ASAP CLASSICAL GUITAR Learn How to Play the Classical Way James Douglas Esmond LIBRO CD TABLATURE gymnopedie

ASAP CLASSICAL GUITAR, Learn How to Play the Classical Way, James Douglas Esmond. CD TABLATURE.


Per chi incomincia a suonare la chitarra classica, ASAP, As Soon As Possible, con il significato di: "al più presto possibile".

Serie: Guitar
Editore: Centerstream Publications
Copertina morbida con CD - TAB
Autore: James Douglas Esmond

Teacher-friendly or for self-study, this book/CD pack for beginning to intermediate guitarists features classical pieces and exercises presented progressively in notes and tab, with each explained thoroughly and performed on the accompanying CD. A great way to learn to play ASAP! 36 pages.


List of piece playing tips and explanations of exercises

R.H.Exercise Group #1
An easy introduction to the most basic finger patterns used in these pieces as well as good reading for the open strings.

R.H.Exercise Group #2
Moreindex and middle combinations. Start slowly and work for balance in the hand and an even tone.

L.H.Exercise #1
Stay on one string for as long as necessary to get perfect. Moving each finger deliberately and independent of others.

L.H.Exercise #2
Work to keep fingers down until they absolutely need to move.

Spanish Theme
Use this as a reinforcing piece for first position reading by saying notes out loud while playing. Index and Middle throughout for the top line. Work this line separately for awhile before adding the Bassline.

Ode to Joy
This piece, like the last is introduced in two parts and the Bassline will require a bit more attention.

Minuet in C
This piece should be approached like the last two but the parts require even more attention. Follow the left hand fingerings very closely. Get the left hand and the Bassline very good before adding together.

R.H.Exercise Group #3
These arpeggiations will be useful and comprehensive in regards to learning the next pieces in the book. Take one at at a time and practice very slowly.

L.H.Exercise #3
The L.H. and RH. should be practiced equally in this exercise. Practice the right hand alone and don't go too fast.

Pastoral Theme
Feel the left hand being free even thought the 3rd finger is rooted to the low G. Practice the top line by itself as well.

Gymnopedie #1
This is the first Chordal piece and therefore working on it by "Blocking" the left hand and just practicing the motions that the left hand uses from ms. to ms. will be beneficial. Also practice the Bassline and right hand motions alone.

New World Theme
Approach this piece the same way as the first three "Break-Down" pieces.

Etude in C
For this piece just looking at the tablature and practicing the arpeggio patterns by themselves with no left hand is a good way to start. Then incorporate blocking the left hand motions as well before putting together slowly.

Etude in A minor
Approach this piece the same way as the Etude in C.

Approach this piece by breaking up the two lines, but pay very close attention to the top line. De-emphasize the
Bass notes as much as possible. A light touch when holding down the repeated C and G is good for the other fingers.

Academic Festival Overture
Practice the chords that happen on every other beat to start. Try to de-emphasize the middle voices as well.

A Dance
Get familiar with the repeating Bassline in this piece so it can be put into the background while the top voice and middle voices can focused on more. Follow the fingering strictly.

Simple Lamentation
Practice the Bassline a lot by itself, being careful to shape it and work on having a good volume and even tone.

Soldier's March
Practice the chords without worrying about the rhythm at first and then after working the RH. motions, combine.

Approach this piece in the same way as Musette, being careful to have a light left hand, especially when moving up
the neck.

Practice the RH. arpeggio pattern by itself before learning the L.H. Focus on some of the harder chord changes.

Practice the melody by itself a lot to get a very good, even sound. Make sure to de-emphasize the middle voices.

Musetta's Waltz
Use the same approach as with Adagio, take your time to plant the L.H./ RH. fingers on the ending 8th note run

Practice the repeating Bassline first to get it very solid, then work on each 4 measure piece before connecting them.

Eine Kleine Nachtmusic
Special care on the opening octaves should be taken. Be careful not to tense up the right hand on repeated fingerings throughout.


