CHITARRA - GUITAR

HENDERSON SCOTT JAZZ GUITAR CHORD SYSTEM essential guide jazz chord voicing & substitutions

HENDERSON SCOTT, JAZZ GUITAR CHORD SYSTEM. The essential guide to jazz chord voicing & substitutions. 

SHEET MUSIC BOOK FOR GUITAR. 

LIBRO METODO DI MUSICA JAZZ.
SPARTITI PER CHITARRA CON:
ACCORDI, PENTAGRAMMA. 

ARMONIA, ACCORDI, SOSTITUZIONI, 

Da una lezione di Henderson. Per chi quel giorno li, non si trovava in California: 500 differenti voicing, sistema con codici a colori, inversioni, estensioni, alterazioni, sostituzioni, altro.


Scott Henderson
Publisher: Musicians Institute Press

PRIVATE LESSONS

UNIQUE COLOR-CODED METHOD


The essential guide to jazz chord voicings and substitutions, complete with a color-coded method for over 500 essential voicings. Players will understand chord functions and their harmonic possibilities better than ever before, as well as inversions, extensions, alterations, and substitutions. Players will also be able to increase their harmonic vocabulary for accompaniment, composing and chord-melody playing.

Jazz Guitar Chord System
Series: Musicians Institute Press
Publisher: Musicians Institute Press
TAB
Composer: Scott Henderson

Inventory #HL 00695291
ISBN: 9780793591657
UPC: 073999952919
Width: 9.0"
Length: 12.0"
16 pages

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JAZZ GUITAR CHORD MELODIES Hal Leonard CD TABLATURE CHITARRA LIBRO SPARTITI

JAZZ GUITAR CHORD MELODIES. SHEET MUSIC BOOK WITH CD GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.  

FINGERSTYLE

FINGERPICKING


12 Titoli: body and soul -black Orpheus -satin doll -all the things you are -bluesette -how insensitive (insensatez) moonlight in Vermont -my foolish heart -my one and only love -my romance -once I loved (amor em paz) -there will never be another you.

Jazz Guitar Chord Melodies
Series: Guitar Solo
Format: Softcover with CD
Composer: Dan Towey

This book/CD pack includes complete solo performances of 12 terrific standards, including: All the Things You Are • Body and Soul • My Romance • How Insensitive • My One and Only Love • and more. The arrangements are performance level and range in difficulty from intermediate to advanced.

Inventory #HL 00698988
ISBN: 9780793558278
UPC: 073999989885
Width: 9.0"
Length: 12.0"
64 pages
 

 

Every guitarist who learns to play jazz finds out, sooner or later, about solo jazz guitar, or chord-melody as it is commonly referred to. For those who venture to take up its demanding challenges, this type of playing is a beautiful and expressive art form. But as many find out, learning to create a good chord-melody can be a long, frustrating process. And to create an arrangement on the spot - nearly an insurmountable task. This book is one of the first publications to offer performance level arrangements of jazz songs for the solo guitarist. lWelve popular standards (with standard notation and TAB) are included, ranging in difficulty from intermediate to advanced in terms of both playability and understanding. However, with time, hard work, and dedication, nearly any guitarist with a few chops can work these up to playing speed and use the phrases and concepts in their own playing. The arrangements are written to represent a broad range of stylistic diversity. There is some acoustic (both steel and nylon string), plenty of electric, some aggressive tunes (check out "Satin Doll" with its country swinglTexas blues influenced licks), full lush piano-like chord songs (like "My One and Only Love"), and traditional swing tunes (a la jazz greats like Joe Pass and Herb Elllis). You will also find a variety of techniques such as harmonics, slurs, walking bass lines, octaves, and other idiomatic ideas. To help keep the music fresh and interesting (like most live solo performances) I've reworked some of the harmonies. The new harmonies are always written in parentheses below the standard harmonies (as I know them to be). I urge you to explore these songs from your own harmonic perspective as well. Providing both sets of chord changes should give you valuable insight to different rehamonization ideas. May you be blessed with sure fingers and great gigs! Peace and Happiness

Table of contents:

All The Things You Are - Music: Jerome Kern - Words: Oscar Hammerstein II - 1939
Black Orpheus - Luiz Bonfa - 1968
Bluesette - Music: Jean Thielemans - Words: Norman Gimbel - 1963
Body And Soul - Music: John Green - Words: Edward Heyman, Robert Sour, Frank Eyton - 1930 
How Insensitive (Insensatez) - Music: Antonio Carlos Jobim - Parole: Vinicius de Moraes - 1963
Moonlight In Vermont - Music: Victor Young - Words: Ned Washington - 1949
My Foolish Heart - Music: Victor Young - Words: Ned Washington - 1949
My One And Only Love - Music: Guy Wood - Words: Robert Mellin - 1952
My Romance - Music: Richard Rodgers - Words: Lorenz Hart - 1935
Once I Loved (Amor Em Paz) (Love In Peace) - Music: Antonio Carlos Jobim - Parole: Vinicius de Moraes - 1965
Satin Doll - Duke Ellington - 1953
There Will Never Be Another You - Musc: Harry Warren - Parole: Mack Gordon - 1942

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JAZZ GUITAR FAVORITES LIBRO CD TABLATURE CHITARRA-All The Things You Are-Hank Garland-KESSEL

JAZZ GUITAR FAVORITES. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

 

6 titoli:

-All The Things You Are, Hank Garland

-I Hear A Rhapsody, Howard Roberts

-Oleo, Pat Martino

-Speak Low, Barney Kessel

-When Sunny Gets Blue, George Barnes

-Yesterdays, Wes Montgomery
 

Series: Guitar Collection
Medium: Softcover with CD
Arranger: Jack Grassel

Guitar transcriptions for these standards: All The Things You Are/Hank Garland - I Hear a Rhapsody/Howard Roberts - Oleo/Pat Martino - Speak Low/Barney Kessel - When Sunny Gets Blue/George Barnes - Yesterdays/Wes Montgomery.
40 pages

Table of contents :
All The Things You Are
I Hear A Rhapsody
Oleo
Speak Low
When Sunny Gets Blue
Yesterdays

 

INTRODUCTION

This publication represents a new format in jazz education which allows the learning improvisor and professional to access the benefits of studying classic guitar solos. Most transcription books require that the recordings (if available) be searched out, purchased, and only listened to since most players in the developmental stages of their playing would not have the technique to play the solos up to tempo. The solos in this book are:

1. Played in tune; many old recordings have been sped up to improve fidelity, raising the pitch as much as a whole step.

2. Recorded at an easy-to-play slow practice tempo.

3. Also recorded at a fast tempo slightly slower than the original, making performance attainable sooner.

4. Recorded on modern equipment with fidelity surpassing the original recordings with a modern rhythm section. Bass and drums are monophonic on both channels. Piano is on the right only. Guitar is on the left only.With your "balance control" you can choose what you want to hear. The solos are arranged in progressive order of technical difficulty.We chose performances that are most representative of each master's contribution to the development of jazz guitar.

Barney Kessel: This solo demonstrates his use of hard-driving melodic development and some of the first string bending on record by a jazz artist.

Wes Montgomery: The tone of the jazz guitar was forever changed by this man's thumb while adding to the post-bop vocabulary.

Howard Roberts: This early solo displays his formidable jazz talent which became unavailable to the public as Howard persued his pop hits, studio work and teaching careers in the late sixties.

Hank Garland: This Country-Western studio player shocked the jazz world in the early sixties with
his incredible jazz technique and swinging melodies.

George Barnes: With the use of almost every technique known to man, George uses bending, slides,
and hammer-ons to create a high level of expression seldom heard on the guitar.

Pat Martino: This solo is from the seventies after Pat had left his Wes Montgomery-influenced early
playing and developed his present polytonal-chromaticism, which is much different than the traditional jazz guitar approach.

The final form you see here is the result of an entire year of work; researching and choosing great solos, transcribing and proofreading for accuracy, countless hours of practicing and recording. Our motive is to increase the quality of jazz guitar playing and to preserve music which is or may become "out of print." Jeff Schroedl at Hal Leonard was a big help in developing and improving the book.

Up until starting this project I had avoided playing other's solos thinking that my own unique style of playing would be compromised. After spending a year with these masters, I've noticed that I have retained my original conception of guitar music, but have acquired a technical depth and more tools to play my music my way. So I now recommend this study to any jazz guitarist at any level.
Special thanks to the fine rhythm section who did their homework: Jim Sodke-keys, Del Bennett-drums, Tom McGirr-bass, and also Bill Littlefield-recording engineer.

