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

BURRELL KENNY, BEST OF. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ,

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: Guitar Recorded Version Softcover - TAB
Artist: Kenny Burrell

Inventory #HL 00690678
ISBN: 9780634074424
UPC: 073999892413
Width: 9.0"
Length: 12.0"
96 pages

14 favorites from this legendary jazz bop guitarist. Includes:

All Night Long
All Of You
Body And Soul
Broadway
Cheetah
Everyday I Have The Blues
Freight Trane
Mood Indigo
Now See How You Are
Phinupi
Satin Doll
Tenderly
A Weaver Of Dreams

96 pages

MELODIC LEAD GUITAR, Tom Kolb. TABLATURE DVD 

- Rocking up Mixolydian

- 3rds and 6ths

- arpeggios

- "the railroad track" - the easiest scale in the world

- minor scales and modes

- Lydian: a major alternative

- major-key soloing for rockers

- triad substitutions

- pentatonic Substitutions

- pentatonic double stops

- killer guitar tone

- open-string embellishments.

127 minutes. DVD

MELODIC LEAD GUITAR
Series: DVD
Medium: DVD
Artist: Tom Kolb

In Melodic Lead Guitar, Musicians Institute faculty member and renowned instructional author TOM KOLB reveals the tools and strategies necessary for creating memorable, intelligent lead lines. If you're looking to break out of that pentatonic rut and greatly expand your repertoire, look no further! Tom breaks these topics down in a concise, easyto - understand fashion and demonstrates their usefulness with exciting musical examples.

Kolb reveals the tools and strategies necessary for creating memorable, intelligent lead lines. If you're looking to break out of that pentatonic rut and greatly expand your repertoire, look no further. Tom breaks these topics down in a concise, easy-to-understand fashion and demonstrates their usefulness with exciting musical examples. Topics covered include: rocking up Mixolydian - 3rds and 6ths - arpeggios - the railroad track - the easiest scale in the world - minor scales and modes - Lydian: a major alternative - major-key soloing for rockers - triad substitutions - pentatonic double stops - killer guitar tone - open-string embellishments. 127 minutes.

PINK FLOYD, DARK SIDE OF THE MOON. Bass Play-Along Volume 23. SHEET MUSIC BOOK WITH CD JAM TRAX & BASS TABLATURE. 

LIBRO DI MUSICA ROCK CON CD.

CD DI BASI PER VOCE, E, VOCE E BASSO. 

SPARTITI PER VOCE E BASSO CON:

ACCORDI, PENTAGRAMMA, TABLATURE.

Series: Bass Play-Along

Medium: Softcover with CD
Artist: Pink Floyd

The Bass Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the bass should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch!

Songs:

Any Colour You Like
Brain Damage
Breathe
Eclipse
Money
Time
Us And Them

BLUEGRASS GUITAR, Wayne Henderson. 10 titoli. CD TABLATURE

Series: Guitar Solo
Softcover with CD - TAB
Composer: Various Composers
Arranger: Wayne Henderson

This book/CD pack contains

10 classic solos for flatpicking and fingerstyle in standard notation and tablature.

Each tune includes the main theme along with creative variations. The CD features renowned picker Wayne Henderson performing each tune note for note. Includes: Black Mountain Rag - Fisher's Hornpipe - John Hardy - Leather Britches - Lime Rock - Sally Ann - Snowflake Reel - Take Me Out to the Ball Game - Temperence Reel - Twinkle Little Star. 56 pages.

