CHITARRA - GUITAR

PIZZARELLI BUCKY, THE ROMANCE OF THE CHORDAL GUITAR SOUND. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA E TABLATURE.

Product Description
Bucky Pizzarelli is a giant on today's jazz guitar scene. He has played with virtually every big name in the business. Along the way, he has been a staff musician with NBC, ABC, Skitch Henderson, and Doc Severinsen, has appeared at Carnegie Hall with George Barnes and Les Paul, has performed at the Boston Pops with Stephane Grappelli, and has played a solo concert at Town Hall in New York city. He has countless albums and jazz tours to his credit. In this fine new text, Bucky presents five original solos written specifically to explore the chordal jazz sound unique to the guitar. In notation and tablature. The accompanying CD has 8 samples and 5 original guitar solos as written and played by one of the world's jazz greats, Bucky Pizzarelli.

Foreword
At the same time Andres Segovia was elevating the classical guitar to its proper place, another guitar with metal trings was becoming the "new" instrument in the orchestra, replacing the banjo. Strummed with a pick, the arch-top plectrum guitar made a beautifully subtle, woody acoustic sound. The best of these handcrafted instruments were made by the Gibson and Epiphone Companies and John D' Angelico, a private custom maker. The best players were also emerging. Eddie Lang, backing Bing Crosby; duets by Carl Kress and Dick McDonugh; and solos by George Van Eps were also listened to. These first pioneers were soon to be followed by the likes of Charlie Christian, George Barnes, Les Paul, Johnny Smith, Tony Mottola, etc.
With the advent of the amplifier, favorite guitarists were put into single-string and chordal-style categories and became specialists in one or both fields. Aspiring guitarists were gathering chord formations and single-note runs from every possible means, usually radio, records, teachers, and each other. Published guitar music was not available to all. This guitar was being played chord ally by non-reading guitarists. The hidden beauty of the guitar was being discovered. Opened-string bass notes and chord clusters made the guitar an ideal instrument to accompany another guitar, singer, or any instrument of the orchestra. The guitar range made it possible to duplicate a string quartet. Through the years great melodies have remained the same, only to be harmonized and reharmonized. My quest to find what is inside the guitar has never ended. So give me the harmony to play in a duet setting anytime. There is so much to be explored and discovered. Bucky Pizzarelli

Note
As you work with this exciting material, it would be well to keep a few points in mind. The skeleton chord forms employed will not always contain all of the essential (in contrast to the expendable) ingredients of the chord indicated. These missing notes will usually be present in the melody that follows so that the chord is outlined in the mind's ear. Occasionally this will not be true, but the chord will be a part of a progression where the missing part of the chord is easily imagined. An example of this is the Db dim in the first bar of "I Had Picked You" where the diminished triad is incomplete. When playing a chord, the bass note can usually be held longer than indicated while the other fingers are making the melody. This gives a richer sound and provides a stable anchor for the left hand. Finally, there are places where there are redundant accidentals in the same measure. These are for clarity and do not indicate double sharps or flats. The Publisher

About the Author
John "Bucky" Pizzarelli has enjoyed a career that spans the years from the Vaughn Monroe Orchestra to White House Concerts with Benny Goodman and Frank Sinatra. Along the way, he has been a staff musician with NBC, ABC, Skitch Henderson, Doc Severinson, Mitch Miller, and appeared at Carnegie Hall with George Barnes and Les Paul, performed at the Boston Pops in duet with Stephane Grappelli, and played a solo concert at Town Hall in New York City. An active performer in jazz rooms and college concerts, he is also a Faculty Member Emeritus of William Paterson College in Wayne, in the New Jersey.

Contents
Foreword .
Constructing a Chord Solo .
Smoke Eyes .
Red Beans and Rice .
Over and Over Blues .
Happy Bass Note Waltz .
I Had Picked You .
About the Author .

