CLARKE STANLEY, COLLECTION BASS. Bass folk song -christmas in rio -dayride -east river drive -i wanna play for you -life is just a game -lopsy lu -the magician -rock 'n' roll jelly -school days -silly putty -song to john (part ll) -stories to tell -time exposure -vulcan worlds -what if i forget the champagne. TABLATURE
 

16 MASTERPIECES

Bass Recorded Versions
Series: Bass Recorded Versions TAB
Artist: Stanley Clarke

Features authentic, note-for-note transcriptions with tab for 16 super tunes from this eclectic bass master, 96 pages.

Stanlev Clarke
Performer, Bandleader, Arranger,
Producer and Composer
Stanley Clarke is one of the most celebrated bassists in the world today. During his career, he has received virtually every honor that can be bestowed upon a musician, including Rolling Stone's "Jazzman of the Year," Playboy magazine, "Jazz Bassist of the Year" for ten consecutive years, and Guitar Player magazine's "Gallery of Greats." A seven-time Grammy nominee, Clarke received a Grammy for his critically-acclaimed album No Mystery in 1975 and his score for Boyz N The Hood received an Oscar nomination. In 1989, he returned to his native Philadelphia where his name was placed in cement on the "Walk of Fame," and where Mayor Wilson Goode presented him with a Philadelphia Music Foundation Hall of Fame award.
His albums continue to top a variety of charts; not only Jazz, but the R&B, New Adult Contemporary and Top Pop charts. Born in 1951, Clarke was encouraged from an early age to study music by his mother, who sang opera. Though he initially studied violin and cello, he literally outgrew both instruments. With his long, lean frame, he was a natural to play the acoustic bass. Equally interested in jazz, classical, and rock music, Clarke started playing in bands in junior high. By the time he'd reached the twelfth grade he became a serious student of the bass, practicing and playing for eight hours a day. At 16, he bought an electric bass for $29.00, a Kent hollow body, so he could get after-school jobs playing bass. His jobs ranged from a blues combo, a country group and a Top-40 band that rolled into the Holiday Inn circuit. He then enrolled in the prestigious Philadelphia Musical Academy, studying string bass and composition, but continuing to be influenced by Jimi Hendrix, Jack Bruce and Charles Mingus, as well as Bach, Beethoven and Wagner. In 1970, Clarke moved to New York City where he played with such jazz greats as Horace Silver, Stan Getz, Dexter Gordon, Art Blakey, and Gil Evans. He came into international prominence as a founding member of the groundbreaking jazz rock fusion band, Return to Forever. Though initially a jazz purist devoted exclusively to the acoustic bass, Clarke went electric and electrified the music world during his eight-album collaboration with members Chick Corea, Lenny White and AI Di Meola. In 1975, Return to Forever's No Mystery album won the Grammy for Best Jazz Performance by a Group. His slap and pop playing with this group had a powerful influence on the jazz-funk styles to come.
Clarke remembers those times: "The Return to Forever years were important for me... RTF was really one of the only times in my playing career that I got to use some of the skills I'd worked on in college-through composition, writing for orchestra and things like that. Because before we did an album, we'd always take off for a month or so to compose music."
During his tenure with Return to Forever, Clarke launched his highly-successful solo career. On his 1972 solo album, Children of Forever, he played acoustic exclusively. The 1975 release of Stanley Clarke with Tony Williams and Jan Hammer put him into the fusion scene. His 1976 album School Days became a crossover hit. His crossover R&B/pop Clarke/Duke Project in collaboration with keyboardist George Duke resulted in three best-selling albums and a Top 20 single, "Sweet Baby." Their 1990 album 3 garnered the duo an NAACP Image Award nomination for Best Jazz Artists. His solo East River Drive featured an all-star ensemble including Duke, Hubert Laws, Jean-Luc Ponty, Poncho Sanchez and Gerald Albright, plus big names in bass: Abe Laboriel, Armand Sabal-Lecco, Alphonso Johnson and Jimmy Earl. Clarke's independent label, Slamm Dunk Records, has released a variety of recordings including his own Live at the Greek, and the soundtrack album for Passenger 57. Live at the Greek features Clarke with Larry Carlton, Billy Cobham and Najee. Clarke's rock projects included working with Jeff Beck, Stewart Copeland, and Deborah Holland with the group Animal Logic, the New Barbarians (which featured The Rolling Stones' Ron Wood and Keith Richards) and scoring the opening sequence of Michael Jackson's video Remember the Time, which was directed by John Singleton. He has co-written with Paul McCartney, recorded with Quincy Jones, Carlos Santana and Aretha Franklin, and produced records for Brenda Russell, Ramsey Lewis, Shalamar, and Natalie Cole. In the television arena Clarke has received three Emmy nominations for television scoring. He started out by sending tapes to everyone in the field, and got his first break doing Pee- Wee's Playhouse. That's when he bought his first Mac and MIDI keyboard, and got his first Emmy nomination. It was while scoring an episode of Tales from the Crypt that his desire to score was fueled, when he became aware of how powerful music can be in a scene. With this turn in composing, Clarke has been in constant demand to score films and television since the mid '80s. His films include John Singleton's Boyz N The Hood, Panther, Passenger 57, Book of Love, Poetic Justice, Higher Learning, Little Big League, Tap, Dangerous Ground, Cherokee Kidd, and the acclaimed score for What's Love Got To Do With It, the drama based on the life of Tina Turner. He loves the challenge of composition and orchestration, the exposure to rapidly changing music technology, and the new sense of freedom, noting that "Underscoring, in particular, takes away all the constraints of producing music that must have commercial potential." Clarke claims that film composing has influenced his solo writing-"When you do as much film composing as I've done lately, you just kind of get oiled as far as writing melodically is concerned." 