This book provides intermediate and advanced guitar players-both flatpickers and fingerpickers-with ten classic Bluegrass tunes that can be played either solo or with backing musicians. These aren't "hot licks" or canned solo breaks; they're complete tunes, with intros, themes, variations on the melody, and endings. They should help you both build your repertoire of songs and learn some new playing and arranging techniques. Compared to other traditional guitar styles, guitar as a lead or solo instrument in Bluegrass music has a relatively recent history. Don Reno and Doc Watson were early prominent players of lead guitar on fiddle tunes in the late Fifties and early Sixties, followed by notable players such as Clarence White, Dan Crary, Norman Blake, Tony Rice, Charles Sawtelle, Russ Barenberg, and many others. These players not only used the guitar to play the melody of the tune, but were known for the "hot breaks" they played when it came time for instrumental solos. They used the tune's melody as the basis for creative variations and, in some cases, departed entirely from the melody to improvise solos from scratch. This was more akin to jazz-style soloing than traditional Bluegrass playing. The growing importance of Bluegrass lead guitar was reflected in, and likely reinforced by, the rise of Bluegrass guitar contests in venues such as the Walnut Valley Festival in Winfield, Kansas and the Old Fiddler's Convention in Galax, Virginia. Anew generation of skilled players-including Wayne Henderson, Steve Kaufman, David Grier, Bryan Sutton, Steve Lewis, Robin Kessinger, Scott Fore, Allan Shadd, and many others-are both carrying on the tradition of lead Bluegrass guitar and continuing to push its boundaries. Relatively few notable Bluegrass guitarists have recorded as solo performers, a format that requires the player to subtly or radically vary the melody, register, or his or her picking techniques in order to maintain energy and interest over the course of the performance. Norman Blake recorded a few solo f1atpicked instrumental pieces on his seminal Whiskey Before Breakfast in 1976. More recently, David Grier released the highly acclaimed I've Got the House to Myself, an all-instrumental solo flatpicking recording (with the exception of some low-key second guitar on two tunes). In 2005, Wayne Henderson released a recording of solo Bluegrass/Old-time/Folk guitar performances called Made & Played. The tunes in this book and the accompanying CD were chosen from the Made & Played release and the session outtakes as the best examples of solo Bluegrass-style guitar. Wayne grew up listening to the fiddle playing of his father and the guitar playing of neighbors, who skillfully accompanied their own vocals and other instrumentalists. He was heavily influenced by the lead playing of Doc Watson, whom he still calls his musical hero, and his playing shares Doc's hard-driving energy and clean articulation, even at break-neck tempos. Also like Doc, Wayne uses variations on the melody as the foundation for many of his solos and enjoys playing "up the neck" to provide more energy, melodic variation, and interest for the listener. Unlike Doc Watson and most other Bluegrass lead guitarists, Wayne uses a thumbpick and metal fingerpicks instead of a flatpick. However, the arrangements we chose for this collection work equally well for flatpicking or fingerpicking. As shown in the following musical excerpt, his picking technique on these tunes follows the same down-up pattern that flatpickers use with their picks. Wayne picks the downstrokes with his thumbpick (p) and the upstrokes with his index finger (i). (continua)

Titoli:

Black Mountain Rag
Fisher's Hornpipe
John Hardy
Leather Britches
Lime Rock
Sally Ann
Snowflake Reel
Take Me Out To The Ball Game
Temperence Reel
Twinkle Little Star

CREATIVE GUITAR 1, CUTTING-EDGE TECHNIQUES, GUTHRIE GOVAN. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

MANUALE DIDATTICO, STUDIO, ARMONIA, 

Book/CD set. The aim is to help rock guitarists who feel stuck in a rut. Focuses on refining playing techniques, explaining the nuts and bolts of theory, how to practice efficiently, and includes lots of licks. Promotes a self-sufficient approach to learning. The CD has detailed examples of pentatonic patterns, minor arpeggios and backing tracks. Note/tab. 117 pp.

By Guthrie Govan. For Guitar. Creative Guitar Series. Rock. Level: Intermediate. Sheet Music and Audio CD. 104 pages. This Creative Guitar Series aims to provide frustrated rock guitarists with new directions to explore their art. Armed with the accompanying CD, featuring detailed examples of pentatonic patterns, minor arpeggios and backing tracks, you will be able to do much more than simply learn solos and licks note for note. This book also contains a thorough explanation of music theory.
 

The Creative Guitar series aims to provide the frustrated rock guitarist with new directions in which to explore his art. This book focuses on how you can expand your potential by refining your playing techniques, allowing you to tackle more complex riffs and solos. Creative Guitar 1: Cutting-Edge Techniques also addresses the much-feared topic of music theory, explaining the basic principles and demonstrating how they can actually be applied in real musical situations. Armed with the accompanying CD featuring detailed examples of pentatonic patterns, minor arpeggios and backing tracks, you can do much more than simply learn solos and licks note for note; the expert step-by-step instructions featured here can be applied to your own individual style of playing to make you a better, more creative musician. Guthrie Govan has been playing guitar for all but three years of his life, and during that time he has played everything from jazz and blues to all-out metal. A member of noted prog-rock outfit Asia, he also plays with The Fellowship and instrumental trio Erotic Cakes. He also writes for Guitar Techniques magazine and teaches at the Brighton Institute of Modern Music.