PASS JOE, ON GUITAR. L'improvvisazione, il caged, le scale con gli accordi, il sol7, tecnica della mano destra e sinistra, 50 esempi, pezzi completi, -all the things you are mine -blues intro -Joe's blues -stella by starlight, con Joseph Passalaqua. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Joseph Passalaqua era nato a New Brunswick nel New Jersey (13 gennaio 1929 - 23 Maggio 1994)  figlio di Mariano Passalaqua, operaio siderurgico nato a Gualtieri Sicaminò in sicilia, crebbe a Johnstown in Pennsylvania. Nato in una famiglia non musicali, Pass ha iniziato a suonare la chitarra dopo essere stato ispirato dall'attore Gene Autry, che  vestito da cow-boy suonava la chitarra in un film. Il Padre di Pass ha riconosciuto presto che suo figlio era interessato alla musica e lo ha spinto sempre a suonare brani a orecchio, a non suonare pezzi scritti appositamente per lo strumento, a studiare le scale e a non "lasciare spazi vuoti" - riempire tutto lo spazio sonoro tra le note della melodia e gli accordi. Dopo essersi trasferito a York City, Joe cade vittima della droga, e trascorre gran parte del 1950 in una relativa oscurità. Pass riuscito ad emergere attraverso un soggiorno al Synanon, un programma di riabilitazione. Durante quel periodo ha suonato la chitarra e affinanto le sue capacità. Poi suonerà con Frank Sinatra, Duke Ellington, Dizzy Gillespie, Ella Fitzgerald, Count Basie e molti altri.

In the music of Joe Pass we see the culmination and perfection of all that preceded him. This gentle giant of Jazz guitar defined the spirit of the music and he did it with grace and style. In this book, Joe explains his musical and guitaristic approch to the easily over - complicated process of Jazz improvisation. The book includes 50 musical examples and 3 complete transcriptions; all of which are contained on the included CD. All the music is written in standard notation and Tablature.

JAZZ IMPROVVISATION
THE 3 HARMONIC FAMILIES
50 MUSIC EXAMPLES
3 COMPLETE SONG

Includes the Following Selection:

Anno - Titolo - Compositore
1939 - ALL THE THINGS YOU ARE MINE - MUSICA: JEROME KERN / PAROLE: OSCAR HAMMERSTEIN II,
1989 - BLUES INTRO - JOE PASS
1994 - JOE'S BLUES - JOE PASS
1946 - STELLA BY STARLIGHT -  MUSICA: VICTOR YOUNG / PAROLE: NED WASHINGTON 

Example pulls together all the principles we have been working on thus far and takes a few steps further in this study on improvising over a static mai7 chord. Check out these points of importance for study:

1. Look into the use of pure diatonic lines and what makes them tick. What chord tones do they begin and end on? What is the shape and range of the line? Finally, how is scalewise movement balanced with skips?

2. Pay close attention to non-diatonic notes. Are they used as ascending/descending passing tones? Do they accent a chord-tone only? Or are they used in the context of a substitution of V7 altered over Cmai7 as discussed? Telltale signs would be the rhythmic placement of the substitution in the bar and especially how the tension is built and released (resolved) to specific chord tones. As you will notice, these lines commonly resolve to the 5th (G) of the Cmail chord.

3. The bracketed or circled notes and phrases will assist you in understanding their harmonic purpose in the line. I stands for Cmai7 while V7 stands for G7 (altered). For example, ''I 3" refers to E, the 3rd of the Cmai7 chord, while "V7:b9" refers to Ab, the b9 of the G7 chord.

Contents

Blues intro

Tuning Notes

"CAGED"

Exampies

Right-Hand Technique

Examples

Left-Hand Technique

Example

Harmonic Families: Maj7, Dom7, Min7

Diminished 7 and Augmented Subfamilies

Major 7

Examples

Example 20: Major Etude

Minor 7

Examples

Superimposing MajorTriads Over Minor Chords

Examples

Dominant7

Examples

Altered Dominant Lines

Examples

The Diminished Scale For Altered Dominant Chords

Examples

The Tri-Tone Substitution For Altered Dominant Chords

Examples

Scales For Altered Dominant Turnarounds

Exampies

Performance Section

All The Things You Are

Joe's Blues

Stella By Starl ight 

MONTGOMERY WES, THE EARLY YEARS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD.

LIBRO DI SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE.

The artistry exhibited by Wes Montgomery ultimately led to a redefinition of jazz guitar. These transcriptions from Wes' landmark early recorded work capture him in contrasting settings and roles as a sideman, leader and with various group configurations. All solos were carefully transcribed in notation and tablature from Wes' original Riverside recordings. Selections include: Scrambled Eggs; Compulsion; Terrain; Ursula; Lolita; Tune Up; Says You; Delirium; and No Hard Feelings.

