LIBRO CON CD

AFRO CUBAN SLAP BASS LINES. CD TAB.

Series: Berklee Methods
Publisher: Berklee Press
Softcover with CD - TAB
Author: Oscar Stagnaro

Afro-Cuban rhythms are hot, and the bass is the beating heart of the groove! Now you can learn to play slap bass in seven popular Afro-Cuban styles: cha cha, son montuno, songo, timba, Afro-Cuban 6/8, Latin jazz, and Latin jazz in 7. Whether you read tab or standard notation, you will quickly learn all these styles and develop your slap bass techniques to create style-appropriate articulations. The included CD has percussion tracks, play-along tracks and complete songs to help you improve your groove to an Afro-Cuban rhythm. Grammy-winning bassist Oscar Stagnaro is one of today's top players and a pioneer in bass education. He is an associate professor at Berklee College of Music, where he helped found the Latin bass studies department. He is co-author of The Latin Bass Book. 56 pages.

Rhythm Riffs, Over 200 Riffs in All Styles Hal Leonard Guitar Method

LIBRO PER CHITARRA CON CD E TABLATURE

Series: Guitar Method
Format: Softcover with CD
Arranger: Greg Koch

Also available:
Lead Licks – 00697345

Inventory #HL 00697346
ISBN: 9780634048487
UPC: 073999973464
Width: 9.0"
Length: 12.0"
48 pages

KOCH GREG, RHYTHM RIFFS. 200 riffs. CD TABLATURE

Over 200 Riffs in All Styles Hal Leonard Guitar Method
Series: Guitar Method
Medium: Softcover with CD
Arranger: Greg Koch

Are you tired of playing the same riffs over and over again? Or maybe you just don't know what to play during your solo? Loaded with new ideas, Rhythm Riffs gives you the tools to spice up your rhythm guitar playing and make your parts more authentic. This book/CD pack covers rock, blues, jazz, country, funk and "outside" styles. It gives you major, minor and dominant 7th riffs for nearly any musical situation - over 200 riffs in all! The CD includes each riff played at full speed and at a slower practice tempo. 48 pages.

INTRODUCTION

RIFFS MAJOR
RIFFS MINOR
RIFFS DOMINANT 7TH.
12 -BAR VARIATIONS
TUNING

INTRODUCTION

Do you find yourself reaching for the same chord shapes again and again when you pick up a guitar? What if someone asks you to "play something bluesy" on a G chord-do you know what to do? How would you like to spice up your rhythm guitar playing, make your parts more authentic, or maybe just get some new ideas? Rhythm Riffs is a unique book designed for the intermediate to advanced guitarist to increase your playing vocabulary exponentially. Whether you're playing in a band, writing songs, accompanying others, or just jamming with friends, there's so much more you can do-other than strum!-when playing rhythm guitar.

ABOUT THE RIFFS
What is a "riff?" A riff is a rhythmic theme that can contain single notes or chords. What goes into a riff can really depend on the style of music or even the particular player. A riff can include any of these elements:
• unique chord voicing(s)
• distinctive rhythm(s)
• hammer-ons/pull-offs
• fills & ornaments
• passing tones & chords
• unusual playing techniques
• other embellishments

The possibilities are nearly endless!
When it comes right down to it, most songs are the same. That is, they're all based on chords. What makes one song-or style, or artist-different from another, is what they do with those chords. This is where Rhythm Riffs comes in.
Each riff in this book is based on a simple chord-like A, Em, G7, etc. The chord label doesn't necessarily reflect the actual voicing used; it just shows you what type of chord you may want to play the riff over. This means you can start "plugging in" the riffs right away-putting them into songs, grooves, jams, whatever.
But here's where things get really interesting: Each riff isn't just played once. Instead, through various stylistic nuances, each riff is "morphed" into five different genres of music: rock, blues, jazz, country, and funk.* This gives you an option for just about any style you could possibly play! With twelve major riffs, twelve minor riffs, and twelve dominant seventh riffs, plus the five stylistic variations for each, you've got 180 potential riffs for bolstering your rhythm guitar vocabulary. The last section of the book features eight variations on the 12-bar blues, also done in various styles, which provide interesting rhythmic ideas and chord voicings for this most popular and highly used song form. Folk, R&B, and pop are occasional alternate styles.

HOW TO USE THIS BOOK
There is no right or wrong way to use this book. Some players may want to play each riff in its entirety; others will want to pick and choose just a few chord voicings or techniques out of various riffs. Some players may want to focus on one particular style and learn only those riffs. The option is always yours. If you started the book at the beginning, it would take you quite a while to get to some of the ideas at the end. Therefore, you may want to "preview" the book first: Listen to the CD while following along with the book, and keep track of the selections that you like. Make those your first playing priority. On the CD, each riff is played twice (fast, then slow); the total CD length is just over an hour. Track 45 contains tuning notes.