Foreword - How to use the Book
This book, while organized progressively, is constituted of all pieces that are developmental in nature for a beginner's technique. It is therefore recommended but not necessary to go through the book in a stepwise fashion. In addition the pieces can be broken in to several technique categories( i,m studies, arpeggio studies, chordal, etc.) and some pieces fall in to several of these categories. To ease the student into reading on the guitar the pieces have been arrange in very manageable keys, no more than 1# used.
I strongly suggest following all the fingerings that are suggested, however, if there are places in the book where a teacher or student wishes to change a fingering then that should be fine as long as the student adheres to it. There are many options for fingerings on the guitar and the important thing to remember is that the student is building what I like to call a "Technique Memory" and that each piece, or section of a piece can be seen as a set of directions that will, if practiced carefully, be absorbed and adhered readily to the next similar piece. As Guitarists, we are always building towards more difficult pieces but in a way always dealing with some of the same as well so it makes sense to stick closely to fingerings for some time.
Write in even more if necessary.
The exercises and 1st section of Broken-Down pieces are meant to really help the student ease into the book. The exercises do not have to be mastered before studying the pieces, especially due to the reading aspect, but should be incorporated into a daily practice routine.
I hope you enjoy the pieces and find this to be fun and helpful on your journey as a Classical guitarist.


James Douglas Esmond started playing the guitar
seriously in his teens. He received his Bachelor's
of Music Theory and Classical Guitar performance
from Ithaca College, Ithaca, N.Y.Upon graduating
he became involved in church music. He has held
positions in various churches, as a guitarist, organist,
singer and conductor. In addition to his church
work, he also teaches Guitar and Piano at Blue Sky
Studios in Delmar, N.Y., and writes and arranges
compositions in various genres and styles. He currently
serves as the Organist/Music Coordinator at
Newtonville Methodist Church in Loudonville, N.Y.
He resides in Albany N.Y.with his wife Meighan.


Table of Contents and C.D. Track List

Exercises and Pieces in graded order, with playing Tips

Foreword and Biography

Track 1. -R.H.Exercise Group #1
Track 2. - R.H.Exercise Group #2 .
Track 3. -L.H.Exercise #1 .
Track 4. -L.H.Exercise #2 .
Track 5. -Spanish Theme (Melody and Bassline) .
Track 6. -Spanish Theme .
Track 7. - Ode to Joy (Melody and Bassline) .
Track 8. - Ode to Joy .
Track 9. - Minuet in C (Melody and Bassline) .
Track 10. - Minuet in C .
Track 11. -R.H.Exercise Group #3 .
Track 12. -L.H.Exercise #3 .
Track 13. - Pastoral Theme .
Track 14. - Gymnopedie #1 .
Track 15. - New World Theme .
Track 16. -Etude in C .
Track 17. -Etude in A minor .
Track 18. -Musette .
Track 19. - Academic Festival Overture .
Track 20. - A Dance .
Track 21. - Simple Lamentation .
Track 22. - Soldier's March .
Track 23. - Sunrise .
Track 24. - Reflections .
Track 25. - Adagio .
Track 26. - Musetta's Waltz .
Track 27. - Cannon .
Track 28. - Eine Kleine Nachtmusic .

Price: €16,99

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar Tim Quinn CD TABLATURE CHITARRA

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar, Tim Quinn. CD TAB.