Compulsion by Harold Land
Delirium by Harold Land
Lolita by Barry Harris
No Hard Feelings by Buddy Montgomery
Says You by Sam Jones
Scrambled Eggs by Sam Jones
Terrain by Harold Land
Tune Up by Miles Davis
Ursula by Harold Land

Wes Montgomery
Born in Indianapolis, Indiana March 6, 1925
Died June 15, 1968
Wes Montgomery was a guitarist who developed an incredibly personal style.
He was influenced greatly in his early years by the driving single line jazz guitar solos
of Charlie Christian. Later, tenor saxophonist John Coltrane had tremendous influence
on him. Wes Montgomery possessed a great ear and got one of his first" gigs" playing
Charlie Christian solos by ear with a jazz combo. It was later said that his ear was good
enough to allow him to remember and embellish any piece, no matter how intricate,
after hearing it only once.
Wes Montgomery's style was so unique it can still be recognized by listening to
only a measure or two of one of his solos. Tobegin with, he played with his right hand
thumb. The story goes that he developed this technique trying to practice softly so as
not to disturb his neighbors. His thumb technique was unbelievably adept, amazing in
the words of some observers. This thumb technique gave his playing a warm, gentle
timbre. Thus, when listening to Wes, you would hear wonderfully bluesy, "be-bop"
phrases laid out in a warm, lyrically intimate manner.
Perhaps the most identifiable aspect of his style, however, was his "funky",
virtuosic use of octaves. Many great jazz guitarists have since emulated this stylistic
technique but it was pioneered by Wes Montgomery. He proved that rapid and extended
solos in octaves could be executed technically and musically. While many
others have copied this technique, few seem to obtain Wes' warm, earthy, tone.
Wes' career took a big jump when famed alto saxophonist ,Cannonball Adderly
heard him at an after-hours jazz club in Indianapolis called the Missile Room. A phone
call from Adderly set things in motion and not long after, Wes was signed to a record
contract with Riverside. He later recorded on the Verve and A & M labels. His was the
dominant voice in jazz guitar in the 1960s. His plaudits included winning the Downbeat,
Billboard and Playboy jazz guitar polls. He was awarded a Grammy for his solo
rendition of the song, "Gain' Out Of My Head." Time and Newsweek ran stories on him.
He played with many if not most of the great jazz sidemen of his era.
We are honored to present this collection of some of Wes Montgomery's early
recorded solos from the Riverside collection. We highly recommend the companion
cassette. Also available is an additional printed collection of some of his finest recorded
solos titled Wes Montgomery/Jazz Guitar Artistry.

Notes From the Transcriber
This collection of transcribed performances is a sampling from the early recorded
work of Wes Montgomery on the Riverside label. Wes signed on with Riverside in the
autumn of 1959and remained with the label through 1963.
These transcriptions capture Wes in contrasting settings and roles; as sideman,
leader and with various group configurations. As a sideman, Wes improvised concisely,
offering exactly suitable, to-the-point solos. On his own recordings, he was more
expansive, developing his solos over a number of choruses with utmost craft.
The artistry exhibited by Wes was ultimately to lead to the redefinition of jazz
guitar. His influence has, and continues to reach the oncoming generations of guitarists
within, and outside the jazz world. Being on the faculty of Berklee College of Music for
several years, I have seen first hand how the music of Wes Montgomery continues to
inspire guitarists in pursuit of excellence. Even those not versed in jazz get excited
about Wes' playing because it simply feels so good.
When working with these transcriptions, keep the recordings close at hand and
refer to them continually. What can be communicated on the printed page is limited,
but your listening to the recordings will help to make the written notes come to life.
A word about the tablature fingerings. When deciding fingerings I considered
the following factors:
1. Playability - Where does the particular phrase lie well on the fingerboard?
2. Harmonic relation - What chord shape or shapes does this phrase imply?
3. Timbre - Does the timbre clearly indicate which string a note was played on?
I have not presumed, nor do I intend to imply, where every note was originally
played by these fingerings. My intention is to provide fingerings that work well with
this music. Due to the nature of the guitar, I also recommend practicing phrases in at
least one other area of the fingerboard.

Here is a brief summary of the transcribed music.
Wes Montgomery - guitar
All tracks
Scrambled Eggs
Nat Adderly - cornet (leader)
Sam Jones - bass
Bobby Timmons - piano
Louis Hayes - drums
recorded January 27, 1960

Scrambled Eggs is from Nat Adderley's highly successful Work
Song album. The Bobby Timmons composition is a bass feature for
Sam Jones who solos during the head breaks. 1have included these
bass breaks in the transcription as a matter of interest. For the
Scrambled Eggs melody, Wes plays octave unison with the cornet.
Taking the last solo for one chorus, Wes appears to be drawing from
the melody by using a great deal of chromaticism in his solo lines.
This technique, that is associated with the bebop jazz style, is characterized
by the resolution of single or double chromatics to chord
tones from above and/ or below.
Compulsion
Joe Gordon - trumpet
Harold Land - tenor sax (leader)
Barry Harris - piano
Sam Jones - bass
Louis Hayes - drums
recorded May 17, 1960