HOW TO PRACTICE
When learning the riff selections, practice them along at a speed at which you can play flawlessly. If you try to play them fast too soon, the "slop factor" can be too great. (Always give yourself plenty of time to learn each riff; there's a lot of them here and the tendency may be to rush, but each riff is worth taking your time with.) Using a metronome is very helpful for gradually speeding up pieces that you are trying to learn. Start at a reasonable tempo, and as your skill dictates, increase the tempo. When trying to apply the riffs, some incubation time is again a good idea. It may help you to have certain tunes in mindperhaps a song for which you're having trouble finding fresh rhythm ideas. You can try the riffs at your next band rehearsal, record them as you playa tune to see how they sound, play along with records, or whatever it takes to feel conversant with them. Never force a riff, though; strive to make your playing musical. When something works, you'll know it. The 12-bar variations at the end of the book can be used in their entirety or can be cross-mutated by joining some of the different variations together. The idea is to give you a strong rhythmic vocabulary for com ping a blues in any genre.

SPECIAL TECHNIQUES
There are two specialized (right-hand) techniques used in this book on occasion-most often in the country-style riffs-that may require a little explaining before we proceed. One is Travis-style picking, and the other is chicken pickin'.
The Travis-style selections in this book are written as two parts like the example below. The lower part can be played with the thumb, while the higher register can be played with the first and second fingers. A hybrid picking ("pick & fingers") approach may also be employed by playing the lower register with your pick while your middle and ring fingers catch the other notes. In either case, muting the lower notes with the palm of your picking hand gives the desired rhythmic approach for this style.

Chicken pickin' means different things to different people, but it basically involves using muting of one form or another to achieve a "clucking"-type sound indicative of a lot of great country guitarists. The muting used to produce chicken pickin', as it occurs in this book, can best be explained with the example below. The three notes of the first A chord are simultaneously plucked by the index, middle, and ring fingers. These same fingers are immediately used to dampen the strings, and the thumb is used to pluck the open A string (which is being muted by the index finger) to produce the "cluck." By rapidly going back and forth between the open chord and the muffled "cluck," your chicken pickin' sequence begins to take shape.

RHYTHM RIFFS giver you major, minor, and dominant 7th riffs for nearly any musical situation. Over 200 riffs in all !

CD includes each riff played at full speed and at a slower practica tempo !

ROCK

BLUES

JAZZ

COUNTRY

FUNK 

In 25 Great Guitar Solos, we take an in-depth look at some of rock guitar's finest moments. Whether it's the jaw-dropping technique of Yngwie Malmsteen, the unmistakable individuality of Jeff Beck, or the melodic brilliance of Mark Knopfler, each solo stands out as a unique achievement within the rock guitar genre. Travel through time as we explore rock' n' roll history with bios, photos, lessons, full notation and tablature, a sound-alike audio CD, and much more. There's plenty here to keep you occupied and enough stylistic variation to satisfy your occasional craving for the eclectic. About the CD. The accompanying audio CD with this book includes all 25 solos performed note for note with a full band and is playable on any CD player. For PC and MAC computer users, the CD is enhanced with Amazing Slow Downer software so you can adjust the recording to any tempo without changing pitch! The time code shown at the start of each solo transcription indicates the point at which the solo begins in the original recording. All solos on the CD performed by Hal Leonard studio musicians. Scotty Moore, Jeff Beck, Eddie Van Halen, Steve Vai and many others, take an inside look at the genesis of rock lead guitar. The book and CD compendium provides solo transcriptions in standard notation and tablature, lessons on how to play them "HOW TO PLAY IT", guitarist biographies, AGE AT TIME OF RECORDING, GUITARS, AMPS, equipment,  photos, history and much more. The accompanying CD contains full-band demonstrations of every guitar solo in the book! 152 pages. Note: only solos are notated, not complete songs.