MBGU Rock Curriculum: Fluid Pentatonics, Book 2
84 Melodic Studies for Guitar
by Tim Quinn

Product Description:
Fluid Pentatonics for Guitar: 84 Melodic Studies for Rock Guitar is a comprehensive manual for developing blistering pentatonic motion that moves freely over the entire fretboard, using position-shifting slides, hammer-ons, and pull-offs for speed and fluidity. Emphasis is on overcoming the restrictive nature of traditional pentatonic "box" scale fingerings by developing pathways that continually shift between and connect the five pentatonic “boxes”. Complete whole-neck control is developed through an extensive series of repeating melodic exercises and etudes. Section One presents 35 sequential whole-neck studies, each of which spans the range of twelve frets, thus unlocking virtually every possible position shift. Section Two develops complete non-shifting control through a series of 15 interesting and useful sequential patterns, applied to each of the five pentatonic "boxes". Section Three presents 10 whole-neck/position-shifting studies that are non-sequential in design, in order to develop unpredictable melodic flow. Then, in Sections Four and Five, two vital extensions/variations of the pentatonic scale are fully explored; the Hexatonic and Dominant Pentatonic scales.

The result is a complete matrix of pentatonic moves and connections that allow the guitarist to float freely across the entire fretboard without being locked into any single particular pentatonic "box". The resulting sound is definitely NOT bluesy (very little string bending), but closer to a modern jazz-rock fusion style; fluid and unpredictable. Great for all guitarists in rock, jazz, fusion, blues, country, and pop styles who want to unlock complete whole-neck freedom and develop a fast, modern pentatonic sound. CD included.

Presented in standard notation and tablature.

Price: €27,99



Product Description:
Chord-Lead Soloing for Guitar is a complete method for developing fluid double-stop chord melody. This style of playing can be heard most notably in the playing of Jimi Hendrix (in songs such as The Wind Cries Mary, Little Wing, and Castles Made of Sand), as well in the music of the guitarists he influenced, including Steve Vai, Eric Johnson, and Stevie Ray Vaughan. Chord-lead style playing bridges the gap between straight lead and strictly rhythm, because it is simultaneously chordal (implying a specific major or minor chord) and melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm into one flowing melodic chordal texture. This is accomplished through a comprehensive collection of chord-lead phrases, each of which is presented in at least three different fingerings (important for whole-neck flow). These phrases are then assembled into soloing etudes that demonstrate practical application over different chord progressions

Chord-lead playing can be adapted to every style of music, including rock, jazz, blues, alternative, funk, R&B, country, and pop. Mastering chord-lead soloing also greatly increases a guitarist’s ability to "stand alone"; that is, to play by himself unaccompanied by other musicians, mixing and switching between chording and lead improvisation. This book is perhaps the most definitive guide ever written for mastering this highly sought after (yet elusive) style of playing. CD included. Standard notation and tablature.

Price: €24,99

BUSTER B. JONES JUST US-14 Complete Notation & Tab Transcriptions CD TABLATURE LIBRO SPARTITI

BUSTER B. JONESJUST US: 14 Complete Notation & Tab Transcriptions. CD TABLATURE

Product Description:
Although his scorching fingerpicking was most impressive at first glance, a closer look at "Just Us" reveals that he is equally adept at what many musicians consider as a more difficult task: playing fewer notes... ones that mean more, and say more with less, as he does on album opener "A Simple Gift", title cut "Just Us", and "One Sad Clown".

"Just Us" is an album consisting largely of his own compositions inspired by his two main guitars "Merle" and "Pearl". Along the way we are treated to a barn-storming version of "Alabama Jubilee" (it must be tunes like this that caused Chet Atkins to say of Jones "He plays like he's double-parked"), "Collage-a-Reed" and "Clawin'" (each inspired by mentor Jerry Reed), while "Let the Sun Shine In" sounds like an instant fingerpicking classic that you could swear you have heard before, but haven't. Including detailed notation on 15 of Buster’s songs from "Just Us", this Book/CD lesson will challenge even the best players. Presented in standard notation and tablature.

Song Title: Composer/Source:

A Second Glance
A Simple Gift
Alabama Jubilee
Be Like Dad
Flight Path
Just Us
Last Request
Let the Sun Shine In
One Sad Clown
Still Live Five
The Thoughts of One
Thom's Thumb

Price: €32,99


KESSEL BARNEY, A Step-by-Step Breakdown of His Guitar Styles and Techniques. Barney's Blues -Begin The Blues -Contemporary Blues -Easy Like -Foreign Intrigue -Indiana (Back Home Again In Indiana) -(I'm Afraid) The Masquerade Is Over -Minor Mood -On A Slow Boat To China -Salute To Charlie Christian -64 Bars On Wilshire -Speak Low -Tenderly -Vicky's Dream. CD TAB.

