ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

GETTING TO.... LATIN JAZZ GUITAR, JOHN ZARADIN. Metodo e 26 titoli. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA LATINA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

STUDIO, METODO, MANUALE, DIDATTICO. 

This book is a guide to some of the techniques needed for "getting into latin jazz guitar." There are 5 independent sections: References and definition of terms; exercises and/or pieces which demonstrate various guitar techniques; examples of common Rasgueado patterns; the "Riverboat Suite," studies for developing rhythmic ability and appreciation; and pieces in a variety of different Latin styles. The CD, used in conjunction with the written notation, tablature and chord symbols, gives a clear idea of what is required for players and teachers of all levels. It is assumed that the reader is familiar with guitar and music notation, but glossaries of terms are included for reference. There are a variety of patterns which are employed in the different styles of music; the examples show how to "get into" some basic forms. All the techniques described are playable on the fingerstyle guitar, and the pieces themselves are selected and arranged with performance in mind.

Getting Into Latin Guitar

This book is a guide to some of the techniques needed for "Getting Into Latin Guitar".

There are 5 independent sections:

• References and definition of terms.

• Exercises and/or pieces which demonstrate various guitar techniques.

• Examples of common Rasgueado patterns.

• "Riverboat Suite" - studies for developing rhythmic ability and appreciation.

• Pieces in a variety of different Latin styles.

The CD, used in conjunction with the written notation and tablature, gives a clear idea of what is required for players and teachers of all levels.

It is assumed that the reader is familiar with guitar and music notation, but glossaries of terms are included for reference.

Rasgueados are special strumming techniques which allow the guitar to be used, simultaneously, as a percussive rhythm and harmony instrument. There are a variety of patterns which are employed in the different styles of music; the examples show how to "get into" some basic forms.

The "Riverboat Suite" in the rhythm section deals with permutations of rhythmic attacks without regard to idiom, and each piece within the suite is contains a specific number of attacks per measure. The studies reflect flavors from a riverboat journey made in the Amazon and consequently are not out of context in the book.

The idea behind the studies is to create an awareness of rhythm in the way that we are aware of pitch notes and chords, and being able to read and play them will focus attention on and give an understanding of the rhythmic patterns that are such a feature of Latin music. The studies lay a groundwork for "Getting Into ... " Latin styles.

The final section consists of original and traditional Latin music for study and/or performance.

The music is presented with mainstream, traditional music notation, tablature and chord symbols.

The audio CD tracks are cross-referenced in the text with CD.

All the techniques described are playable on the fingerstyle guitar, and the pieces themselves are selected and arranged with performance in mind.

The guitar is such an individual instrument, rich in its resources, that all its techniques cannot be covered in one volume.

I hope that the reader finds the contents of this book a useful way of "Getting Into Latin Guitar."

My thanks to Bill Bay and Doug for inspiring the project.

John Zaradin's professional life began performing with the violinist, Jan Resek, in Germany and the UK, after which his London debut concert, in 1968, at the Purcell Room, Royal Festival Hall, launched him into the London musical world. Here, he was exposed to a wide variety of music and was called upon to perform in studios, in theatre and on the concert platform. He made, at this time, with the London Symphony Orchestra, the guitar recordings for the television series The Strauss Family.

His London theatre life began at the Royal Court Theatre with Shakespeare's Twelfth Night (director Jane Howells), evolved onto the West End stage at the Piccadilly Theatre with Man of La Mancha and continued into touring with the musicals Hair and Fiddler on the Roof and with the companies Ballet Rambert, London Contemporary Dance and Glyndeboume Opera.

In 1972 Belwin Mills became his (John Zaradin's) first publisher and he made his first solo recording Concierto de Aranjuez by J. Rodrigo (EMI/CFP) which became a Gold Disc. (see An Appreciation of Joaquin Rodrigo by Robert Antecki, saying "my personal favorite is on an LP, with John Zaradin and Guy Barbier conducting the Philomusica of London"). Following a meeting with Peter Brook, in the same year, he was invited to join the Royal Shakespeare Company for the world tour of his production: Midsummer Night's Dream, after which he began to travel in the Latin Americas where and found a focus for his personal musical ideas.

Returning to Europe he recorded Zaradin's Guitar for EMI (1976) and formed "Images of Brasil", which played original compositions and a kaleidoscope of music from Brazil, made television & radio performances and performed in venues ranging from Ronnie Scott's Jazz Club to the Queen Elizabeth Hall, London.