25 Great Guitar Solos is the latest instructional paperback release from Hal Leonard Publishing, the leader in educational material for musicians. It's 25 transcriptions of some of the greatest signature guitar solos ever recorded. This collection will no doubt thrill any burgeoning, motivated guitarist, whether they're young or old, novice or veteran. The content is comprehensive and accurate, yet portrayed in a simplified manner that doesn't overwhelm or discourage the learner. The book is complete with transcriptions, lessons on how to, biographies on each song and artist, photos, and a notation legend. A CD is attached as well, which includes note-for-note renditions of all 25 songs, done by a complete band, and playable on any CD player. Additionally, the CD is enhanced for PC and MAC users, with slow down software for a painless learning experience. You can decelerate the songs to any tempo without changing note pitch. Taking full advantage of the lessons in this book will improve and add sparkle to any guitarist. The bio sections are fascinating, and loaded with info pertaining to the songs and the recording artists who played them. For example: 'All Along The Watchtower' gives a short bio of the life of Jimi Hendrix and his music, and then goes into detail about how the song is done, its arrangement and chord changes, key and measure continuance, and also about the guitar and gear used. The collection of songs is excellent.

Transcriptions · Lessons · Bios · Photos
Series: Guitar Book
Softcover with CD - TAB
Author: Chad Johnson

"A composer does not just write the main Inelody; he composes every orchestrated part in the entire sound spectrum. That is also what I do, but I do it in the form of rock 'n' roll." -Yngwie Malmsteen. Of all the eighties "shredders," Yngwie Malmsteen stands out as the most prominent. He raised the bar more than any other single guitarist and inspired legions of followers in the same way as Eddie Van Halen (see "Eruption"), Joe Satriani (see "Satch Boogie"), or Steve Vai (see "Big Trouble"). With the release of 1984's Rising Force came a fully-developed and entirely unique style that fused heavy metal and classical music with dizzying results. Eddie's technique was awesome, but Yngwie's was simply staggering. He had solidified his place instantly among the guitar gods. Born Lars Johann Yngwie Lannerback in 1963 in Stockholm, Sweden, he adopted his mother's maiden name, Malmsteen, after his parents divorced. As a young child he was particularly unruly and actually refused his mother's suggestions to take up a musical instrument, feeling as though music wasn't quite macho enough. At the age of seven, however, this would change. Yngwie saw a documentary on Jimi Hendrix (see "All Along the Watchtower") in which he burned his guitar on stage, and that was all Yngwie needed. Hendrix and Deep Purple's Ritchie Blackmore (see "Highway Star") inspired him early on, and Yngwie was particularly interested in the way Blackmore combined classicallytinged minor lines with heavy rock riffs. To say he became obsessed would even be an understatement; Yngwie eventually dropped out of school at around age ten (!) so. he could stay home and practice. His mother, well aware of the talent young Yngwie displayed, supported the decision. Through his sister, Yngwie was introduced to the music of classical composers such as Bach, Beethoven, Mozart, and Paganini. He became particularly interested in Paganini, who combined a dazzling technique with an unruly, "wild man" demeanor. Yngwie patterned much of his attitudes after the nineteenth-century violinist, eventually resulting in a healthy ego and wild on-stage antics. By his late teens, Yngwie was playing in several local bands around Sweden but finding little success with the then pop-dominated musical tastes of the time. After sending demo tapes to several labels in the U.S., he struck gold in the form of Mike Varney. The president of Shrapnel records, a label tailored to the new "shredding" style emerging at the time, Varney invited Malmsteen to Los Angeles in 1981. Yngwie quickly joined the band Steeler, which did release one album, but he soon left in search of a band with a style better suited to his. Alcatrazz was a closer fit, and Yngwie remained with them until 1983, releasing one studio album (No Parole from Rock 'N' Roll) and one live album (Live Sentence) before deciding to set out on his own. Yngwie's spot in Alcatrazz would be filled by Steve Vai. Yngwie recruited his longtime keyboardist friend Jens Johansson and formed his own band, Yngwie J. Malmsteen's Rising Force. Their debut album, Rising Force, was released in 1984 and sent shockwaves through the rock guitar world. The album actually peaked at #60 on the charts-an extremely impressive feat considering the majority of the album was instrumental- and received a Grammy nomination for Best Rock Instrumental Performance. Yngwie swept the readers' polls in ... 

