CD features 99 demo tracks so you can hear how each lick should sound.

Inventory #HL 00695482
ISBN: 9780634014710
UPC: 073999896435
Width: 9.0"
Length: 12.0"
72 pages

INTRODUCTION
Music is a language, and each language has its own vocabulary. Whether you're speaking
Spanish, French, German, or playing blues, rock, country, or jazz, the richer your
vocabulary, the more creative you can be in expressing your thoughts and ideas. This book
is a tool to help you expand your music vocabulary and provide some insight into the vast variety of
phrases (licks) that make up different styles.
Of course, learning vocabulary alone doesn't teach you the grammar of a language. The skill of
developing and connecting phrases in a spontaneous and inspired way requires a study of the music.
No "one-stop shopping lick book" can substitute for a lot of listening, a lot of transcribing, and a lot of playing. This book, however, can be a great resource, opening your ears to the stylistic tricks and
techniques that can sometimes be elusive.
The Guitar Licktionary will expand your appreciation of music and styles while inspiring new ideas
that will ultimately become your own unique language. Good luck, and enjoy the journey!

HOW TO USE THIS BOOK
Each lick is described and notated alphabetically, and recorded on the accompanying CD, so you
can hear and understand the concepts behind it. Throughout this book, the numbers in the
audio symbols (.) indicate the track where each lick will be found on the CD. (Because of
audio constraints, most licks are doubled up-two to a track.) You can go through them all, find specific licks alphabetically, or use the index to find licks in a specific style.

Learn the Essential Lines and Techniques of The World's Greatest Guitarists
- CD Includes 99 Demo Tracks
- Rock, Blues, Jazz, Country, Pop, Acoustic, and Fusion Styles
- Clear, Concise Instruction and Application Tips
- Standard Notation and Tab

INDEX OF LICKS BY STYLE
Rock
Lick Track
Bach Rock
Blues-Rock
British Blues
Clapton-esque
Classic Metal
Doubled Pentatonic
Early Rock 'n' Roll
Electric Rock
Fast Rock Riff
Flashy Blues
Fours in Threes
Fusion Rock
Fusion Rock
Gigantic Sound
Gain' Off
Hard Rock
Heavy Rock
Heavy Rock
Hendrix-esque
High-Tech Rock
Insane Pentatonic
Interval Idea
Korn-Like
Latin Rock
Metal
Modern Rock
Pentatonic Shifting
Position Shifter
Progressive Rock .
Psychedelic .
Quirky Rock .
Rapid Bends .
Rhythmic Rock .
Rhythmic Rock .
Riffs .
Surf
Technical Rock
Triplet Rock
Two-Hand Tapping
Van Halen-esque
Vintage Rock
Yardbirds
Y2K Rock
Zone Doubles
ZZ Top

Jazz
Lick Track
Altered
Altered Triads
Bebop
Chromatic Jazz
Dorian
Dorian
Dorian Interval
Extended Arpeggio
Extended Dominant
Ending Lick
Ionian Arp
Jazz Altered
Jazz-Blues Turnaround
Jazz-Blues Turnaround
Jazz Sweep
Legato
Major ii-V-I
Martino-Like
Melodic Minor
Melodic Minor
Metheny-Like
Minor ii-V-I
Minor Seventh
Pattern for Dorian .
Sax Sounds
Swing
Utility Jazz
Wes-Like
Wes-Like ii-V-I
West Coast Blues
West Coast Cool
Whole Tone
Whole Tone
Whole Tone Riff
X-Tended Major 7th

Fusion
Acid Jazz
Altered Sequence
Altered Trick
Ascending Lydian
Blues Mixolydian
Chromatic Altered
Controlled Bends
Diminished Rock
Diminished Symmetry
Funky Blues
Fusion
Fusion Rock
Groups of Fives
Harmonic Minor
Holdsworthian
Hybrid Picking
Inside Outside
Lydian Arpeggio
Nearly Dorian .
Ninth-Chord Run .
Outside Loop .
Phrygian .
Quirky Blues .
Sco Sounds
Smooth and Fast
String Slider
Suspended Dom. Arp
Symmetry
Tritonal
Two Triads
Unidentified Flying Fingers
Very Smooth
Wide Open Spaces
X-Tended Dominant
X-Tending Scale Shapes