In 1984, he became interested in the computer as a medium for preparing and storing music and this has become an essential tool for him as a composer, arranger and performer.

In 1988 Alby James, director of the Temba Theatre Company, invited him to compose and perform original music for the company's production of Romeo & Juliet, the setting of the play being transposed to Havana from Verona. The music eventually evolved into the Mel Bay publication Caribbean Fantasy for Acoustic Guitar.

The CCGP is an addition to an extensive catalogue of works for Music Sales.

His Latin Suite for Guitar & Orchestra is also a Mel Bay Publication.

Contents:

SECTION 1 GENERAL NOTES AND REFERENCE
Description of "Getting Into Latin Jazz Guitar"
What Is Latin Guitar?
Holding the Guitar
Notation Systems for the Guitar
Glossary of Guitar Symbols
Chord Symbol Reference
The Pitch Range of Notes Found on the Guitar
The Pitch Range of Notes (cont.)
Right Hand Fingering
Left Hand Fingering
Tuning the Guitar

SECTION 2 TECHNICAL EXERCISES & STUDIES
Right Hand Daily Exercise
Left Hand Daily Exercise 1
Hammer Hav'n Fun
Left Hand Daily Exercise 2
Odagil Returns for Ligado
Left Hand Daily Exercise 3
Hammer & Snaps
Ornaments
An Ordinarily Mental Study
Glissando Skat Goes Pating
Étouffée A Dampened Proof Course Study
Ensnared Again!
Harmonics El Vito
Tremolo Canzona
Tambour Thumbling
Barrées No Holds Barred

SECTION 3 RASGUEADOS
The Rasgueado
Rasgueados Patterns
Examples of Useful Rasgueados

SECTION 4 THE RHYTHM SECTION
Notes on Rhythm and the "Riverboat Suite"
Rhythmic Division of the Beat
"Riverboat Suite"
Crepúsculo
Bossa Trinova
Quatoque
Remando
Entardecendo
Carta De Manaus
Chorinho Sem Choros
Amazonegro

SECTION 5 SELECTED PIECES
Bolero Blues 1
Bolero Blues (cont.)
Rumbabarumba
Orientale
Tango Del Camino
Gato
Chacarera
Zamba Argentina
Zamba Andea
Guaracha Chiquita
Puerto Vallarta Mexico
Bossa Nova Bar Tropical
Bossa Nova Mercutio
O Forró Santarém
Carnavalito
Mambo Bay Ride
Mambaixado
Sambaião

SECTION 6 AUTHOR BIOGRAPHY
John Zaradin Biography
Production Details

Method and 26 titles.

TAPPING E SWEEPING ALLA CHITARRA, Michele Merico. In italiano. TABLATURE DVD

DVD IN ITALIANO, DI MUSICA PER CHITARRA CON LIBRETTO E TABLATURE.

TECNICA TAPPING

in francese; con sottotitoli in italiano

Questo DVD si sofferma per più di due ore sulle tecniche del tapping e dello sweeping alla chitarra, indissociabili dalle nozioni di velocità e di virtuosismo. Prima di tutto il tapping: tecniche di base, tapping su una corda e su più corde, scale ed arpeggi, cambi di posizione, movimenti trasversali, tecniche arricchite il tutto con l’aiuto di numerosi lick ed esercizi! In seguito lo sweeping: tecniche di base, nuove combinazioni di dita, lavoro degli arpeggi essenziali, lavoro della regolarità, diteggiature tipiche della scala maggiore ed altre scale utili, adattamento delle diteggiature, arpeggi di settima (triadi arricchite), sweeping realistico anche qui con numerosi lick ed esercizi. In breve di che arricchire notevolmente la vostra tecnica sulla chitarra. DVD + Booklet

JAZZ-ROCK FUSION, Hal Leonard Guitar method, Mark Huls. CD TABLATURE

LIBRO METODO DI MUSICA, CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Method
Format: Softcover with CD - TAB
Author : Mark Huls

Learn to play sophisticated lead lines and intelligent rhythm parts with step-by-step lessons and 21 great jazz fusion songs. Hal Leonard Jazz-Rock Fusion is your complete guide to mastering fusion guitar. You'll learn the many elements of this exciting music through real song examples by masters such as John McLaughlin, Mike Stern, Allan Holdsworth, Scott Henderson, John Scofield, Pat Metheny, and many more. Songs include: Birdland • Blue in Green • Freddie Freeloader • My Favorite Things • Nardis • Oye Como Va • She's a Woman • Spanish Key • and more.