... over 13 million. The band instantly became the biggest in the world, and they freely indulged in all of the debaucheries that rock stardom affords. In 1988 they released G N' R Lies, an album that combined their first EP with four new acoustic-based songs. They scored another huge hit with the delicate ballad "Patience," but "One in a Million," with its shocking, outspoken lyrical content, swarmed the band in controversy and negative publicity. At the American Music Awards, Slash and bassist Duff McKagan, both severely intoxicated, made an extremely inappropriate acceptance speech laced with profanity, further damaging the band's public image. By 1990, both Slash and Steven Adler had developed serious heroin addictions, and while on tour with the Rolling Stones, Axl announced that he would leave the band if certain members didn't stop "dancing with Mr. Brownstone." Although Slash was able to get himself clean, Adler continued to truggle and was eventually fired from the band, with Matt Sorum (from the Cult) brought in as a replacement. Amid all the controversy and drama, the band had been working on their followup album, augmented in the studio by keyboardist Dizzy Reed. The release was delayed for nearly a year, but Use Your Illusion I and Use Your Illusion II finally came out in September of 1991-unfortunately for them, this was the same month that Nirvana's Nevermind hit the helves. Though the Illusion albums sold ell initially, it was only a matter of time before grunge took the nation by storm. The Spaghetti Incident?, a collection of punk covers, was released in 1993. but failed to make much of a splash. Since then, Slash has stayed active with Slash's Snakepit in the mid-nineties and more recently the successful Velvet Revolver, which features former Stone Temple Pilots frontman Scott Weiland, Duff McKagan, and Matt Sorum. Axl Rose, the only remaining member of G N' R, has been promising the release of a new album for nearly a decade, which has turned into somewhat of a running joke amongst the music industry. How to Play It: Slash was truly a breath of fresh air in the late eighties. His sound was so raw and unpolished compared to others of the day, yet he still had considerable chops that seemed unlikely given his punkish edge. With "Sweet Child 0' Mine," he created one of the most memorable guitar tracks of the decade. The infamous intro was striking enough, but the lengthy solo really provided him an opportunity to shine. At first the song comes off as a jangly, upbeat pop rock song, complete with loves truck lyrics and the standard changes. The entire mood changes at the solo, however, and that new darker, menacing vibe carries out through the rest of the song. The solo begins with a dramatic key change from D major to E minor by way of a chromatic walk-up. Slash begins navigating the new Em-C-B7-Am progression with sparse, tasty phrases from the E minor scale, occasionally alluding to the harmonic minor scale over the B7 chord. He employs imitative phrasing throughout to lend direction to the solo, as is evident is measures 2-3, 6-8, and 9-14. He makes extensi e use of both half- and whole-step bends throughout, with pitch-perfect intonation in each instance. Notice how Slash works with the rhythm section, gently accenting the "and" of beat 2 with many of his melodies to reinforce the main rhythmic pulse of the song. At the end of measure 16 he kicks on the wah and unleashes a pre-composed sixteenth-note ascenuing rUll based 011 the E harmonic minor scale that ushers in the energized second half of the solo. The lick lasts two measures, as the Am chord is extended for one extra measure to heighten the build-up into the next section. Though it begins in seventh position, it ends up in twelfth position, shifting positions on the high E string exclusively with pinky slides. The first two beats don't pose much of a fingering problem, but after that things can get hairy if you don't think ahead. Try fingering the C and D# notes in the second half of beat 3 (measure 16) with your first and third fingers, respectively. After that, you should be able to continue sliding your pinky up for the position shifts without a problem. At measure 18, over the new four-measure progression of Em-GS-AS-BS-CSDS- G5, Slash turns up the heat with gutsy pentatonic-based phrases mostly in...  Vital Stats: Guitarist: Slash, Song: "Sweet Child O' Mine", Album: Appetite for Destruction, 1987 Age at time of recording: 22, Guitar: Gibson Les Paul, Effects: wah wah, Amp: Marshall

YEAR, SONG, GUITARIST, ARTIST / BAND, ALBUM

1955, Rock Around The Clock, DANNY CEDRONE, BILL HALEY, shake, rattle & roll
1956, Hound Dog, SCOTTY MOORE, ELVIS PRESLEY, The real Elvis
1967, Sunshine Of Your Love, ERIC CLAPTON, CREAM, Disraeli Gears
1968, All Along The Watchtower, JIMI HENDRIX, Electric Ladyland
1969, Let It Be, GEORGE HARRISON, THE BEATLES, Let it be
1970, 25 Or 6 To 4, TERRY KATH, CHIGAGO, Chicago II
1972, Blue Sky, DUANE ALLMAN, DICKEY BETTS, ALLMAN BROTHERS BAND, Eat a Peach
1972, Blue Sky, PART 2 SOLO, DUANE ALLMAN, DICKEY BETTS, ALLMAN BROTHERS BAND, Eat a Peach
1972, Highway Star, RITCHIE BLACKMORE, DEEP PURPLE, Machine Head
1973, Free Bird, GARY ROSSINGTON, ALLEN COLLINS, LYNYRD SKYNYRD, Pronounced Leh-Nerd Skin-Nerd
1973, La Grange, BILLY GIBBONS, ZZ TOP, Tres Hombres
1975, Bohemian Rhapsody, BRIAN MAY, QUEEN, A Night At the Opera
1975, She's A Woman, JEFF BECK, Blow by Blow
1975, Walk This Way, JOE PERRY, AEROSMITH, Toys in the attic
1978, Eruption, VAN HALEN, Van Halen
1978, Sultans Of Swing, MARK KNOPFLER, DIRE STRAITS, Dire Straits
1978, Sultans Of Swing, PART 2 SOLO, MARK KNOPFLER, DIRE STRAITS, Dire Straits
1980, Crazy Train, RANDY RHOADS, Blizzard of Ozz
1980, You Shook Me All Night Long, ANGUS YOUNG, AC/DC, Back in Black
1983, (You Can Still) Rock In America, BRAD GILLIS, JEFF WATSON, NIGHT RANGER, Midnight Madness
1983, (You Can Still) Rock In America, PART 2 SOLO BRAD GILLIS, JEFF WATSON, NIGHT RANGER
1983, Am I Evil? KIRK HAMMETT, METALLICA, Garage Inc.
1983, Pride And Joy, STEVIE RAY VAUGHAN, Texas Flood
1984, Black Star, YNGWIE MALMSTEEN, Rising Force
1986, Big Trouble, STEVE VAI, Eat 'em and Smile
1987, Satch Boogie, JOE SATRIANI, Surfing with the Alien
1987, Sweet Child O' Mine, SLASH, GUNS N' ROSES, Appetite for destruction
1990, Get The Funk Out, NUNO BETTENCOURT, EXTREME, Pornograffitti

