INTELLI-SHRED, (The Thinking Musician's Guide to Incredible Guitar Soloing) by Kevin Dillard.
SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.
LIBRO METODO DI MUSICA JAZZ CON CD.
SPARTITI PER CHITARRA CON:
ACCORDI, PENTAGRAMMA, TABLATURE.
Intelli-Shred
The Thinking Musician’s Guide to Incredible Guitar Soloing
By Kevin Dillard
Item: 00-28027
UPC: 038081307169
ISBN 10: 0739047450
ISBN 13: 9780739047453
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
Kevin Dillard introduces a book allowing experienced guitarists to take their playing to an entirely new level. Intelli-Shred offers an in-depth look into the mechanics and concepts behind those amazing guitar solos by legendary artists like Yngwie Malmsteen, Paul Gilbert, Steve Vai, Joe Satriani, Randy Rhoads, John Petrucci, and others. Guitarists learn the theory behind melodic modal shapes and arpeggios and various techniques for applying them in solo playing. The exercises and etudes serve to challenge and motivate while simultaneously building strength, speed, dexterity, and knowledge of the fretboard. The CD included demonstrates all the examples in the book.
"With some tasty and muscular etudes to finish, intermediate plus rockers will find much to keep themselves busy here." -Guitar Techniques Magazine
(The Thinking Musician's Guide to Incredible Guitar Soloing) Written by Kevin Dillard. Instructional book and examples CD for guitar. Series: National Guitar Workshop Book - Approved Curriculum. 96 pages. With standard guitar notation, guitar tablature and instructional text. Instructional, Rock and Method. 9x12 inches.
ABOUT THE AUTHOR
Kevin Dillard has over 30 years of experience in the world of music, having started at the age of five. A self-taught guitarist, he adapted piano studies to create his own unique guitar method. He later went on to study music theory, composition and percussion at the University of South Alabama. In 2001, Kevin was involved in an accident which shattered two vertebrae in his neck, causing spinal trauma that left him paralyzed from the neck down. He was told he would never walk again. However, he began to regain movement only four days after a miraculously successful seven-hour spinal fusion surgery. In less than one year, Kevin was fully functional and had returned to full-time music performance and instruction. A music instructor for the past 17 years, Kevin teaches guitar, theory and improvisation at Cascade Hills Church at the School of the Arts program in Columbus, Georgia. He has served as a mentor for graduation requirements in Columbus High's Mentor Program and has been a speaker at Muscogee County school career day events. Kevin has been involved in promoting children's music education, and in 2003 and 2004, he was one of Georgia's spokesmen for VH1's "Save the Music" program.
Kevin has performed as a clinician at various outlets and events for the some of the biggest names in the music industry and is currently an endorser for DiMarzio guitar pickups and accessories. You can find his soundc1ips demoing some of their products on their website: Kevin also currently serves and performs on the television ministry "Realtime with Bill Purvis," reaching a television audience of over 350 million viewers on a weekly basis. There's also a live webcast every Sunday to millions. In the summer, you can study rock guitar with Kevin at the National Guitar Workshop
ACKNOWLEDGEMENTS
I'd like to thank God for giving me the opportunity to write this book and to play, perform and support my family through music. I'd like to thank my wife Hayley and my children Colton, Devany and Tegan for their love, support, patience and understanding. Thank you to my mom, Betty, for all her years oflove and support. A HUGE thanks to David Smolover, Burgess Speed, Nat Gunod and the folks at NGW/Workshop Arts for believing in me as an author, artist and instructor. THANKS to Matt Smith, for without you this would not be possible! Much thanks for your friendship and guidance. Thanks to Steve Blucher at DiMarzio, Jeremy "Jem" Hurnberstone at Nocturne Guitars, Morley Pedals, DR Handmade Strings, Line 6, and Pickboy/Brooklyn Gear.
INTRODUCTION
Welcome to Intelli-Shred. This book explores the often-neglected topic of intelligent melodic
development. Most shred guitar teachers focus on two aspects of guitar playing: 1) the mechanical aspects of developing technique, speed and facility; 2) music theory such as scales, chords and arpeggios. The danger of this approach is getting boxed into a pattem of "speed for speed's sake" and sounding mechanical or sterile. The exercises in Intelli-Shred, on the other hand, make good melodie sense whether played fast or slow. By understanding the fretboard, you'll be able to pull whatever flavors, moods or colors you want from your guitar, without having to play every note of a scale or mode. Rather than playing more notes at blinding speed, you'llleam to eliminate the unnecessary notes to find the intelligent, melodie choices. Intelli-Shred emphasizes the process of melodie discovery, giving you the tools to develop coherent musical ideas of your own. This book is written with a relaxed and conversational tone and tries to capture the experience of sitting in a room with a good teacher. It's supposed to be a warm and personable experience, not a cold, technical textbook. Intelli-Shred is not a "leam to play guitar" book. You won't leam how to read music or play barre chords. Rather, it's intended for experienced players looking to take their playing to the next level. If you need a refresher on the basics, check out The Total Rock Guitarist by Tobias Hurwitz (Alfred/National Guitar Workshop #24423). If you're unfamiliar with any of the techniques or notations in Intelli-Shred, consult the Notation Key on page 95. Here are some tips on how to approach the material in this book:
1. Take it slow and easy. Don't try to work through all of it at once. Give the information and exercises time to sink in. Get each of the shapes, pattems, scales and licks under you fingers before moving on to the next exercise. It may take a little while before you can visualize pattems on the fretboard or before the theory makes sense. Also, information is processed more easily in small amounts and shorter practice sessions, rather than Herculean marathons lasting several hours. You'll retain what you've leamed and be able to make better use of it more quickly this way. Unless you're already accustomed to two-hour practice sessions, try 15- to 30-minute bursts instead.