INTRODUCTION: GETTING FUSED

When you listen to the pioneering sounds of Miles Davis's Bitches Brew (1969) and ask yourself, "What is fusion?", only one thing can come to mind: a total exploration of the sonic experience. This is true for most jazz-rock fusion efforts of the late sixties and early seventies, the era in which it emerged as a recognized independent form of music. The era produced many architects of the fusion sound, including Tony Williams, Herbie Hancock, Chick Corea, Joe Zawinul, and guitar greats such as John McLaughlin and Larry Coryell. This period also saw the influence of jazz in rock, with groups such as the Byrds, Hendrix, Cream, the Greatful Dead, Frank Zappa, Blood Sweat and Tears, and Chicago experimenting in free-form improvisations and jazz tonalities. Regarding fusion, rock's contributions can be heard in its straight-eighth or sixteenth-note repetitive patterns and grooves. This is in contrast to traditional jazz-swing rhythms. Rock attributes also include certain tonal characteristics, such as power chords, classic rock/blues/funk phrasing, and a greater use of "guitar" techniques such as bending. The fusion sound was also heavily influenced by the use of electronic instruments and effects in sixties rock, such as distortion, delay, wah, and phasing. With expansive, and at times haunting, plays of harmony borrowed from the wider harmonic field of jazz, the improvisational character of jazz, and the drive and emotion of rock, fusion captured the emotional expression and conscious expansion sought by its early creators. Their music traveled from dreamy soundscapes to bursts of explosive energy with the ability to find a solid foundation in the consistent drive of an underlying rock or funk groove. This formula of early fusion reflected the explorative spirit of the sixties and remains a part of fusion today. However, it has also expanded into many facets, with artists gravitating towards greater or lesser sides of jazz or rock and their counterparts of funk, fusion, blues, and pop. Modern fusion guitarists include such players as Scott Henderson, John Scofield, Pat Metheny, and Allan Holdsworth, all of which lean to the more "hard-core" end of the experimental and exploratory side of fusion. Meanwhile, players such as Larry Carlton, Earl Klugh, and Lee Ritenour have found success in the pop culture of fusion music-what is known as the "smooth-jazz" sound. The influence of jazz-rock fusion does not end solely with those artists considered to be "fusion" artists. Mainstream rock and pop guitarists and musicians of every facet have found inspiration from the jazz and jazz-rock fusion sound. Consider the works of Sting, Carlos Santana, Dave Matthews, Nora Jones, and Joni Mitchell, to name only a few. Many fusion artists, especially those of the early sixties and seventies, drew artistic and personal inspiration from a desire for music to serve as a channel to greater mental and or spiritual consciousness. This concept can also be found in Eastern philosophies in which certain sounds and or rhythms open "spiritual" centers. Such influences are evident in the group names and album titles of the early fusion era as well. These concepts, and the inherent artistic drive of the jazz-rock fusion artist to branch out into a greater musical experience, have also introduced world and ethnic music forms into the fusion sound, including Latin, African, and Eastern music influences. As a melting pot of style and artistic personality, a mere attempt to define jazz-rock fusion might sound like: a spirit of limitless harmonic and melodic potential alive with the heart of groove.  

THE TONE AND SOUND OF FUSION GUITAR

Technique

Voice Leading

scales

Arpeggios

Modes

Patterns

Superimposition

Re-harmonization

Amplification & Effects

Phrasing

Chords

Evolving the Vamp

Improvisation

Harmonization

Expanding the blues

Conclusion

Song List:
All The Things You Are
Birdfingers
Birdland
Blue In Green
Chromozone
500 Miles High
Follow Your Heart
Freddie Freeloader
Freedom Jazz Dance
Freeway Jam
Hymn Of The Seventh Galaxy
Kid Charlemagne
Low-Lee-Tah
My Favorite Things
Nardis
Oleo
Oye Como Va
The Red One
Samba Pa Ti
She's A Woman
Spanish Key

Inventory #HL 00697387
EAN: 9781423431978
UPC: 884088167004
Width: 9.0"
Length: 12.0"
112 pages

TOTAL FUNK BASSIST. A Fun and Comprehensive Overview of Funk Bass Playing. SHEET MUSIC METHOD BOOK WITH CD & BASS TABLATURE. 

LIBRO METODO PER BASSO DI MUSICA FUNK CON CD. 