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GYPSY GUITAR GLUKLIKH CD TABLATURE LIBRO SPARTITI CHITARRA CZARDAS OCI CIORNI

GYPSY GUITAR, GLUKLIKH. MUSIC SHEET BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA MANOUCHE CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA , TABLATURE. 


Arr. Alexander Glüklikh
CATEGORY: Classical Guitar Folio
FORMAT: Book & CD
 

By Alexander Gluklikh

Coachman
"Coachman" is a traditional Russian folk song. The introduction may be played ad lib. Section A, which is in 3/4 time, can be played freely; Section B, which is in 2/4 time, should be played with a steady rhythm.

Czardas
"Czardas" is a typical Hungarian dance and should be played lively;

Dark Eyes
"Dark Eyes" ("Ochi Chernia") is one of the most popular Russian gypsy songs. The second and third variations consist of jazz-like linear improvisations on the melody; The tempo should remain constant throughout the piece, with the exception of the cadenza, which should be played freely;

Gypsy Hora
Originating in Moldavia, this is a medium tempo dance. It should be played with great expression. The arpeggio accompaniment in Section B should not overpower the melody;

Hungarian Czardas
"Hungarian Czardas" is a song with a lively; upbeat tempo. Some measures can be played using alternative positions. I've found that the positions I've written work best for me, especially when playing the piece at the suggested tempo. Tremolo technique is used in measures 26 through 30.

Hungarian Melody
Sarasate used this beautiful melody in his famous violin work "Zigeunerweisen." The melody shifts to the bass in Section B. The tempo should remain consistent throughout the entire song.

I Met you Variations
This song is an old Russian romance. Tremolo is used throughout Section B in order to produce a sound similar to that of the Russian balalaika.

Nightingale
"Nightingale" is a traditional Russian folk song. The tempo of Sections A and B should stay the same.

Turquoise Rings
This is a Russian Gypsy song. The tempo of Section A should be played slowly: Gradually increase the tempo in Section B. Listen to the CD so you hear how I handle the tempo changes.

Two Guitars
"Two Guitars" is a Russian Gypsy folk song. This arrangement consists of a slow section (A) and a fast section (B). In Section B the tempo should gradually increase until it reaches its full speed at Section C.

Gypsy music has long been one of the most powerful influences on all styles of guitar music, from classical to jazz. This great collection contains ten classic eastern European Gypsy melodies, arranged for the guitar by Russian guitar master Alexander Glüklikh. Each of the songs is written in standard notation and tab and all are contained on the accompanying CD. Titles are: Coachman - Czardas -Dark Eyes -Gypsy Hora -Hungarian Czardas -Hungarian Melody -I Met You Variations -Nightingale -Turquoise Rings - Two Guitars.

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GYPSY GUITAR THE SECRETS 1 Angelo Debarre-Daussat-COUP DE POUCE CD TABLATURE SWING SPARTITI

GYPSY GUITAR, THE SECRETS VOL.1, coup de pouce, Angelo Debarre, Samy Daussat, Denis Roux.

LIBRO METODO DI MUSICA MANOUCHE, CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE.

TECNICA, STUDIO, MANUALE, 

Metodo per chitarra ritmica: accordi per l'accompagnamento, tecnica del damping, gli accenti, ritmi vari.
La solista: fraseggio in stile Django, il picking delle terzine, sweeping, armonici, bend, slide. 7 brani completi con basi. CD TABLATURE

 

As an introduction to the gypsy guitar we have gathered together a series of tips, tricks and techniques as used by the masters.


ACCOMPANIMENT
The traditional gypsy method of learning to play always starts with the rhythm. You'll study the famous gypsy pumping and other rhythms used in the gypsy swing.


PLAYING SOLO
We've collected a number of classic tunes in the style of django. You'll study the techniques used in gypsy jazz: chromaticism, rolling, sweeping, octave etc ...


THE TUNES
We finish our course with 6 pieces performed by angelo debarre and accompanied by samy daussat. Each piece is scored and in guitar tablature.