Wolf Marshall guides guitarists through the styles and techniques of jazz legend Barney Kessel, examining in depth 14 top tunes. 96 pages.

Price: €29,99


BLUES DELUXE. D. Rubin. All the King's Horses (Luther Allison) -Are You Losing Your Mind? (Buddy Guy) -Don't Take Advantage of Me (Johnny Winter) -Give Me Back My Wig (Hound Dog Taylor) -Gravel Road (Magic Slim) -Look Now, Baby (Son Seals) -Master Charge (Albert Collins) -The Moon Is Full (Albert Collins & Robert Cray) -Somebody Loan Me a Dime (Fenton Robinson) -Two-Headed Man (Lonnie Brooks). CD TAB.

Series: Guitar Masters Series
Format: Softcover with CD - TAB
Author : Dave Rubin
Artist : Various

Learning authentic blues has never been more fun! Not only does this deluxe edition provide accurate transcriptions of ten blues classics plus performance notes and artist bios, it also includes a CD with the original Alligator Records recordings of every song!
120 pages

Price: €31,99

BURRELL KENNY Step-By-Step Guitar Styles Techniques Jazz Legend LIBRO CD TABLATURE CHITARRA

BURRELL KENNY, A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend. All Night Long -All Of You -Autumn Leaves -Do What You Gotta Do -Groovin' High -In A Sentimental Mood -K.B. Blues -Lyresto -Moment's Notice -My Favorite Things -Since I Fell For You -Soulful Brothers -This Time The Dream's On Me -Wholly Cats. CD TAB.

Techniques of a Jazz Legend
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist : Kenny Burrell
Author : Wolf Marshall

Take an in-depth look at Kenny Burrell's jazz guitar mastery with Wolf Marshall, who will teach you how to play some of his hottest licks. Wolf covers 14 tunes. The CD features a demo of each. 128 pages

Price: €32,99

FLUID SOLOING BOOK 4, String Skipping & Wide Interval Soloing for Guitar, Quinn. CD TABLATURE

FLUID SOLOING BOOK 4, String Skipping & Wide Interval Soloing for Guitar, Quinn. CD TAB.

Product Description:
String Skipping & Wide Interval Soloing: 212 Melodic Studies and Patterns for Guitar is a much-needed guitarist’s guide to mastering wide interval soloing.

This collection of repeating, continuous motion studies shows the guitarist how to develop melodic patterns that are characterized by large intervallic jumps in pitch, from one note to the next, in constant succession. This book presents four unique approaches to developing wide interval soloing, all of which utilize string skipping: 1) double pentatonic scales, which are three-note-per-string pentatonic scale patterns; 2) octave sliding, which uses sliding octave shapes in a variety of ways; 3) stacked fifths, which are wide interval shapes derived from pentatonic scales; and 4) wide interval arpeggios derived from the diatonic major scale.

The sound that results from these techniques is exciting and unpredictable because it is such a departure from conventional melodic flow, which tends to be scalar, moving stepwise from one note in a scale to the next. By contrast, wide interval soloing is angular and skewed with big skips and sudden directional changes, creating a complex and fascinating sound. All of the studies in this book are designed as melodic etudes that can be applied directly to soloing in rock, jazz, fusion, and blues music.

This book is ideal for serious guitarists in any style who want to break out of typical soloing patterns and create a more explosive, radical sound! CD included. 152 Pages.