SPARTITI PER BASSO CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

MANUALE, TECNICA, 

By David Overthrow
Category: Bass Guitar Method or Supplement
Format: Book & CD

The Total Funk Bassist is a unique and exciting journey through the diverse world of funk bass. At the heart of great funk playing is rhythm, and this book helps you fully understand that concept. Included are exercises and examples that will help you solidify your command of sixteenth notes, syncopation, and other funky rhythmic concepts. You'll also learn the two essential funk bass techniques -fingerstyle and slap & pop- as well as other advanced techniques. A CD demonstrating the examples in the book is included.

Welcome, fellow funksters. Funk is one of the most exciting genres of music to play on the bass. The foundation of all funk music is the groove, and the groove is laid down primarily by the bassist and the drummer. Funk is not a cerebral music, but rather, a genre that compels you to move your hips, tap your feet, bob your head, and get up and get down. There are several artists who were instrumental in the development of funk music. The "Godfather of Soul," James Brown, was a major force in soul and R&B throughout the 1950s and '60s, and those two genres would later evolve into what is now known as funk. In the early I970s, two groups were responsible for the birth of funk as its own genre: Parliament-Funkadelic and Graham Central Station. Funk music has evolved over the years and has spawned a new generation of funk bassists. Along with the music, bass technique has evolved as well. The slap & pop style introduced by Larry Graham has developed over the years, and bassists continue adding to the technique. Funk has fused with other genres, and its influence can be seen in rock, reggae, jazz, and other styles. From Larry Graham, Bootsy Collins, Flea, and Stanley Clarke to the wizardry of Marcus Miller and Victor Wooten, the slap & pop style has become an integral part of funk bass playing.

Even though slap & pop has become so essential to funk, many classic funk tunes featured the fingerstyle funk technique. Two of the funkiest bassists of all time used this technique exclusively: Jaco Pastorius and Rocco Prestia. Jaco and Rocco are responsible for some of the funkiest bass grooves ever recorded, without ever slapping or popping a note! This book discusses the various techniques used in funk bass playing, including fingerstyle funk, muting, slap & pop, hammer-ons, pull-offs, popped double stops, double thumping, and double popping. There are hundreds of funk bass grooves at a variety of playing levels. Each chapter progresses in a concise, logical manner, taking you from beginning fingerstyle and slap & pop bass all the way to advanced techniques like double popping and double thumping. To get the most out of this book, you should have some experience reading standard music notation or TAB and be comfortable with basic playing technique. However, for beginners and those of you who would like a refresher, a review of these concepts can be found starting on page 6. The goal of this book is to teach you how to lock into the funk groove (otherwise known as playing "in the pocket"). And ifyou can get people moving while playing some great funk bass grooves, that's cool too. Enjoy!

A compact disc is available with this book. Using the disc will help make learning more enjoyable and the information more meaningful. Listening to the CD will help you correctly interpret the rhythms and feel of each example. The symbol to the left appears next to each song or example that is performed on the CD. Example numbers are above the symbol. The track number corresponds directly to the song or example you want to hear. In some cases, there is more than one example per track; this is reflected in the track numbers (for example: Track 2.1, Track 2.2, Track 2.3, etc.). Track I will help you tune to this CD. 

Contents:

About the Author

Introduction

Chapter I: Getting Started

Strings on the Bass

Tuning

Standard Music Notation

Bass Tablature (TAB) II

Chord Symbols I I

Basic Technique

Chapter 2: Funk

What Is Funk?

Sixteenth-Note Rhythm Studies

Syncopation

Muting

More Syncopation

A Note About Articulation

Chapter 3: Scales, Intervals, and Modes

The Major Scale

Intervals

Modes of the Major Scale

The Natural Minor Scale

The Harmonic Minor Scale

The Melodic Minor Scale

The Major Pentatonic Scale

The Minor Pentatonic Scale

The Blues Scale

Chapter 4: Chords

Triads

7th Chords

Chord Symbols

Major Scale Diatonic Harmony

Minor Scale Diatonic Harmony

Chapter 5: Starter Fingerstyle Funk Grooves .