Blues
B.B.-ish
Below-the-Box Blues
Blues
Blues Break
Blues Turnaround
Bouncy Blues
British Blues
Chicago Blues
Down Home Blues
Down Home Blues
Fancy Blooze
Fast and Funky
Jump Blues
Louisiana Blues
Modern Blues
Nearly Blues .
Question & Answer Lick .
Quick Lick .
Retro .
Rock Blues
Rootsy Rock
Slick Blues
Soulful Bending
Texas Blues
Triplet Blues
Unusual Bending
Vaughan-Like
Vaughan, Stevie Ray

Country
Bluegrass .
Chicken Pickin' .
Classic Country .
Country .
Country .
Country .
Country Ending .
Country Rock .
Country Rock .
Fast Country .
Fingers and Pick .
Mixolydian Mix .
Pedal Steel .
Rockabilly .
Southern Rock .
Tri-Tone Twang .
Twangy Thirds .

Rhythm Guitar
Chord Punches .
Cropper-ish .
Dance .
Dom. Chord Inversions .
Motown Rhythm .
Power Pop .
Quartal Chord Lick .
Reggae .
Rock 'n' Roll Rhythm .
Ska .
World Beat .

Acoustic / New Age
Celtic .
Folk Rock .
New Age .
New Age .
New Age Acoustic .
Open Sounds .
Open String Ending .
Ragtime .
Travis Picking .

Slide
Slide Melody
Slide Melody
Slide Melody

Pop
Benson-esque .
Sliding and Bending .
Smooth Jazz .
Smooth Slides .
Soulful R&B .
Utility R&B .

THE GUITAR LICK TIONARY, Musicians Institute. CD TABLATURE

Composer: Dave Hill. Learn the essential lines and techniques of the world's greatest guitarists with this super cool book/CD pack from Musicians Institute! Set up like a dictionary, it provides clear, concise instruction and application tips in standard notation and tab for licks in all styles of music, including rock, blues, jazz, country, pop, acoustic and fusion. The accompanying CD features 99 demo tracks so you can hear how each lick should sound. 72 pages.

The Guitar Lick·tionary
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Dave Hill

Learn the essential lines and techniques of the world's greatest guitarists with this super cool book/CD pack from Musicians Institute! Set up like a dictionary, it provides clear, concise instruction and application tips in standard notation and tab for licks in all styles of music, including rock, blues, jazz, country, pop, acoustic and fusion. The accompanying CD features 99 demo tracks so you can hear how each lick should sound.

Inventory #HL 00695482
ISBN: 9780634014710
UPC: 073999896435
Width: 9.0"
Length: 12.0"
72 pages

INTRODUCTION
Music is a language, and each language has its own vocabulary. Whether you're speaking
Spanish, French, German, or playing blues, rock, country, or jazz, the richer your
vocabulary, the more creative you can be in expressing your thoughts and ideas. This book
is a tool to help you expand your music vocabulary and provide some insight into the vast variety of
phrases (licks) that make up different styles.
Of course, learning vocabulary alone doesn't teach you the grammar of a language. The skill of
developing and connecting phrases in a spontaneous and inspired way requires a study of the music.
No "one-stop shopping lick book" can substitute for a lot of listening, a lot of transcribing, and a lot of playing. This book, however, can be a great resource, opening your ears to the stylistic tricks and
techniques that can sometimes be elusive.
The Guitar Licktionary will expand your appreciation of music and styles while inspiring new ideas
that will ultimately become your own unique language. Good luck, and enjoy the journey!

HOW TO USE THIS BOOK
Each lick is described and notated alphabetically, and recorded on the accompanying CD, so you
can hear and understand the concepts behind it. Throughout this book, the numbers in the
audio symbols (.) indicate the track where each lick will be found on the CD. (Because of
audio constraints, most licks are doubled up-two to a track.) You can go through them all, find specific licks alphabetically, or use the index to find licks in a specific style.