Section One: Double Pentatonic Scales and Shapes
A) Basic Non-Shifting Scale Exercises

Double Pentatonic Scale Fingerings
Wide-Interval Shapes
Basic Sequencing Exercises
Non-Shifting String Skipping Exercises
Stacked Fifth Exercises
B) String Skipping Shapes and Position Shifting

String Skipping Shapes
String Skipping Shape Sets
Shift Patterns (for horizontal position shifting)
Motion Exercises (using the shift patterns)
Non-Shifting Exercises (using shape sets)
C) Melodic Studies

Six Studies, presented in one scale fingering that combines All Of The Above
How to apply each melodic study to a different scale fingering

Section Two: Octave Sliding
A) Identifying Octave Shapes within Pentatonics
B) Octave Sliding Exercises

23 exercises showing all of the possible ways to slide octaves within one pentatonic scale fingering area
How to apply octave scale sliding exercises to other scale fingerings
C) Melodic Studies (Fifteen Studies)

Section Three: Pentatonic "Stacked Fifths"
A) The Concept
B) Wide Interval Shapes (in 5 fingerings)
C) Shape Connection Exercises

Non-Shifting (Positional)
Shifting (Whole Neck)
Combining Shifting and Non-Shifting Motion
Section Four: Wide Interval Diatonic Arpeggios
A) Diatonic Arpeggios in 5 Fingerings
B) Wide Interval Arpeggio Sets

Due to the large volume of exercises in this book, only selected examples are represented on the CD. It is in the student's best interest to study all the exercises for any given subject, including those that are not represented on the CD.
Breaking up the predictability
Exercises playing Sets 2-5 in all 12 keys
C) Licks Using Arpeggios

Section Five: Soloing Etudes
Appendix: "Guidelines For Using This Book"
Tablature Symbols Key

Price: €19,99



Category: Guitar Method or Supplement
Format: Book & CD
This amazing three-section set of personal lessons with jazz guitar guru Don Mock features hours of personal audio instruction, play-along tracks, and demonstrations, with a complete accompanying book of music examples, exercises, and transcriptions in notation and TAB. Section 1 covers the all-important, Wes Montgomery-inspired Octave Technique. Section 2 is devoted to the target tone concept, which simplifies the improvising process, enabling you to play sophisticated lines that resolve beautifully into the correct chord tones. Section 3 is devoted to turnarounds: short four-chord progressions often found at the end of tunes to setup and return to the beginning.

Price: €69,99





By Don Mock
Category: Guitar Method or Supplement
Format: Book & CD










This powerful book and audio lesson will expand your knowledge of not only the familiar V dominant 7th, but all of the secondary dominant 7ths that can be found in major and minor keys. Join Don Mock as he builds "master scales" for each dominant 7th and shows you the best voicings and the theory behind how they function. You’ll also explore the subject of extensions and alterations that can be added to dominants and the two basic ways dominants operate which are "static" and "functioning." You’ll play them in progressions and tunes and learn sample solos that demonstrate the correct scales, arpeggios and melodies for the various dominants. Discover why the study of dominant 7th chords will offer you the "keys to the kingdom" for truly understanding the workings of music. This one magical little chord gives music it’s movement, energy and tension. Knowing how dominants work will also greatly improve your dealings with other chord types including major and minors.