TITLES:
Bass Folk Song - STANLEY CLARKE - 1973
Christmas In Rio - STANLEY CLARKE - 1993
Dayride - STANLEY CLARKE - 1977
East River Drive - STANLEY CLARKE - 1993
I Wanna Play For You - STANLEY CLARKE - 1979
Life Is Just A Game - STANLEY CLARKE - 1976
Lopsy Lu - STANLEY CLARKE - 1977
The Magician - STANLEY CLARKE - 1976 
Rock 'N' Roll Jelly - STANLEY CLARKE - 1978
School Days - STANLEY CLARKE - 1980
Silly Putty - STANLEY CLARKE - 1977
Song To John - STANLEY CLARKE - 1975
Stories To Tell - STANLEY CLARKE - 1988
Time Exposure - STANLEY CLARKE - 1983
Vulcan Worlds - STANLEY CLARKE - 1974
What If I Forget The Champagne - STANLEY CLARKE - 1993

BASS GRIMOIRE. Centinaia di modelli e scale per chitarra basso con disegno della tastiera.

SHEET MUSIC BOOK WITH BASS TABLATURE.

LIBRO DI MUSICA,

SCALE PER BASSO, 

GRAFICO DELLA TASTIERA DELLA CHITARRA. 

FAST FORWARD, LEAD GUITAR SOLOS. CD TABLATURE

LIBRO DI MUSICA ROCK CON CD, SPARTITI, METODO PER CHITARRA.
ACCORDI, PENTAGRAMMA, TABLATURE. 

RIKKY ROOKSBY
Description

An exciting new series of 12 instrumental instruction books. Includes complete music for all riffs, licks, hints and tips, plus easy-to-follow instructions, tips and advice. Accompanying CD allows you to listen and play along to the matching audio tracks. Essential information on how to get all the great rock guitar sounds, from classic 1950s lick to pull-offs, hammer-ons, bends and the slide. Plus, how to get the very best effects from your pedal, and inside tips and tricks on scales and position playing.

THE LUTHIER'S HANDBOOK, A Guide to Building Great Tone in Acoustic Stringed Instruments. Roger H. Siminoff.

INCLUDES : STRING GAUGE CALCULATOR

LIBRO MANUALE DI ACUSTICA DEI LEGNI E DI LIUTERIA PER CHITARRA ACUSTICA.

CALCOLATORE PER DETERMINARE IL GIUSTO SPESSORE DELLE CORDE. 

Series: Book
Publisher: Hal Leonard
Medium: Softcover
Author: Roger H. Siminoff

An essential item for the instrument builder, The Luthier's Handbook explores the secrets and science behind making good-sounding acoustic stringed instruments. Renowned author Roger H. Siminoff brings to the table more than four decades of luthiery experience and shares the time-tested philosophies, tips and technology of the craft. As the ideal complement to other books on building instruments, this text describes the structural and acoustical attributes of air chambers; what to listen for when tap-tuning; selecting a good piece of wood; placement of the braces and tone bars and how to tune them; how to select the right strings; what to consider in bridge design concepts; and much more. Includes a free String Gauge Calculator for determining the right set of strings. 96 pages.