Learn the Essential Lines and Techniques of The World's Greatest Guitarists
- CD Includes 99 Demo Tracks
- Rock, Blues, Jazz, Country, Pop, Acoustic, and Fusion Styles
- Clear, Concise Instruction and Application Tips
- Standard Notation and Tab

INDEX OF LICKS BY STYLE
Rock
Lick Track
Bach Rock
Blues-Rock
British Blues
Clapton-esque
Classic Metal
Doubled Pentatonic
Early Rock 'n' Roll
Electric Rock
Fast Rock Riff
Flashy Blues
Fours in Threes
Fusion Rock
Fusion Rock
Gigantic Sound
Gain' Off
Hard Rock
Heavy Rock
Heavy Rock
Hendrix-esque
High-Tech Rock
Insane Pentatonic
Interval Idea
Korn-Like
Latin Rock
Metal
Modern Rock
Pentatonic Shifting
Position Shifter
Progressive Rock .
Psychedelic .
Quirky Rock .
Rapid Bends .
Rhythmic Rock .
Rhythmic Rock .
Riffs .
Surf
Technical Rock
Triplet Rock
Two-Hand Tapping
Van Halen-esque
Vintage Rock
Yardbirds
Y2K Rock
Zone Doubles
ZZ Top

Jazz
Lick Track
Altered
Altered Triads
Bebop
Chromatic Jazz
Dorian
Dorian
Dorian Interval
Extended Arpeggio
Extended Dominant
Ending Lick
Ionian Arp
Jazz Altered
Jazz-Blues Turnaround
Jazz-Blues Turnaround
Jazz Sweep
Legato
Major ii-V-I
Martino-Like
Melodic Minor
Melodic Minor
Metheny-Like
Minor ii-V-I
Minor Seventh
Pattern for Dorian .
Sax Sounds
Swing
Utility Jazz
Wes-Like
Wes-Like ii-V-I
West Coast Blues
West Coast Cool
Whole Tone
Whole Tone
Whole Tone Riff
X-Tended Major 7th

Fusion
Acid Jazz
Altered Sequence
Altered Trick
Ascending Lydian
Blues Mixolydian
Chromatic Altered
Controlled Bends
Diminished Rock
Diminished Symmetry
Funky Blues
Fusion
Fusion Rock
Groups of Fives
Harmonic Minor
Holdsworthian
Hybrid Picking
Inside Outside
Lydian Arpeggio
Nearly Dorian .
Ninth-Chord Run .
Outside Loop .
Phrygian .
Quirky Blues .
Sco Sounds
Smooth and Fast
String Slider
Suspended Dom. Arp
Symmetry
Tritonal
Two Triads
Unidentified Flying Fingers
Very Smooth
Wide Open Spaces
X-Tended Dominant
X-Tending Scale Shapes

Blues
B.B.-ish
Below-the-Box Blues
Blues
Blues Break
Blues Turnaround
Bouncy Blues
British Blues
Chicago Blues
Down Home Blues
Down Home Blues
Fancy Blooze
Fast and Funky
Jump Blues
Louisiana Blues
Modern Blues
Nearly Blues .
Question & Answer Lick .
Quick Lick .
Retro .
Rock Blues
Rootsy Rock
Slick Blues
Soulful Bending
Texas Blues
Triplet Blues
Unusual Bending
Vaughan-Like
Vaughan, Stevie Ray

Country
Bluegrass .
Chicken Pickin' .
Classic Country .
Country .
Country .
Country .
Country Ending .
Country Rock .
Country Rock .
Fast Country .
Fingers and Pick .
Mixolydian Mix .
Pedal Steel .
Rockabilly .
Southern Rock .
Tri-Tone Twang .
Twangy Thirds .

Rhythm Guitar
Chord Punches .
Cropper-ish .
Dance .
Dom. Chord Inversions .
Motown Rhythm .
Power Pop .
Quartal Chord Lick .
Reggae .
Rock 'n' Roll Rhythm .
Ska .
World Beat .

Acoustic / New Age
Celtic .
Folk Rock .
New Age .
New Age .
New Age Acoustic .
Open Sounds .
Open String Ending .
Ragtime .
Travis Picking .

Slide
Slide Melody
Slide Melody
Slide Melody

Pop
Benson-esque .
Sliding and Bending .
Smooth Jazz .
Smooth Slides .
Soulful R&B .
Utility R&B .

GUITAR SECRETS: HARMONIC MINOR REVEALED. Don Mock. CD TABLATURE

Guitar Secrets: Harmonic Minor Revealed

By Don Mock
Item: 00-0055B
UPC: 029156658286
ISBN 10: 076920029X
ISBN 13: 9780769200293

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

Legendary guitarist and educator Don Mock exposes the closely-guarded "secret" soloing techniques of jazz and rock giants, revealing easy ways to create ultra-cool sounding lines and patterns by substituting simple harmonic minor patterns over dominant 7th chords. These book/CD packages each contain over 60 music examples, lines, licks and patterns. All music is written in standard notation and tablature.

MOCK REVEALS

SECRETS OF THE THE MASTERS !