2. Combine licks and exercises. Playing up and down the same old scale pattems can get boring; try combining fragments of these licks with others in the book or with your own that you've already worked out. As with any new concept, lick, trick, pattem or scale, once you've got it down, ask yourself, "Now, how can I twist and warp this idea to make it my own?"
Please, for the sake of music: EXPERIMENT! Get creative! Use the ideas in this book as springboards and launching pads for you own musical ideas. Strive to find your own voice on the guitar-your own musical identity. Most prospective students approach their new teacher and ask, "Can you make me play and sound just like (insert the name of their favorite guitarist here)?" But the world already has a Steve Vai, a John Petrucci and a Joe Satriani. What the world really needs is you. What do you have to say? How will you choose to express your living, breathing creativity with your chosen instrument? What will be your personal musical statement? This attitude will open new doors for you as a guitarist, as an overall musician, and as a unique voice in the world.
SOME TIPS FOR ORGANIZING YOUR PRACTICE TIME
• First of all, try to find a place and time for practice as free from distractions as possible.
• Now, let's say for the sake of argument that you have one hour set aside for practice
time today. Let's divide this hour up and pick four areas in which you need to improve.
For example:
1. Alternate picking
2. Legato techniques (hammer-oilS and pull-offs)
3. New chord voicings
4. Arpeggios
• You now have four areas to work on and 60 minutes to practice. Take a few minutes at the start of the session to properly warm up. Then, divide the remaining time into four sections, each lasting about 10-15 minutes.
• If you can stick to this routine for just four days, with four one-hour sessions divided into four areas of study, you will progress at a much more well-rounded pace than if you had spent a solid hour on each topic. Even if you can only budget 30 minutes for a daily practice routine, if you budget your time in this manner, you'll be happy with your development of new and useful skills. Staying well-rounded and focused with a clear set of goals for yourself is paramount to growth. You don't want to focus on only one thing and leave others areas neglected.
• Here's another practice pointer: Wash your hands before you start to practice. This is a great ritual to work into your routine for a couple of reasons. First, it will get you into the right frame of mind. It will clear your mind of distractions so that you can concentrate on the task at hand: practice. It will also help warm up the muscles in your hands (especially on cold days or in cold venues before a performance) and will help promote flexibility and good blood flow. (The warmer the better in regards to water temperature.) Finally, clean hands help your strings last longer, and we all know that saving a couple of bucks is a good thing!
• Remember that in the end, it's still called playing music, not workingmusic. It should always be fun. When something isn't fun, we tend to not want to continue; it's just human nature. Never take thefun out ofplaying the guitar!
• If you find yourself going over and over the same things, stop. Take a break. Don't sit there spinning your wheels, because you're only beating yourself up and sucking the fun out of it. When you reach this point, either move on or find something else to do. You don't want to burn yourself out. Keep it fresh, and it will stay fun.
Contents:
About the Author
Introduction
Practice vs. Jamming
Some Tips for Organizing Your Practice Time
The Art of Practice
Chromatic Chaos
Outside Picking
Inside Picking
Finger Permutations
Double Picking
Psycho Triplet Exercises
G Blues Lick
More Psycho Triplets
More Double Picking
String Skipping Pedal Tones
The Modal System
Shape Shifting
A Aeolian Mode
B Locrian Mode
C Ionian Mode
D Dorian Mode
E Phrygian Mode
F Lydian Mode
G Mixolydian Mode
Harmonic Minor Scale
Phrygian Altered Scale
Blues Scale and Minor Pentatonic Extension
Minor 7th Arpeggio Patterns
Extended Arpeggios
Diminished 7ths Arpeggios
String Skipping Arpeggio Shapes
Four- and Six-Note Patterns
Major 7th Arpeggio
Ascending Diminished 7th Arpeggios
Looping with A Aeolian and B Locrian
Symmetrical Shapes Applied
More Licks
Tapping
Modal Arpeggios
Dorian
Mixolydian
Lydian
Sus2, Dom7, and Sus4
Overlapping Minor and Major Shapes
Overlapping Minor Shapes
Overlapping Major Shapes
Thinking Inside
Multi-Finger Mayhem (Exploring Multi-Finger Tapping)
Multi-Finger Madness
E Major Etude
C Sharp Minor Etude
C Dorian Etude
Appendix
A Listening Exercise
Choosing the Right Teacher for You
Suggestions and Helpful Hints
Recommended Reading for Further Study
Notation Key
Italiano
English