SIMINOFF

THE MYSTIQUE:
I am a hardcore sailor. And while I sail a fairly modern
sailboat with the latest electronic gear, I have dreamt of the
great crossings of Columbus, Balboa, Erikson, and the rest.
I ponder their bravety, their fortitude, and that certain charm
and splendor that accompanies such heroic and fearless
acts of long ago. And, I wonder how they connected with
their vessels and understood their whereabouts in the
absence of today's modern technologies.
The craft of lutherie boasts such connection. It calls upon
the introduction of modern tools while carrying the
mystique of leather aprons, handmade chisels, smelly
hide glue, and the hands of artisans like Stradivarius,
Guanari, as well as the more contemporary work of
Gibson, Martin, and others.
As sailors learned from the rutters (diaries) of sailors
before them, we have learned from the rutters
(instruments) of these great craftsmen. We evaluate their
measurements, count their grain lines, test their finishes,
and listen to the musical wonderment of instruments
hundreds of years old. Not only do we love how old
instruments sound, we love how old they smell.
It is often suggested that technicians of yesteryear
seemed to do a better job than we can today ... that they
had some secret sauce that made their instruments
sound sweeter. What did they know that we don't? How
did they learn to do that? Who did they learn it from?
And, the most commonly asked question; why does that
"pre-war" instrument sound better than any of those
made today?

THE REALITY:
Maybe one should ask, "what did it sound like then?" As
my friend Mike Longworth of C.F.Martin used to recount,
"we have never learned to make a new instrument that is
100 years old!" Age, and the contribution that time and
years of playing make to an instrument is one of the major
dividing lines between today's lutherie and yesterday's.
The truth is, we have more knowledge about wood and
finishes today than craftspeople did 100 or more years
ago. Our tools are better as are our measuring devices.
Our adhesives are better and our finishes are better and
more durable. The ability to season wood correctly greatly
exceeds what was done in the past by stacking, stickering,
sealing, air drying, and keeping fingers crossed. And, with
today's modern machining and CAD/CAM devices, we can
hob out a neck or body, gang-saw perfectly aligned fret
slots, and build production instruments almost faster than
the wink of an eye.

THE VISION:
There are a lot of wonderful books on instrument
construction and maintenance authored by some of the
best luthiers (and good friends) in the business. I'm guilty
of authoring four. The Luthier's Handbook is not about
making good instruments, but about understanding the
science behind making instruments that sound good. My
goal here is to go behind the scenes and talk about the
philosophy and technology involved in this craft including:
why we choose certain woods, howto select a good piece
of wood, where to put the braces and tone bars, how to
select the right string gauges, whatto listen for when taptuning,
howto tune the components, and more.
My primary focus in this text is on issues which are
acoustical or structural in nature - I'll leave the
cosmetics and instrument design up to you. For example,
I am concerned about the height and weight of the bridge
as it relates to transferring and driving the strings' energy
to the soundboard. While the design is certainly tied to the
bridge's functionality, in this book, I am only concerned
about selection of wood and shape as it relates to
acoustical properties and providing the right leverage or
torque. I talk about finishes from a strictly acoustical
standpoint - whether you choose dull or matte, sunburst
or plain, tinted or clear, is up to you. If your instrument
has a tailpiece, I speak about how it works and not how it
is engraved or plated.
You can build the instrument, I want to help you think
about it. I want to share my experiences of more than 40
years with you. All you have to do is read, think, and, I
hope, build better instruments.