A series of tips, tricks, and techniques as used by the masters introduces the gypsy guitar style of playing. The first section covers the various traditional accompaniment rhythms such as pumping, waltz, bolero, bossa nova, and rumba. Part two introduces solo playing with techniques used in gypsy jazz: damping, sweeping, rolling, chromaticism, and more. The book ends with six pieces played by Angelo Debarre and accompanied by Samy Daussat. An aid to practicing soloing, the play-along tracks can be found at the end of the CD along with all the exercises.

Tackling a new playing style can be difficult if you don't have a grip of the
particular techniques it uses.

As an introduction to the gypsy guitar we have gathered together a series of tips, tricks
techniques as used by the masters.

This course is split into three parts. we suggest you work through one before moving on to the next.

Guided by the accompanying cd, you will study in detail the famous gypsy pumping (see accompaniment),
As well as a variety of other rhythms used in the gypsy swing.


Part two introduces solo playing, with a number of licks in the style of django reihardt.


The course ends with 6 pieces of music played by angelo debarre and accompanied by samy daussat.

To help you practise your soloing, the play-along tracks can be found at the end of the CD.

 

PART 1 ACCOMPANIMENT .

FREQUENTLY USED CHORDS .
Gypsy PUMPING .
THE RHYTHMS
WAlTZ .
BOLERO .
BOSSA NOVA .
RUMBA .
TEST EXERCISE .

PART 2 PLAYING SOLO.
TEST EXERCISE .
THE TECHNIQUES
UP AND DOWN.
DAMPING.
TRIPLET.
SWEEPING .
ROLLING.
CHROMATICS.
HARMONICS.
OCTAVES.
BEND / VIBRATO / SLIDING .

PART 3 THE TUNES .
GYPSY SWING .
ANGELO'S WALTZ .
THE OLD GYPSY (GUITAR ONLY) .
SWING 2003
DARK EYES (GUITAR ONLY VERSION) .
DARK EYES .

SCALES OF THE PLAY'ALONG TRACKS .
GYPSY SWING .
ANGELO'S WALTZ .
SWING 2003 .
DARK EYES .

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GYPSY JAZZ JAM FRANK VIGNOLA DVD Besame Mucho-Dark Eyes-Tico Tico-Nuages-Limehouse Blues

GYPSY JAZZ JAM FRANK VIGNOLA DVD

This footage is a backstage look at what Frank Vignola and his friends do best: Jam. Some of the world’s foremost gypsy jazz guitarists let it all hang out on this very special DVD.

01) Warm-Ups 1-3
02) Pent-Up House - Sonny Rollins
03) Besame Mucho - Consuelo Velazquez
04) Exactly Like You - Jimmy McHugh and Dorothy Fields
05) Tico Tico - Zequinha Abreu
06) Czardus
07) Nuages - Django Reinhardt
08) Besame Mucho - Consuelo Velazquez
09) It Don't Mean A Thing Duke - Ellington and Irving Mills
10) Endless Love - Josef Myrow
11) Gypsy Traditional Waltz
12) Limehouse Blues - Philip Braham and Douglas Furber
13) Dark Eyes
14) Credits

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GREAT JAZZ STANDARDS anthology guitar Fred Sokolow CD TABLATURE on green dolphin street - STAR

GREAT JAZZ STANDARDS, Anthology for Guitar. Fred Sokolow. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA E TABLATURE.

14 Titles: take five -star dust -what are you doing the rest of your life? -a certain smile -I don't stand a ghost of a chance -I surrender, dear -I'm gettin' sentimental over you -just friends -Laura -moonglow -on green dolphin street -the shadow of your smile -stairway to the stars -stars fell on Alabama. BOOK WITH CD & GUITAR TABLATURE .


