CHITARRA - GUITAR

STOWELL JOHN, JAZZ GUITAR MASTERY. BOOK WITH TABLATURE & DVD

LIBRO METODO DI MUSICA JAZZ, CON DVD.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.  

STUDIO, ARMONIA, VIDEO DIDATTICO, LEZIONE, ARPEGGI, SOSTITUZIONI,  

 
The purpose of Jazz Mastery is to give the serious student an entry into the creative process as quickly as possible. Presented here is the necessary information, stated clearly and simply as possible, in the hope that motivation and inspiration will soon follow on the heels of comprehension. The responsibility of a teacher lies in getting students excited, as well as presenting the theory to them in an easily assimilated form. Jazz Mastery will certainly serve up equal portions of the requisite information and inspiration. Companion DVD included, 2 hour 47 minutes; all in standard notation.

Foreword
John Stowell - Jazz Mastery Volume I
Pentatonics and Arpeggios
Substitution Using Triads
Picking
Pick and Fingers Technique
John Stowell - Jazz Mastery Voume II
C7 + C# Melodic Minor
One Whole Tone Below C7
C7 - F Melodic Minor a 4th Above > b6 added
C7 - G Melodic Minor a 5th Above > 9 #11 added
John Stowell - Jazz Mastery Volume III
Using Major Triads to Extend Dominant 7th Chord
Dominant 7th Chords
Major 7th Chords
John Stowell

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

VAI STEVE, LICK LIBRARY LEARN TO PLAY VOLUME 2. 2 DVD

Guthrie Govan; Dave Kilminster

Description
A lick-by-lick guide to even more of Mr. Vai's guitar work which has amazed and confounded guitarists the world over. This special 2-DVD set features over four hours of pure Steve Vai magic, as Guthrie Govan and Dave Kilminster dissect four songs plucked from different stages of the guitar wizard's sparkling career. Discover the secrets of Vai's twisted tones, as well as the compulsory arsenal of techniques, tricks and fretboard pyrotechnics. Songs include The Attitude Song and David Lee Roth's Shy Boy.

For The Love Of God
Shy Boy
Tender Surrender
The Attitude Song

GREEN GRANT, Essential Jazz Lines in the Style of for Guitar. SHEET MUSIC BOOK with CD & GUITAR TABLATURE.

LIBRO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA :  

ACCORDI, DIAGRAMMA DELLA TASTIERA DELLA CHITARRA, PENTAGRAMMA, TABLATURE.

Product Description:
Grant Green was one of the most innovative jazz guitarists of the 1960s. His horn-like lines, original tone, and superb sense of time elevated him to being one of Blue-Note Records first call session players as well as a respected bandleader. This book covers many of the techniques Grant used in his playing and provides many melodic lines in the style of Grant Green for minor, dominant seventh, short and long ii-V, major, and minor ii-V chord progressions. Chapters on double-slurs, double-stops, pentatonic and blues scales as well as chapters on the basics of the jazz language will help guitarists understand and play the music of Grant Green. Presented in standard notation, tab and fretboard diagrams, this book comes with a play-along CD that will assist guitarists in mastering this material.

Contents:

Introuction
Guide Tones
Bebop Scales
3 to 9
Playing the Upper Structure of Chords
Targeting
Double Slurs
Pentatonic and Blues Scales
Double-Stops
Syncopation
Minor Chord Material
Dominant Chord Material
Short ii-V Material
Long ii-V Material
Major Chord Material
Minor ii-V Material
Play-Along Recordings
Short ii-V-I
Long ii-V-I
Minor ii-V-i
Turnarounds
Etude
Progression similar to "Misty"
B 12-Bar Blues
Progression similar to "Solar"
About the Author

A MODERN APPROACH TO JAZZ, ROCK & FUSION GUITAR. Jean Marc Belkadi, Musicians Institute. Le scale maggiori, i cromatismi, triadi e tapping, arpeggi e sweep picking, fusione di idee. CD TABLATURE

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Jean Marc Belkadi

Jean Marc Belkadi gives you over 30 great lines using a variety of techniques and melodic ideas. Covers: alternate, sweep, and skip picking; major scale, chromaticism, arpeggios, superimposing triads; legato, wide intervals, alterations; and much more. Includes standard notation and tablature.