INTRODUCTION

As a guitar teacher, I meet a lot of guitarists who have reached the same roadblock in their playing: they've had some playing experience, they know a bit of the traditional rock/blues vocabulary, they have a grasp of the basic techniques ...but they're frustrated. Some might express this frustration as 'I'm sure there's other stuff I could be practising; I wish I'd learned properly!' or, indeed, 'People say I play pretty well on a good night, but I feel like an impostor, because I don't really know what I'm doing.' If you've ever felt that all you ever practise is the same old stuff, playing it faster and cleaner but ultimately not coming up with anything new or anything you can get really excited about, then you might just like this book. It attempts to show you some new avenues to explore, by explaining some important aspects of theory or technique and looking at how you can incorporate such knowledge into your own playing style. I've tried to arrange this information so that it can be of value to as many players as possible. Theory-wise, I've explained things from first principles, so even if you have no grounding in theory, you'll be able to grasp the necessary concepts without undue suffering (although some concentration might be required from time to time!). In general, whenever you think a chapter has taken you out of your depth, it's probably best to put the book down for a while and spend some time assimilating what you've learned so far. This stuff is all meant to be used, so I would recommend incorporating each idea into your playing at your own pace. Conversely, those of you who already have some grounding in music theory could quite happily dip into these pages at random. Bear in mind, however, that some chapters might well be worth reading even if they appear to be covering stuff you've already learned. It never hurts to have more than one way of looking at things, and you never know, certain concepts might turn out to be more useful and far-reaching than you thought they were. The book is divided into five chapters, each with a different angle:

• In Chapter 1, 'General Stuff, I've tried to answer all of the FAQs (Frequently Asked Questions) that keep cropping up when I teach people. Some of it might seem a little too philosophical and weird to be of immediate use to you, but trust me, it's worth wading through, if only because it will raise some interesting questions about how and why you play certain things. There are times when simply thinking about your playing can improve it just as much as any amount of hours spent with a metronome.

• Chapter 2, 'Technique', takes an in-depth look at technique, focusing on developing efficiency of movement and making your playing feel as natural and effortless as possible.

• Chapter 3, 'Theory Without Tears', tries to simplify music theory, explaining some of the essential jargon, showing you how scales and chords fit together and touching on the much-feared topic of sight-reading. I can't lie to you - this won't be a fully comprehensive sight-reading course, but it will explain the basic principles and enable you to understand all of the written music in the book. (The rest, of course, is down to practice!)

• Chapter 4, 'Scales And Chords', translates music theory onto your fretboard, explaining a lot of the essential jargon and showing you how scales and chords fit together.

• Chapter 5, 'On The CD', lets you put all of the previous ideas into practice, with the help of various backing tracks. For each track, I've explained the chord progression, suggested a few appropriate note 

(continua)

GENERAL STUFF

TECHNIQUE
THEORY WITHOUT TEARS
SCALES AND CHORDS

CD CONTENTS:

A MINOR PENTATONIC SCALES SHAPES
A MAJOR PENTATONIC SCALES SHAPES
MINOR PENTATONIC BENDS
SLIDING IDEAS
CONNECTING PENTATONIC SHAPES
CONNECTING PENTATONIC IN GROUP OF THREE
PENTATONIC PATTERNS 25 
PENTATONIC PATTERNS 26
PENTATONIC PATTERNS 27
PENTATONIC PATTERNS 28
PENTATONIC PATTERNS 29
PENTATONIC PATTERNS 30
PENTATONIC PATTERNS 31
PENTATONIC PATTERNS 32 
PENTATONIC PATTERNS 33
PENTATONIC PATTERNS 34
PENTATONIC PATTERNS 35
PENTATONIC PATTERNS 36

G MAJOR ARPEGGIOS
G MINOR ARPEGGIOS
G MAJOR 7 ARPEGGIOS
G MINOR 7 ARPEGGIOS
G DOMINANT 7 ARPEGGIOS
G MINOR 7 FLAT 5 ARPEGGIOS
G DORIAN SHAPES
G AEOLIAN SHAPES
G PHRYGIAN SHAPES
G LYDIAN SHAPES
G IONIAN
G MIXOLYDIAN SHAPES
G LOCRIAN SHAPES
HENDRIX STYLE CHORDAL EMBELLISHMENTS
STRING BEND SOLO
BACKING TRACK 1
AFRICAN STYLE TRIADS
APRICAN STYLE SOLO
BACKING TRACK 2
COMBINING PENTATONICS
BACKING TRACK 3
AEOLIAN BLUES
BACKING TRACK 4
TOWER OF POWER STYLE FUNK RHYTHM
BACKING TRACK 5
DOMINANT ARPEGGIO BLUES
BACKING TRACK 6
LYDIAN IMPROVISATION
BACKING TRACK 7
PENTATONIC KEY CHANGES
BACKING TRACK 8
METAL RHYTHM
BACKING TRACK 9