CHAPTER 1

ZEN AND THE ART OF BUILDING ACOUSTIC STRINGED MUSICAL INSTRUMENTS
There are many steps to building instruments and a life
full of opportunities to learn to use them. Practice and
devotion to the craft will help you achieve the knowledge
expected of a luthier.
The great philosopher John Locke, said that "knowledge
was the agreement or disagreement of two or more
ideas." The length of time you spend practicing and
focusing on your craft will develop wisdom (knowledge
plus experience). And, if you have the gift of creativity
and the art of sensitivity, you are clearly on your way to
plateaus of satisfaction and achievement beyond your
wildest dreams.
Whether you build only one or many instruments, you
will learn processes that take you from A to Z. You will
learn to select the right materials. You will learn
techniques and tricks. And, you will learn - from trial
and error - how to work each step through until you
arrive at the desired destination. You will, I hope, learn
from your mistakes and failures. These become the real
tools and secrets of your trade.
But it is not the knowledge and wisdom that will make
you a great luthier. Rather it is the application of this
knowledge and wisdom that become your fingerprint,
your signature. In the final analysis, it is how you apply
the combination of your skills that will herald what people
will see in you through the instruments you build.
Beyond these traits, there is another piece that others will
not see. There is a component of the real you, should you
choose to accept the challenge, that speaks to how you
wear the inner garb of luthier, and how you personally
accept the challenge of devoting your life to being a true
instrument maker.
I know of some luthiers who approach their craft almost
spiritually. They attempt to maintain the greatest presence
of mind and rationality when they are building an
instrument. Their approach to instrument construction is
not just mechanical, but sensual as well- with all of their
senses invited to take part in the process. Their beliefs on
how parts work, and how parts fit, and their reverence for
wood is, to say the least enlightening. To them, the
instrument is not just a bunch of pieces glued together,
but instead an imaginary entity being contained by sides,
top, and back - each of which plays an important role in
unifying the whole. Each corner is not a joint, but the
union of two planes. Each line has a purpose. Each curve
has a thought. Everything has a wholeness, beginning
from the builder's complete vision, continuing through a
finished instrument, and ending with a glorious tone.
I think there is much to be said for having a feeling - a
sense - of what do and how to do it, in addition to the
mechanical knowledge of the craft itself.
While an industrial design student at Parsons School of
Design, I remember being exposed to the idea of feeling
art from the inside of the piece as well as from the
outside. A chair, for example, wasn't just a nice form to
look at; it has an internal meaning and shape, too. You
may have seen sculptors who worked as hard on the
inside of the piece as they did on the outside. Their art
has no boundaries; it is not just outer shapes, but an
entire multi-dimensional piece of sculpture.
When I was living in New Jersey, I had the pleasure of
knowing Keith Ferris, a highly respected artist who
specialized in renderings of Air Force and Navy aircraft.
His work is superb. I remember watching him begin a
wall-size piece of art of several aircraft. His first lines
were those of the superstructure and struts. Then he
penciled in the fuel tanks and innermost components of
the plane. Finally, he covered all of that line work, hiding
it forever under his paint as he completed the picture of
the planes' exteriors. He knew his aircraft were right -
because everything inside them was in place.
To those luthiers I mentioned previously, creating the truss
rod pocket, slot, and filler strip, and gluing in the truss rod,
is as important a procedure as polishing the sound board's
face, even though the rod will not be seen once the
instrument is completed.
The creative process has no boundaries. There are no
rules, there are no guidelines. Anything goes - at least
in the realm of thought. The truly creative work we see in
luthiery comes from free-thinking craftspeople who have
learned the thrill of allowing their minds to take them
away from their textbooks, workbenches, and tools to a
place where they can think, envision, and dream,
returning only when they are ready to create.
For the creative luthier, the mind takes great risk. Their
work is typically unconventional, untraditional, and
possibly unmarketable. They spend a great deal of time
pursuing the infinite aspects of their instruments so ...

An essential item for the instrument builder, The Luthier's Handbook explores the
secrets and science behind making acoustic stringed instruments. Renowned author
Roger H. Siminoff brings to the table more than four decades of luthiery experience
and shares the time-tested philosophies, tips, and technology of the craft.

The Luthier's Handbook includes expert advice on:
Wood selection
Tap tuning
Bridge designs
Bracing and tone bar configurations
Soundboard design and construction
String selection
Truss rods
Tools and fixtures
Much more ...

"When you're in the music business for any length of time, you have the opportunity
of meeting the 'best of the best' ... people like Roger Siminoff. As a designer,
musician, and luthier always looking to make stringed musical instruments better,
Roger has a rare talent for doing just that. Having worked on many projects with him,
I can't say enough about his thoroughness and intuitive skills. As a writer, he expresses
ideas from his heart but with a complete understanding of the subject matter."
Bruce J. Bolen
V.P. Marketing Development
Fender Musical Instruments

 Preface
 Chapter 1 - Introduction
 Chapter 2 - How It Works
 Chapter 3 - Woods
 Chapter 4 - Structure
 Chapter 5 - Bridges
 Chapter 6 - Sound boards
 Chapter 7 - Truss Rods
 Chapter 8 - Strings
 Chapter 9 - Tailpieces
 Chapter 10- Finishes
 Chapter 11 - Tuning The Assembly
 Chapter 12 - Wrap Up
 Index
 About the Author

COMPLETE GUITAR REPAIR, HIDEO KAMIMOTO.

LIBRO SULLA COSTRUZIONE E RIPARAZIONE DELLA CHITARRA ACUSTICA E ELETTRICA. 

Complete Guitar Repair
Format: Softcover
Author: Hideo Kamimoto

This volume presents absolutely everything that any guitar repairman, player, builder or owner needs to know about the proper care of every kind of guitar. It covers the repair, set-up, restoration and construction of acoustic and electric guitars, and includes hundreds of diagrams.

Master craftsman tells you everythung you need to know about the maintenance, restoration and construction of acoustic and electric guitars. all steps cleary explained, from planning stages to final polish. Over 200 diagrams, photographs and tables.

Length: 160 pages
Language: English