Inventory #HL 00695143
ISBN: 9780793573776
UPC: 073999951431
Width: 9.0"
Length: 12.0"
24 pages

A Modern Approach to JAZZ, ROCK, & FUSION GUITAR

Jean Marc Belkadi gives you over 30 great lines using a variety of techniques and melodic ideas

- Major scale, chromaticism, arpeggios, superimposing triads
- Alternate picking, sweep picking, and string skipping
- Legato, wide intervals, alterations
-Standard notation and TABLATURE

HL00695143

MUSICIAN INSTITUTE PRESS
is the official series of Southern California's renowned music school. Musicians Institute
MI instructors, some of the finest musicians in the world, share their vast knowledge and
experience with you nomatter what your current level.
Whether your instrument is guitar, bass, drums, vocals, or keyboards, MI PRESS
offers the finest music curriculum for higher learning through a variety of series:

Essential Concepts – designed from MI core curriculum program

Master Class - designed from MI elective courses

Private Lessons - tackle avariety of topics "one-on-one" with MI faculty instructors

Pocket Guide - handy reference to the basics

Video - in-depth lessons with many of Ml's well-known instructors

Workshops - transcribed scores of music's greatest songs, designed from Ml's performance workshop classes.

HAL LEONARD

by Jean Marc Belkadi

Contents

Dedication
About the Author
Introduction
Introduction to the Recording
Tuning
Chapter 1: The Major Scale and Chromatism
Chapter 2: Triads
Chapter 3: Arpeggios
Chapter 4: Additional Ideas
Closing
Guitar Notation Legend

ISBN 0-7935-7377-7
HAL-LEONARD

DEDICATION
This book is dedicated to Marie Christine Belkadi, my brother Patrick, and my
parents whose love, strength, and faith has been a source of inspiration and
growth.
Special thanks to:
Karen Segal for transcribing, copying, editing, and for all your positive
suggestions.
Vasso Dimitriou for producing, recording, and for your supportive attitude.
Ted Green for editing and positive advice.
Thanks to Frank Gambale, Michael Komitchisk, Francois and Fred from LAG
guitars and Steve Butcher from Dimarzio pick-ups.

ABOUT THE AUTHOR
Jean Marc Belkadi started playing guitar at age 14. He graduated from the
Toulouse Music Conservatory in his hometown. In 1984,he left France for the
u.s. to learn at the Musicians Institute of Technology in Los Angeles where he
received the Best Guitar of the Year Award.
In 1989 and 1992he was awarded third and second prize at the Billboard Song
Contest. For three years he was musical director of the Johnny Hune TV show.
He has written two guitar method books addressing Jazz, Fusion and Rock
soloists and recorded one solo album.

INTRODUCTION
The purpose of this book is not to be a guitar method book with a captalIM."
Rather, it is intended as a source of inspiration to help you develop your own
ideas. The three key areas that I focus on and encourage you to explore are:

Melody
In any style of music you are into, the melodic direction, sound, and phrasing
are the first and most important things to consider. For this reason-and to
develop the connection between your ear and fingers-I recommend that you
sing all the lines (slowly at first).

Harmony
All of the lines are performed against a certain chordal background. However,
they can also be used with other chords and will sound different in each context.
I encourage you to experiment by playing them in different chordal contexts using
a tape recorder, a synthesized background, a friend, or whatever you may have
available.

Technique
This book is geared for guitar players and makes use of various techniques that
are unique to the guitar, including alterna te, sweep, and skip picking, hammer-ons,
pull-offs, and tapping. Play the lines very slowly and accurately at first and
gradually speed up. Don't forget that the melody should sound natural to you at
any tempo. The harmony should be implicit, your phrasing clean, and timing
perfect.
Let's begin now! I hope you will enjoy this as much as l do ...

Editor's notes:
Follow the audio icons in the book to keep your spot on the CD.
A short "introductory" solo portion may sometimes precede the main lick of each
figure, to give it a better sense of context. However, only the main lick itself
appears transcribed in each case.