Arr. Fred Sokolow
SERIES: Jazz Masters Series
CATEGORY: Guitar Mixed Folio
FORMAT: Book & CD

Fred Sokolow is a prolific performer, educator, author, transcriber, and arranger whose books and videos have covered a wide range of styles including jazz, blues, rock, country, bluegrass, and even 5-string banjo. This anthology provides you with solid, clear, and accessible solo arrangements for 14 of the of the most memorable jazz standards. Every song is presented with the guitar part, written in standard notation and tablature, combined with the lead sheet for analysis. All arrangements are demonstrated on the included CD. Titles are:

A CERTAIN SMILE PRINT (C)
SAMMY FAIN; PAUL FRANCIS WEBSTER

I DON'T STAND A GHOST OF A CHANCE (PRINT ONLY)
BING CROSBY, NED WASHINGTON,VICTOR YOUNG

I SURRENDER DEAR (PRINT ONLY)
BARRIS, HARRY

I'M GETTING SENTIMENTAL OVER YOU
BASSMAN, GEORGE / WASHINGTON, NED

JUST FRIENDS
JOHN KLENNER, SAM M. LEWIS

LAURA
RAKSIN, DAVID/L: MERCER, JOHNNY

MOONGLOW
DELANGE, EDDIE/MILLS, IRVING/HUDSON, WILL

ON GREEN DOLPHIN STREET
KAPER, BRONISLAW/L: WASHINGTON, NED

STAIRWAY TO THE STARS (PRINT ONLY)
M. PARISH, M. MALNECK AND F. SIGNORELLI

STAR DUST
CARMICHAEL, HOAGY/L: PARISH, MITCHELL

STARS FELL ON ALABAMA PRINT (C)
FRANK PERKINS, MITCHELL PARISH

TAKE FIVE
DESMOND, PAUL

THE SHADOW OF YOUR SMILE (FROM "THE SANDPIPER")
L: WEBSTER, PAUL FRANCIS/MANDEL, JOHNNY

WHAT ARE YOU DOING

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GREEN GRANT BEST OF SIGNATURE LICKS CD TABLATURE GUITAR STYLES TECHNIQUES OF THE JAZZ GROOVE MASTER

GREEN GRANT, BEST OF. A step-by-step breakdown of the guitar styles and techniques of the jazz groove master. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Grant Green
Author: Wolf Marshall

Explore the many stylistic turns of one of the most influential guitarists in jazz! Renowned guitar educator Wolf Marshall takes you inside 13 of Grant Green's most popular tunes to examine his unique lines and musicality. Includes: Airegin - Born to Be Blue - Cool Blues - If I Should Lose You - My Favorite Things - Oleo - Sookie Sookie - Stella by Starlight - This Could Be the Start of Something Big - Tune Up , and more. The CD includes full demos. 88 pages

TiTLES :
Ain't It Funky Now, Pt. 2
Airegin
Born To Be Blue
Cool Blues
If I Should Lose You
Little Girl Blue
My Favorite Things
Oleo
Sookie Sookie
Stella By Starlight
This Could Be The Start Of Something Big
Tune Up
Wives And Lovers (Hey, Little Girl)

 

INTRODUCTION
Grant Green personifies the appellation "soul jazz." He is one of the most colorful
and exciting guitarists to have emerged from the genre, and his work remains the yardstick
by which subsequent practitioners are measured to the present day. In the early and
mid 1960s, Grant Green was a leading exponent of the burgeoning hard bop movement
and a studio stalwart of countless recording sessions that chronicled the rise of the art
form. In these productive years Green lent his singular blue-tinged touch and talents to
groups led by luminaries like Jimmy Smith, Herbie Hancock, Lee Morgan, Larry Young,
Art Blakey, Lou Donaldson, Jack McDuff, Stanley Turrentine, Hank Mobley, Baby Face
Willette, Johnny Hodges, Ike Quebec, and many others. Green was one of the most prolific
recording artists in the prestigious Blue Note stable. He recorded an unheard-of seventeen
albums in 1961 alone, his first year with the company. Between 1961 and 1965,
his classic jazz years, Green made more records than any other artist at Blue Note.
During this time, in addition to his many sideman sessions, he established a formidable
legacy with a substantial catalog of his own albums as leader.
By decade's end, Green had expanded his artistic vision to include the new
rhythm and blues hybrid dubbed "funky jazz." As a result, in the late 1960s and 1970s he
enjoyed a second prominent and influential career as performer and innovator and was
hailed as the quintessential "groove master" of jazz. Green's contributions in the medium
affected countless players on both sides of the jazz-rock divide. You can put George
Benson, Pat Martino, Henry Johnson, Stevie Ray Vaughan, Carlos Santana, Mark
Whitfield, Eric Gale, John Scofield, Joshua Breakstone, Andy Summers, Melvin Sparks,
Dave Stryker, Kevin Eubanks, and Peter Bernstein on the top of the list.
This is the first Signature Licks book/CD to explore the music, style, and playing
techniques of Grant Green in depth. The note-for-note transcriptions will provide you with
countless hours of revelation, and the matching audio will invite you to step into his musical
world to put the theory into practice-the way Green himself did in his formative years.
The selections reflect the diversity of Green's approach and are drawn from his various
musical epochs. You will find material from the hard bop and soul jazz genres, straightahead
standards and blues, modal jazz outings, and funky rock-influenced sessions, all
attesting to the many shades of Green that have endured to become a vital piece of the
mosaic we know and love as the American musical experience.