25 GREAT BLUES GUITAR SOLOS. Dave Rubin CD TABLATURE

Transcriptions · Lessons · Bios · Photos

Series: Guitar Book
Softcover with CD - TAB
Author: Dave Rubin

From Magic Sam and the Three Kings to Eric Clapton and the Vaughan brothers, take an inside look at the genesis of blues guitar. This book and CD compendium provides solo transcriptions in standard notation and tablature, lessons on how to play them, guitarist biographies, equipment, photos, history, and much more. The accompanying CD contains full-band demonstrations of every guitar solo in the book. For PC and Mac users, the CD is enhanced with Amazing Slow Downer software so you can adjust the recording to any tempo without changing pitch! 124 pages. Songs include:

Preface
Ever since the first guitar hero, Sylvester Weaver, recorded the first blues guitar solos on "Guitar Blues" and "Guitar Rag" in 1923, they have been an integral part of the blues experience. From that time forward through the country and Delta blues era until the early 1940s, acoustic guitars were the only means of expression, and most blues were solo affairs. With the exception of the sensational duets Lonnie Johnson performed with Eddie Lang in the late 1920s and Scrapper Blackwell's accompaniment of pianist Leroy Carr in the 1930s, little in the way of memorable soloing was

CONTENTS

Year - Title - GUITARIST

1942 - I Got a Break Baby - T-Bone Walker 

1954 - Okie Dokie Stomp - Clarence "Gatemouth" Brown

1956 - Honky Tonk - Billy Butler

1956 - All Your Love (I Miss Loving) - Otis Rush

1961 - Blue Guitar - Earl Hooker

1962 - Moaning for Molasses - Jody Williams

1963 - Hidden Charms - Hubert Sumlin

1963 - Remington Ride - Freddie King

1963 - Rockin' Awhile - B.B. King

1966 - Sweet Sixteen - B.B. King

1968 - Blues Power - Albert King

1968 - Cross Road Blues (Crossroads) - Eric Clapton

1968 - Every Day I Have the Blues - Kenny Burrell

1968 - Sweet Home Chicago - Magic Sam

1969 - Be Careful with a Fool - Johnny Winter

1969 - Don't Throw Your Love on Me So Strong - Michael Bloomfield

1973 - Cotton Picking Blues - Son Seals

1974 - Let's Have a Little Talk - Luther Allison

1974 - Wayfaring Pilgrim - Roy Buchanan

1979 - I Smell a Rat - Buddy Guy

1980 - Brick - Albert Collins

1983 - Phone Booth - Robert Cray

1983 - Texas Flood - Stevie Ray Vaughan

1985 - Satisfy Susie - Lonnie Mack

1986 - Why Get Up - Jimmie Vaughan

Guitar Notation Legend

FORD ROBBEN, Signature Licks Guitar. CD TAB.

Author: Dave Rubin
Artist: Robben Ford

Play the signature licks and riffs from 12 of Robben's most popular songs, the CD includes demos to make learning easier.

Born Under A Bad Sign
The Brother (For Jimmie and Stevie)
Busted Up
Help The Poor
I Just Want To Make Love To You
Indianola
Mama Talk To Your Daughter
The Miller's Son
Red Lady With Cello
Rugged Road
Start It Up
You Cut Me To The Bone