Welcome to this lesson on dominant 7th chords. A whole lesson on a single chord may sound a bit boring but stay tuned. With the aid of the pages here in the book and the audio recording, I hope to expand your knowledge of not only the familiar "V" dominant 7th, but all of the other secondary dominant 7ths that can be found in major and minor keys. We'll learn the best voicings and uses for dominant 7ths and the theory behind how they function. We'll also explore the subject of extensions and alterations that can be added to dominants and the two basic ways dominants operate which are "static" and "functioning." We'll play them in progressions and tunes and learn some sample solos that demonstrate the correct scales, arpeggios and melodies for the various dominants. And you'll learn that the study of dominant 7ths offer you the "keys to the kingdom" for understanding the workings of music. This one magical little chord gives music it's movement, energy and tension. Knowing how dominants work will also greatly improve your dealings with other chord types including major and minors. We will begin with understanding the diatonic system, it's "cycle of 5ths" and secondary dominants. Most players don't have a clear understanding of how and why there can be several "secondary" dominants in a single key. I was one of those players. I learned to play Rock, Blues and Jazz primarily by ear, and although I could play convincing chords and melodic lines over secondary dominants, I really didn't fully understand what they were or where they came from. This led to a lot of frustrating playing situations on gigs where I had to basically "fake it" by ear through certain chord changes. Even during my early years teaching theory at GIT, I did not clearly understand the big picture of the diatonic system's secondary dominants. I figured they were based in some form of "classical" theory and didn't relate to the modern music I was playing. Was I ever wrong. When I finally pieced together the complete story of secondaries, I found it much easier to negotiate even the most difficult chord changes. And my chord choices and melodic lines began to make much more musical sense. This lesson may appear to be very intense with lots of lists, details and the "do's and don'ts" of dominant 7ths. And to an extent, it is, but after we learn the specifics of each dominant type, there is a very important section later on where we will simplify and streamline all the information covered into an easy and practical "player's approach" to dealing with dominant 7ths. But for now, let's start at the beginning and learn as much as you can about each dominant chord. Learn the master scales and chord voicings and check out the sample solos which are full of melodic phrases you can use in lots of situations. And play all the chord progressions to help train your ear. You'll find that each dominant has it's own unique personality and sound. And once you start to "hear" those, you'll have much more success dealing with them.

About the Music Notation in This Book.

The point of the lesson is to learn the theory and application of dominant 7ths in the easiest and most practical way. Some traditional "classical" notation rules are not followed such as lower-case Roman numerals usedfor minor chords. Only upper-case numerals are used. Also, chord symbols will always be notated as; "m" for minor, "maj" for major, "dim" for diminished and "aug" for augmented. Alterations will not be in parenthesis with very few exceptions. And to help you clearly understand and analyze dominants in "keys," chord symbols in the examples will usually be shown as basic "seventh chords" with no extensions or alterations added.


The dominant 7th gives music movement, energy, and tension. This powerful audio lesson and book will expand your understanding of not only the familiar “V” dominant 7th, but all the secondary dominant 7ths in major and minor keys. Join Don Mock as he builds “master scales” for each dominant 7th, demonstrates the best voicings, and explains the theory behind how they function. You’ll explore extensions and alterations of dominants, as well as the two basic ways dominants operate, “static” and “functioning.” The included progressions and tunes give you a chance to practice, and sample solos demonstrate the correct scales, arpeggios and melodies. Discover why the study of dominant 7ths offers you the “keys to the kingdom” for truly understanding the workings of music.