Figure4-010
Green's two-chorus solo in "If I Should Lose You" is one of the finest of his early
years, a superb example of his hard-bop improvisation in a moderate swing tempo.
Throughout, he cultivates a relaxed soulful feeling distinguished by thoughtful melodic
invention and an ever-present rhythmic congruence.
Green plays unmistakable blues-based licks in Bb minor over the song's minormode
areas to begin each A section in measures 1-3, 17-19, 33-35, and 50-51.
Moreover, his cadential lines at the end of each sixteen-measure section, beginning with
the opening break, are harmonically active bop melodies that emphasize the movement
to and arrival in Bb minor. Green also imbues the crucial secondary dominant-seventh
sections of the song with related minor-mode sounds. In measures 13-14 and 45-46, he
applies characteristic Bb minor lines to Eb9, and approaches each phrase with an altered
dominant melody based on F, the V chord of Bb minor, in measures 12 and 44.
Green favors swing-oriented ideas and generally simpler, more diatonic bop lines
during the contrasting but tonally related major-mode portions (in Gb and Dbmajor) of the
tune. Check out measures 4-11,21-27,36-43, and 53-58. These measures contain a
mixture of scalar and arpeggiated patterns shaped into memorable solo phrases. A case
in point is the voice-leading figure in measures 8-10, a well-known and favorite Green
cliche. This trademark phrase implies an Ebm7-Ab7-Dbmaj7 progression with a descending
minor-seventh arpeggio (Db-Bb-Gb-Eb), disguised chromatic motion arranged in a
familiar zigzagging pattern of Eb-Bb-D-Bb-Db-Bb-C, a rising 9th chord arpeggio
(C-Eb-Gb-Bb), stepwise descent (Bb-Ab-Gb), and a resolving target figure (Gb-E-F).
Green pursues and develops a simple motive in measures 37-39 with an
inescapable logic. Note the melodic expansion and rotation in this three-part phrase.
Green was a master of this sort of melodic invention, and was able, on the fly, to harness
the same elements and procedures used by great classical composers to produce similar
thematically coherent results in improvisation.
Green plays signature raked arpeggio patterns in measures 20, 57, 60, and
62. These short, crammed figures are articulated with sweep picking in both ascending
and descending motion. Green applies side-slipping (in this instance "slipping" a half step
higher) in measures 46-47 to momentarily suggest the remote key center of A minor over
Eb7 and Ebm7. The phrase is made more striking with his barrage of crammed triplet
rhythms. Green's prevalent use of eighth-note triplet rhythm patterns in the solo further
energizes important phrases throughout, most notably in measures 27-28, 32, 43-44,
47-48, and 63-64. Another ear-catching highlight is the funky double-stop figure in measures
51-52. Here Green combines an anchoring pedal tone (Db)with a descending chromatic line.
 

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FUSION GUITAR, MASTERTRACKS. Steve Houghton and Tom Warrington CD

FUSION GUITAR, IMPROVISE MASTERTRACKS. CD

Alfred MasterTracks Fusion [Guitar]
Music by Steve Houghton and Tom Warrington

UPC: 038081084381

ISBN 10: N/A
ISBN 13: N/A
CATEGORY: Instrumental Series
FORMAT: Book & CD
INSTRUMENT: Guitar

 

The music selected for Alfred MasterTracks is intended to provide a broad range of improvisational material for soloists of all skill levels. An improviser needs to feel comfortable in a variety of musical settings, so we have designed a series that addresses a number of different styles, tempos, and keys. Therefore, this book will also serve as a very up-to-date listening reference for many popular Jazz, Latin, and Fusion grooves. In undertaking this project, we decided that we would try to appeal to a wide variety of musicians, from the most raw, beginning improviser all the way to the most advanced improviser. As a result, we have provided charts that indicate a basic structure of harmony and rhythm, plus some very basic melodies for beginning improvisers to play around with, since one good starting point for improvisation is the melody. (These melodies are not recorded on the tracks, however.) More advanced players may want to disregard these melodies completely and dig into blowing over the tracks, worki ng on whatever materials they are currently practicing. It is beyond the scope of this book to present a complete manual for improvisation. Rather, we chose to present some varied harmonic and rhythmic situations that would allow improvisers to practice their craft.