Using the Root

Back to My Roots

Using Roots and Octaves

Funk with Roots and Octaves

Using Roots, 5ths. and Octaves

One-Five-Eight-Go

Adding 3rds and 7ths

Funky Chord Tones

Chapter 6: Intermediate Fingerstyle

Funk Grooves

Using the Mixolydian Mode

Funky Mix

Using the Dorian Mode

Dorian Funk

Using the Minor Pentatonic Scale

Funk in A Minor Way

Using the Major Pentatonic Scale

Chapter 7: Advanced Fingerstyle

Funk Grooves

Using Chromatic Tones

Chromatic Funk

Funky Two-Chord

Chapter 8: The Slap & Pop Style

The Slap Technique

The Pop Technique

Slapping the 3rd String

The Hammer-On

The Pull-Off

Popped Double Stops

Double Popping

Double Thumping

Muted Hammer-Ons

Chapter 9: Starter Slap & Pop Funk Grooves

Using the Root

Dominant 7th Grooves

Minor 7th Grooves

Mixolydian and Dorian Grooves

Chapter 10: Intermediate Slap & Pop

Funk Grooves

Using Chord Tones

Using the Dorian Mode

Using Chromatic Tones

Using Hammer-Ons and Pull-Offs

Hammer It Home

Chapter 11: Advanced Slap & Pop

Funk Grooves

Double Thumping Grooves

Double Thumping Grooves with

Popped Double Stops

More Advanced Grooves

Light Touch, Heavy Groove

Chapter 12: Classic (and Soon to Be Classic)

Funk Bass Grooves

In the Style of "Brick House" by The Commodores

In the Style of "Shakey Ground" by The Temptations I

In the Style of "Superstition" by Stevie Wonder I

In the Style of "Higher Ground" by Stevie Wonder I

In the Style of "I Wish" by Stevie Wonder I

In the Style of "Super Freak" by Rick james

In the Style of "Cold Sweat" by james Brown

In the Style of "The Chicken" by jaco Pastorius

In the Style of "Pick Up the Pieces" by The Average White Band

In the Style of "Chameleon" by Herbie Hancock

In the Style of "Cissy Strut" by The Meters

In the Style of "Sing a Simple Song" by The Meters

In the Style of "It's Your Thing" by The Isley Brothers

In the Style of "Express Yourself" by Charles Wright & The Watts 103rd Street Rhythm Band

In the Style of "Play That Funky Music" by Wild Cherry

In the Style of "Low Rider" by War

In the Style of "Thank You (Falettinme Be Mice Elf Agin)" by Sly & the Family Stone

In the Style of "Slide" by Slave

In the Style of "Doing It to Death" by James Brown

In the Style of "Fire" by The Ohio Players

In the Style of "What Is Hip?" by Tower of Power

In the Style of "For the Love of Money" by The O'Jays

In the Style of "Aeroplane" by The Red Hot Chili Peppers

In the Style of "Come On, Come Over" by jaco Pastorius

In the Style of "Power of Soul" by Marcus Miller

In the Style of "Lopsy Lu" by Stanley Clarke

In the Style of "Sex in a Pan" by Bela Fleck and The Flecktones

In the Style of "Sinister Minister" by Bela Fleck and The Flecktones

Conclusion 

KING B.B., Guitar Play-Along Volume 100. CD TABLATURE.

LIBRO DI MUSICA BLUES CON CD.

CD DI BASI PER VOCE E, VOCE E CHITARRA.  

SPARTITI PER VOCE E CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Play-Along
Format: Softcover with CD - TAB
Artist : B.B. King

The Guitar Play-Along series will help you play your favorites songs quickly and easily. Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate, sound-alike backing tracks! Melody and lyrics are also included in case you want to sing, or to simply help you follow along.

The CD is playable on any CD player, and is also enhanced so Mac and PC users can adjust the recording to any tempo without changing the pitch!

Songs: Just like a Woman - Paying the Cost to Be the Boss - Please Accept My Love - Rock Me Baby - Sweet Little Angel - Sweet Sixteen - Why I Sing the Blues - You Upset Me Baby.

Song List:
1966 - Just Like A Woman - parole e musica B.B. King
1968 - Paying The Cost To Be The Boss - parole e musica B.B. King 
1970 - Please Accept My Love - parole e musica B.B. King, Saul Bihari
1964 - Rock Me Baby - parole e musica B.B. King, Joe Bihari
1956 - Sweet Little Angel - parole e musica B.B. King, Jules Bihari
1967 - Sweet Sixteen - parole e musica B.B. King, Joe Bihari 
1969 - Why I Sing The Blues - parole e musica B.B. King, Dave Clark
1954 - You Upset Me Baby - parole e musica B.B. King, Jules Bihari

56 pages