Don Mock has become one of America's most respected guitar educators and players. Growing up in the Seattle area, his musical upbringing probably parallels that of any guitarist who started out in the 60's. First influenced by the Beatles, and guitar hero's like Jimi Hendrix, Alvin Lee, Eric Clapton and Mike Bloomfield, Don soon discovered Jazz and emulated many of the top players of the time. Don's reputation grew from the rock guitarist to the jazz guitarist in the Northwest. His ability to quickly learn the styles of other guitarists turned out to be quite an advantage in the long run. After evolving through the various rock, blues and jazz phases, borrowing from all the best, Don is now the master of his own style, a style that is literally a "fusion" in the purest sense of the word. Don is well known among guitarists for his amazing technique and total command of the instrument. His improvising concepts have been documented in several instructional books including: "Hot Licks," "Fusion - Hot Lines," "Ariful Arpeggios," "Ten," his popular Warner/Alfred Guitar Scale Secrets series: "Melodic Minor Revealed," "Harmonic Minor Revealed" and "Symmetric Scales Revealed." His recent Guitar Axis Masterclass series include; "Octaves," "Turnarounds" and "Target Tones." Don's latest work; "Modal Mojo" is the definitive study of modal playing. He also has three instructional videos: "The Blues from Rock to Jazz," "Jazz Guitar Tips" and "Jazz Guitar Rhythm Chops." Don began his teaching career in 1972 at the Cornish School of the Allied Arts and Olympic Jr. College, both in Washington State. In 1974 Don met guitar legend Howard Roberts and soon managed guitar-teaching seminars in the Northwestfor Howard. In 1977, Howard brought Don to Los Angeles to help start the Guitar Institute of Technology (GIT). Don became a primary instructor and curriculum author for the school. That same year, Don teamed up with publisher Roger Hutchinson (REH) to write and produce guitar method books. Don taught full time at GIT until 1983 when he began a part-time arrangement commuting back and forth from Seattle to LA. He also traveled around the U.S. and to Europe giving seminars to promote GIT. LA., Don had an exciting fusion band and performed at most of the top jazz venues. The band developed a large following of students and fans alike. He became well known for his intense style and amazing guitar synthesizer. In 1983, Don was brought in to direct most ofGIT's 300 plus videos. And in 1988, when REH began its very successful instructional video line, Don was hired as the primary director and producer. His talent and expertise as a player and teacher, as well as video producer, have been a huge benefit to the many artists who have been featured in REH videos. Artists include: Joe Pass, Allan Holdsworth, Robben Ford, Scott Henderson, Herb Ellis, Steve Morse, Paul Gilbert, Pat Martino, Albert Collins, Frank Gambale, Al DiMeola, Keith Wyatt, John Petrucci, Joe Diorio, Clint Strong and many more. As a recording artist, Mock has appeared as a sideman on several albums and has two solo efforts: "Mock One" and "Speed of Light. " In 2004, Don joined Jay Roberts, son of Howard Roberts, to establish the Roberts Music Institute in Bellevue, Washington. Don added his expertise in developing the schools curriculum and also teaches classes on contemporary guitar playing.




Introduction .

What Is a Secondary Dominant? .

Diatonic Harmony .

The Diatonic Cycle of 5ths .

Static and Functioning Dominant 7ths .

Building "Dominant Master Scales" .

I7-C7 (The Secondary Dominant 17 Chord) .

II7-D7 (The Secondary Dominant 117Chord) .

III7-E7 (The Secondary Dominant 1117Chord) .

IV7 -F7 (The Secondary Dominant IV7 Chord) .

V-G7 (The Primary Dominant V Chord) .

VI7 -A 7 (The Secondary Dominant VI7 Chord) .

VI17-B7 (The Secondary Dominant VII7 Chord) .

Combining the Master Scales .

All Dominant Demo .

Extensions and Alterations for Dominant 7ths .

Useful Dominant 7th Voicings: Extended .

Useful Dominant 7th Voicings: Altered .

Additional Altered Dominant Voicings .

Extensions and Alterations that can be added to Dominant 7ths .

Diatonic Chord Substitutes for Dominant 7ths .

Dominant 7ths in Progressions .

I7-The Secondary Dominant 17 Chord .

I7 Demo Solo .

I7 continued .

II7- The Secondary Dominant 117Chord .

II7Demo Solo .


III7-The Secondary Dominant 1117Chord .

III7Demo Solo .

III7continued .

IV7 - The Secondary Dominant IV7 Chord .

IV7 Demo Solo .

IV7 continued .

V- The Dominant V Chord .

V Demo Solo .

V continued .

VI7 - The Secondary Dominant VI7 Chord .

VI7 Demo Solo .

VI7 continued .

VI17-The Secondary Dominant VI17 Chord .

VI17 Demo Solo .

VI17 conti nued .

bV117-The Dominant bV117Chord .

bV117Demo Solo .

Flat-Fifth Substitution .

Diminished and Augmented Chords are Dominants Too .

Diminished and Augmented Scales .

Diminished/Whole Tone Demo Solo .

Minor/Major 7ths as Dominants .

Using Equivalent II Minor 7th Chords with Dominants .

Simplifying the 8 Dominants into 3 Basic Groups .

Chord Charts: Dominants in Tunes .

Price: €247,99
Syndicate content