 

 

HOW TO USE MASTERTRACKS

After we recorded Essential Styles, Books 1 & 2 (a play-along series for bass and drums), many players said that they would've enjoyed a similar series for other instruments. With that idea in mind, Alfred MasterTracks was born, completely devoted to being a contemporary instrumental play-along for all instruments, not a bass/drum method. These tracks, rather than being designed as a cross section of styles, are more of a collection of varied harmonic and rhythmic situations that melodic improvisers will encounter. For example, in the jazz book, you will find three different versions of the blues. They are obviously the same form and general style, but in different keys and at various tempos in order to provide a more thorough blues "workout." All of the selections in the Alfred MasterTracks Series were professionally recorded and mixed at Chick Corea's Mad Hatter Studios and are of the highest quality. Piano and bass players will be interested to note that the recording is mixed with the piano on the right channel and the bass on the left, so that either of these two rhythm section players can dial out their respective instruments and play accompaniment parts along with the tracks, in addition to soloing with them. Although it is true that the term "improvisation" is foreboding for some young musicians, the selections in these texts have been structured with easy melodic lines which can be used as a point of departure for even the most inexperienced improvisers. The idea here is to have some good-sounding tracks to play along with, and to have some fun! So, without becoming completely encumbered with a lot of intellectual baggage regarding improvisation, young players might simply put on the CD or cassette and start trying to play along by ear. Or they might read the simple melodies that have been provided as a means of gaining some understanding of the form and harmonic content, and proceed from there. By playing portions of the melodies, and then embellishing them slightly, young players will soon find themselves creating their own melodies using the given material as the springboard. Some of the tracks are played in such a way that the harmonies are not extremely complex; altered chords and polyrhythms in the comping have been minimized. On other tracks, these elements are more fully utilized, creating a nice range of intensity levels. The idea is that, while there is an abundance of material here for beginning improvisers, there is also plenty to challenge advanced players. So, have fun with these tracks. We hope they will be a valuable tool in your quest for musical excellence.

 

 

FUSION

 

Foreword / How to Use the Alfred MasterTracks Series

The Soloist and the Rhythm Section .

Thoughts on Improvisation

Understanding Chord Symbols

Understanding Rhythm

Creating Your Own Style

Harmonic Overview - Fusion

 

Contemporary Fusion-iv- V-Isus (3 :07) 10

CD Track Concert Key

#1 A Major K.C. Blues-bright blues (2:53) .

#2 F Major Blues Shuffle-medium tempo (3:51)

#3 G Major Slow 12/8 Blues Shuffle (4:02)

#4 C Major Contemporary Fusion iv – V -Isus

#5 D Major Up-Tempo Rock & Roll Blues-straight 8ths (2:49)

#6 F Major Half-Time Rock Ballad (3:31)

#7 E minor Medium Funk-minor blues (3:41)

#8 B~minor ii-V Funk Shuffle (5:05)

#9 E minor Techno Funk-8-bar minor blues (3:09)

#10 D Major Early Funk (3:10)

#11 C minor Swing 16ths (2 :56)

#12 F minor Hip-Hop Funk with 16 bar section/solo with guitar & drums (2:53)

 

About the Authors

 

Note: All tracks were recorded and mastered at A440.

You may need to make tuning adjustments to match the playback speed of your audio equipment.

 

Bill Cunliffe, Keyboards

Paul Viapiano, Guitar

Tom Warrington, Bass

Steve Houghton, Drums

Brian Kilgore, Percussion

Recorded and mixed at Mad Hatter Studios, Los Angeles

Engineered and mastered by Talley Sherwood

 

 

Exciting play-along tracks for beginning or advanced improvisers!