FAMED GIT INSTRUCTOR EXPOSES TRICKS OF THE TRADE

Legendary guitarist and educator Don Mock exposesthe closely guarded "secret" soloing techniques of jazz and rock giants, revealing easy ways to create ultra-cool sounding lines and patterns by substituting simple harmonic minor patterns over dominant 7th chords.
Containing over 60 music examples, lines, licks and patterns, this book/CD package approaches the potentially complex topics of soloing and scale substitution from a player's perspective; immediately presenting useful lines and patterns that you can use now. All music is written in standard notation and tablature and all the music examples are contained on the included CD.
• New Sounds! New Ideas!
• Over 60 lines, licks and music examples!
• Learn soloing and scale, substitution from a player's perspedive!
• CD included!
• Standard notation and tablayure!
"I DID IT FOR THEMONEY" MOCK ADMITS

ISBN 0-7692-0029-X
9 780769 200293
WARNER BROS. PUBLICATIOS
15800 Avenue Miami
Coming Soon by Don Mock: Guitar Secrets/ Melodic Minor Revealed

Foreword
Learning how to play and use scales has always been a large part of every guitar player's practice schedule. Players have spent countless hours practicing scales up and down all over the guitar, sometimes with great success and sometimes with frustration as the end result.
Those of you that know me from my books and videos, or years at the Guitar Institute of Technology (GIT), know I've been involved in guitar education for a long time. I've seen hundreds of students struggle with the same problems that I faced when going through the process of learning how to play and use scales. After many years of experience, both playing and teaching, I've become a big believer in cutting through the B.S.in learning, and getting to the point of it all, which is playing music.
The presentation and ideas in this book are definitely from a "player's" perspective. We're not going to get too in-depth into the history and "classical theory" of the harmonic minor scale. We'll focus more on its uses in contemporary styles like rock, jazz and fusion. Don't get me wrong; there will be no shortcuts here when it comes to modern music theory. As far as I'm concerned, all guitar players must have a good working knowledge of harmony and theory and the ability to read music, even if it's only simple chord charts.
Three Steps to Success Learning to improvise can be thought of as a three step process. The first step istypically the learning of scales. Using either the "key center" approach or the "modal" approach, students should learn at least a few useful fingerings of the major scale and be able to play them in all keys. Also, in this first step, players need to learn about harmony and theory to help them understand which scale fits over which chord. Armed with some theory knowledge, students can immediately begin playing over even difficult chord changes by simply switching to the "correct" scale or key center for the given chord.
Most players, after a period of time, will begin to find this first step limiting. They may say that they can't seem to make their solos sound like the chords, that they sound too "scaler." Moving on to step two, we introduce arpeggios as a tool to create chord sounds. Mixing arpeggios with our scales starts making our solos more harmonically intelligent.
Step three isthe "final frontier" of improvising, as we now start really learning music. So far, we've been using scales and arpeggios, but may not have been able to make our solos sound melodic. Now it's time to learn melodies. Most of us need to learn a repertoire of melodic lines to use when we improvise. Almost every one of our favorite players have, at one time or another, learned lines by copying recordings or transcriptions. I've met many student who tell me they don't want to sound like anyone else and feel they shouldn't copy other players.
They soon realize that the road to "originality" goes through the land of copying licks, phrasing and concepts used by favorite players. Eventually, these "influences" merge together into your own original style.
One last thing. A common misconception about improvising isthe phrase: "Playing what you hear." Many players say they do this, leading students to think that they simply make music up on the spot. What they are really saying they are doing is "playing what they know."
Improvising isthe spontaneous performance of ideas that come to you in the midst of soloing. You may not know ahead of time what you are going to play, but armed with scales, arpeggios, melodic ideas and theoretical concepts, you can playa creative and spontaneous improvised solo.