From Harold Land's West Coast Blues LP,Compulsion begins
with trademark octaves from Wes. On the head and solos of his
band mates, Wes shares comping duties with Barry Harris. The A
section of Compulsion has a 1mto IVm chord change that leads to
descending lydian chord structures. Wes takes the second solo and
on his two choruses, skillfully plays through the most active harmonic
segments, melodically weaving through the changes. On the
lydian segments, Wes transposes short musical fragments in parallel
motion with the chord structures. His use of thirds on the final
bridge should also be noted.

MASTERS OF THE PLECTRUM GUITAR. 280 pagine, con Tony Mottola, Joe Venuti, Bucky Pizzarelli, Al Valenti, e altri, anche stranieri. 180 pagine in TABLATURE

Product Description:
This landmark book of music for the plectrum style jazz guitar took years to compile, write and edit. It contains some of the greatest solos and duets ever written and performed on the plectrum or flatpicked guitar, including works by Carl Kress, Dick McDonough, George Van Eps, Bucky Pizzarelli, George Barnes, Eddie Lang, George M Smith, Al Valenti, Mel Bay, Frank Victor, Harry Volpe, Carmen Mastren, Oscar Moore, Mundell Lowe, Tony Mottola, Al Hendrickson, and Cal Collins. All solos are in notation and tablature while the duets are shown in standard notation only.

Product Number: 95293
Format: Book
ISBN: 0786602678
UPC: 796279021722
ISBN13: 9780786602674
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 3/6/1995
280 PAGES

Contents:

Song Title: Composer/Source:
A Handful Of Riffs Eddie Lang
After Thoughts Part I Carl Kress
After Thoughts Part Ii Carl Kress
After Thoughts Part Iii Carl Kress
Andante Cantabile Harry Volpe
April Kisses Eddie Lang
Bang! Bang! George M. Smith
Chicken A La Swing Dick Mcdonough And Carl Kress
Danzon Dick Mcdonough And Carl Kress
Dark Eyes Medley George M. Smith
Easy Listenin' Blues Nadine Robinson
Eighth-Note Triplet Boogie George Barnes
Estrelita, Little Star Arr George M. Smith
Etude I Frank Victor
Etude I Harry Volpe
Feelin' My Way Eddie Lang
For Two In Love Tony Mottola
Gee Baby, Ain't I Good To You Words And Music By Don Redman, Andy Razaf
Helena Carl Kress
I Had Picked You Bucky Pizzarelli
I Think You Always Knew Music By Mundell Lowe
Lament In E Carmen Mastren, Albert Harris
Love Song Carl Kress
Love You Madly Al Hendrickson
Maple Leaf Rag Joplin-Mel Bay
Midnight Clear Harry Volpe
Mighty Lak'a Rose Nevin-Mel Bay
Modern Etude Harry Volpe
My Cherished Prelude Harry Volpe
My Gal Sal Cal Collins
Narcissus Nevin-Mel Bay
None But The Lonely Heart Peter Ilyich Tchaikovsky Arr. By Al Valenti
Over And Over Blues Bucky Pizzarelli
Peg-Leg Shuffle Carl Kress
Pick It And Play It Frank Victor
Pickin' My Way Eddie Lang
Poor Butterfly Cal Collins
Rainbow's End Eddie Lang
Rhythm A La Carte Harry Volpe
Romantic Harry Volpe
Satin Doll Duke Ellington, Johnny Mercer, Billy Strayhorn Arr
Serenade Riccardo Drigo, Arr. By Al Valenti
Slow Burning George M. Smith
Smoke Eyes Bucky Pizzarelli
Snowfall In April Harry Volpe, Jack Donahue
Squattin' At The Grotto John Van Eps And George Van Eps
St. Louis Blues Arr George Barnes
Stage Fright Dick Mcdonough And Carl Kress
Stringin' Along With Annabelle Frank Victor
Stringin' The Blues Joe Venuti, Eddie Lang
Strolling Thru Manhattan George M. Smith
Sunshine Joe Venuti, Eddie Lang
Sutton Mutton (Taking It On The Lamb) Carl Kress
Sweet Lorraine Clif Burwell, Mitchell Parish Arr Mel Bay
Sweet Strings Frank Victor, Harry Volpe
Swingin' The Scale Harry Volpe, Frank Victor
Tango George Van Eps
Test Pilot George M. Smith
To A Wild Rose Edward Macdowell, Arr Mel Bay
Tony's Tune Tony Mottola
Tranquilo Al Hendrickson
Traumerei Schumann-Mel Bay
Two Guitars Harry Volpe
Warm Feelings Tony Mottola
You Tell Me Your Dream Arr Mel Bay