Digitally recorded and mastered, these top-quality play-along tracks on CD or Cassette provide an invigorating way for you to broaden your improvisation skills while experiencing what it's like to play with a hot rhythm section. The recordings are highly effective as a listening guide to many of today's most popular grooves. Numerous styles are covered in the series, including blues, minor blues, ballads, modal tunes, bebop, rock & roll blues, blues shuffle, funk shuffle, fusion, techno funk, hip-hop, bossa nova, baion, samba, son go, Latinfusion and more.

Also Available for the following instruments:

C Treble Clef (Flute, Vibes, Oboe, Violin)

Bb (Clarinet, Trumpet, Soprano Saxophone,

Tenor Saxophone, Baritone T.c.)

Eb (Alto Saxophone, Baritone Saxophone)

C BassClef (Trombone, Baritone B.C., Bassoon, Tuba, Cello)

Guitar (Acoustic or Electric)

Keyboard (Electronic Keyboard, Synthesizer, Acoustic Piano)

Bass (Acoustic or Electric)

Book & CD

Alfred Publishing Co., Inc.

Prezzo: €21,00
€21,00

GERSHWIN GEORGE-THE COLLECTION FOR SOLO GUITAR-Howard Morgen-CD TABLATURE LIBRO SPARTITI

GERSHWIN, THE COLLECTION FOR SOLO GUITAR, Howard Morgen. Contiene 16 arrangiamenti per chitarra, fra le quali Summertime, e I got rhythm. CD TABLATURE

LIBRO DI MUSICA., CON CD

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE. 


George Gershwin / arr. Howard Morgen

SERIES: Jazz Masters Series
CATEGORY: Guitar Personality
FORMAT: Book & CD

Sixteen classic Gershwin standards in sophisticated solo guitar arrangements exactly as recorded by Howard Morgen. Titles
Includes the Following Selections:

Title Composer

A FOGGY DAY (IN LONDON TOWN)
GERSHWIN, GEORGE/L: GERSHWIN, IRA

BESS YOU IS MY WOMAN NOW (from "Porgy and Bess")
GERSHWIN, GEORGE/L: GERSHWIN, IRA/L: HEYWARD, DUBOSE/L: HEYWARD, DOROTHY

BUT NOT FOR ME (FROM "GIRL CRAZY")
GERSHWIN, GEORGE/L: GERSHWIN, IRA

FASCINATING RHYTHM
GERSHWIN, GEORGE (CA)/ GERSHWIN, IRA (CA)

HE LOVES AND SHE LOVES
GERSHWIN, GEORGE (CA)/ GERSHWIN, IRA (CA)

HOW LONG HAS THIS BEEN GOING ON?
GERSHWIN, GEORGE/L: GERSHWIN, IRA

I GOT RHYTHM
GERSHWIN, GEORGE/L: GERSHWIN, IRA

IT AIN'T NECESSARILY SO (FROM "PORGY & BESS")
GERSHWIN, GEORGE/L: GERSHWIN, IRA/HEYWARD, DUBOSE/HEYWARD, DOROTHY

LOVE IS HERE TO STAY
GERSHWIN, GEORGE/L: GERSHWIN, IRA

LOVE WALKED IN
GERSHWIN, GEORGE/L: GERSHWIN, IRA

MY MAN'S GONE NOW (REMAKE TAKE)
GEORGE GERSHWIN, IRA GERSHWIN, DU BOSE HEYWARD

NICE WORK IF YOU CAN GET IT (FROM "DAMSEL IN DISTRESS")
GERSHWIN, GEORGE/L: GERSHWIN, IRA

OH, LADY, BE GOOD!
GERSHWIN, GEORGE/L: GERSHWIN, IRA

SOMEONE TO WATCH OVER ME (FROM "OH, KAY!")
GERSHWIN, GEORGE/L: GERSHWIN, IRA

SUMMERTIME (FROM "PORGY AND BESS")
GERSHWIN, GEORGE/L: GERSHWIN, IRA/HEYWARD, DUBOSE/HEYWARD, DOROTHY

THEY CAN'T TAKE THAT AWAY FROM ME (FROM "SHALL WE DANCE")
GERSHWIN, GEORGE/L: GERSHWIN, IRA

Prezzo: €33,99
€33,99
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