Unit 7: Using Harmonic Minor Arpeggios
How to use arpeggios when improvising can be a pretty big subject. Generally speaking, arpeggios are used to create chordal sounds (one note at a time) and add more melodic variety to musical lines. They're great for breaking up scales and for moving from one register to another. There are basically two approaches to choosing which arpeggio to use at a given time. The first isto use the arpeggio of the chord. For example, if the chord is C7, you simply playa C7 arpeggio; or if the chord isCm 11, use a Cm 11 arpeggio, etc. Thisapproach requires that you know an arpeggio for every chord. Think about how much work that could be. Not a very practical way to go. The other approach only requires that you know triad and seventh chord arpeggios.
The trade off isyou need to became a wizard at chord substitution. By superimposing various arpeggios over the basic chord you can create just about every chord sound imaginable. A quick example, that you may already know, is playing a Cmaj7 arpeggio over an Am7 chord. By doing this, you end up creating the sound of Am9 without actually playing an Am9 arpeggio. Thisconcept can be taken a long way allowing you some very sophisticated harmonic possibilities.
There are many ways to use the arpeggios of the harmonic minor scale. One approach isto think of all seven of the arpeggios as four-note "clusters of sound" that can be used anytime the scale can be used. For example, if you are playing over an E7, resolving to Am, experiment with superimposing all the arpeggios from A harmonic minor over the E7.The trick to this isyou need to be able to phrase the arpeggios in a way that still communicates to your listener the "sound" of E7. With practice, this can be a powerful way to create layers of harmonic minor sounds.
But, before we go crazy, randomly playing a bunch of arpeggios, let's first take a look at the chord sounds that are the result of playing the seven arpeggios over a dominant chord.
An important thing to remember isthat not all dominant 7th chords that we come across in tunes are V7 chords in a minor key. In fact, most dominant 7th chords we deal with are actually in major keys. The harmonic minor scale may not be the best choice in these situations (but feel free to experiment). Harmonic minor sounds best when played over a 7th chord resolving to a minor. The scale has a tendency to "lead" your listener signaling that a minor chord isto follow.
The following list shows the result of superimposing each of the seven arpeggios derived from the harmonic minor scale over a dominant chord. You will find that some sound stronger than others, but by connecting them together and mixing them with the scale, you'll eventually be able to use all seven easily.

Arpeggio Resulting Sound
Am(maj7) E7(#5,11)
Bm7 (b5) E7(b9,11)
Cmaj7(#5) E7(#5)
Dm7 E7(#5, b9, 11)
E7 E7
Fmaj7 E7(#5, b9,11)
G#dim7 E7(b9)

Here are a few useful arpeggio sequences that will help reinforce the two master arpeggio positions. Although I've indicated the name of each arpeggio, these lines are meant to be "thought of" as dominant (all A7).

Guitar Secrets - Harmonic Minor Revealed
Contents:

Unit 1: Harmonic Minor Scale History
Examples 1A - D
Examples 2 - 3

Unit 2: Fingerings of the Harmonic Minor Scale.
Example 4

Unit 3: How to learn and Practice the Scale
Examples 5A - D

Unit 4: Transposing the Scale to Other Keys.
Examples 6A - C .
Example 7 .

Unit 5: The Harmonic Minor Scale Harmony .
Examples 8A - B

Unit 6: Arpeggios From Harmonic Minor .
Examples 9A - G
Examples 10A - G .

Unit 7: Using Harmonic Minor Arpeggios.
Examples 11A - C ".

Unit 8: The Minor II - V - I ,
Examples 12A - F ,

Unit 9: Harmonic Minor in a Blues?
Example 13 .

Unit 10: The IV and VI Chords in Harmonic Minor
Example 14 .

Unit 11: The Diminished 7th Chord in Harmonic Minor .
Example 15

Unit 12: Static and Functioning Dominant 7ths .
Examples 16 - 17 .
Example 18

Unit 13:The Classic Use of the I Chord in Harmonic Minor,
Example 19

Unit 14: Some Special "Thinking" Tricks.
Examples 20A - D .
Examples 21A - B

Unit 15: Horizontal Harmonic Minor Scale Fingerings
Examples 22A - B
Examples 23A - D
Examples 24A - B

Unit 16: The licks .
Examples 25 - 26
Examples 27 - 29
Examples 30 - 31
Examples 32 - 33  

MELODIC ARPEGGIOS FOR LEAD GUITAR, M. Galbo. CD TAB.

An arpeggio is simply playing the notes of a chord, one after another, in a melodic fashion. Piano, bass, string, and horn players routinely find the study of arpeggios a staple of their learning process. But, somehow, guitarists often manage to skip over this essential musical building block.
This book is designed to demystify arpeggios and demonstrate their application in a musical and easy-to-understand format. All of the material is presented within the context of various 'Jam Tracks' which allow students to immediately apply new knowledge and hear for themselves why arpeggios are essential to their playing.

All of the music examples are presented in standard notation and tablature so there is no need to read music. Also includes a special demonstration and playalong CD.