Danzon
Performed by Dick Mcdonough And Carl Kress
Rhythm A La Carte
Performed by Harry Volpe
Snowfall In April
Performed by Harry Volpe, Jack Donahue
You Tell Me Your Dream
Performed by Arr Mel Bay
After Thoughts Part I
Performed by Carl Kress
April Kisses
Performed by Eddie Lang
Estrelita, Little Star
Performed by Arr George M. Smith
Etude I
Performed by Harry Volpe
Serenade
Performed by Riccardo Drigo, Arr. By Al Valenti
Eighth-Note Triplet Boogie
Performed by George Barnes
Modern Etude
Performed by Harry Volpe
Stringin' Along With Annabelle
Performed by Frank Victor
Tranquilo
Performed by Al Hendrickson
Traumerei
Performed by Schumann-Mel Bay
Two Guitars
Performed by Harry Volpe
For Two In Love
Performed by Tony Mottola
Maple Leaf Rag
Performed by Joplin-Mel Bay
TO a Wild Rose
Performed by Edward Macdowell, Arr Mel Bay
Andante cantabile
Performed by Harry Volpe
Over And Over Blues
Performed by Bucky Pizzarelli
Peg-Leg Shuffle
Performed by Carl Kress
Sweet Strings
Performed by Frank Victor, Harry Volpe
Easy Listenin' Blues
Performed by Nadine Robinson
Lament In E
Performed by Carmen Mastren, Albert Harris
Mighty Lak'a Rose
Performed by Nevin-Mel Bay
Test Pilot
Performed by George M. Smith
Warm Feelings
Performed by Tony Mottola
Bang! Bang!
Performed by George M. Smith
Helena
Performed by Carl Kress
Pick It And Play It
Performed by Frank Victor
St. Louis Blues
Performed by Arr George Barnes
Strolling Thru Manhattan
Performed by George M. Smith
Sunshine
Performed by Joe Venuti, Eddie Lang
Sutton Mutton (Taking It On The Lamb)
Performed by Carl Kress
Chicken A La Swing
Performed by Dick Mcdonough And Carl Kress
Love Song
Performed by Carl Kress
My Cherished Prelude
Performed by Harry Volpe
A Handful Of Riffs
Performed by Eddie Lang
After Thoughts Part Iii
Performed by Carl Kress
I Had Picked You
Performed by Bucky Pizzarelli

Midnight Clear
Performed by Harry Volpe
Romantic
Performed by Harry Volpe
Sweet Lorraine
Performed by Clif Burwell, Mitchell Parish Arr Mel Bay
Stage Fright
Performed by Dick Mcdonough And Carl Kress
Gee Baby, Ain't I Good To You
Performed by Words And Music By Don Redman, Andy Razaf
None But the Lonely Heart
Performed by Peter Ilyich Tchaikovsky Arr. By Al Valenti
Tango
Performed by George Van Eps
After Thoughts Part Ii
Performed by Carl Kress
I Think You Always Knew
Performed by Music By Mundell Lowe
Love You Madly
Performed by Al Hendrickson
Slow Burning
Performed by George M. Smith
Narcissus
Performed by Nevin-Mel Bay
Rainbow's End
Performed by Eddie Lang
Smoke Eyes
Performed by Bucky Pizzarelli
Squattin' At The Grotto
Performed by John Van Eps And George Van Eps
Dark Eyes Medley
Performed by George M. Smith
Feelin' My Way
Performed by Eddie Lang
Pickin' My Way
Performed by Eddie Lang
Poor Butterfly
Performed by Cal Collins
Satin Doll
Performed by Duke Ellington, Johnny Mercer, Billy Strayhorn Arr
Stringin' The Blues
Performed by Joe Venuti, Eddie Lang
Tony's Tune
Performed by Tony Mottola
My Gal Sal
Performed by Cal Collins
Swingin' The Scale
Performed by Harry Volpe, Frank Victor 

METHENY PAT, GUITARIST. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA FUSION .

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA, TABLATURE. 

TiTOLi :

-Bright size life

-american garage

-80/81

-James

-phase dance (live)

-the first circle

-minuano (six eight)

-have you heard

-question and answer

-here to stay

-stranger in town.

GUITAR TABLATURE