LIBRO CON CD

IOMMI TONY, LEGENDARY GUITARIST. BOOK WITH GUITAR TABLATURE

SPECIALE LIBRO SUL CHITARRISTA DEI BLACK SABBATH.

CONTIENE FOTOGRAFIE A COLORI.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE.

CONTENTS:

[SPECIAL GRAVURE] 
Portrait of Sole Innovator
incl. Ozzfest 2013 Live Report

[PREMIERE] 
With Iron Will

[IOMMI'S GEAR]
Electric Wands

[DISCOGRAPHY] 40
Children of the Wizard

[BIOGRAPHY] 
Through Heaven & Hell

[ARCHIVE INTERVIEWS] 
Words of Doom
incl. Talk Session:Tony Iommi 

[SUCCESSOR POST IOMMI] 
Bloody DNA
PART-1:Waima
PART-2:Michael Amott

[DOOM ROCK ALBUMS] 
Under the Lord of Heaviness

[IOMMI'S GEAR EXTRA] 
PART-1:SG[A to Z]
PART-2:
PART-3:

[PLAYING ANALYSIS]

Magical Evil Licks
incl. Selected Guitar Score

GUITAR SCORE

SONGS TITLE :

- War Pigs
- Paranoid
- Die Young

148 PAGES

ACOUSTIC METAL Guitar Play-Along Series, Volume 37. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA METAL CON CD. 

CD DI BASI PER VOCE, E, VOCE E CHITARRA.  

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

8 TITOLI:

Every Rose Has Its Thorn - [Poison]
Fly To The Angels - [Slaughter]
Hole Hearted - [Extreme]
Love Is On The Way - [Saigon Kick]
Love Of A Lifetime - [Firehouse]
Signs - [Tesla]
To Be With You - [Mr. Big]
When The Children Cry - [White Lion]
 

LIBRO CON CD E CHITARRA TABLATURE
Serie: Guitar Play-Along
Artisti: Vari

La serie Guitar Play-Along ti aiuterà a suonare rapidamente e facilmente le tue canzoni preferite! Basta seguire la TABLATURE, ascoltare il CD, sentire come dovrebbe suonare la chitarra, e poi suonare insieme con le basi. La melodia e i testi sono inclusi nel libro nel caso tu voglia cantare, o per aiutarti e seguire la musica. Il CD audio è riproducibile su qualsiasi lettore CD. Con il computer e il Mac, è possibile regolare la registrazione a qualsiasi tempo senza cambiare l'altezza del suono !

DAVIS MILES, FOR SOLO GUITAR. Jamie Findlay. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

FINGERSTYLE, FINGERPICKING, 

Series: Guitar Solo
Format: Softcover Audio Online – TAB
Artist: Miles Davis

15 jazzy solo guitar arrangements of Davis classics, including: All Blues • All of You • Blue in Green • Bye Bye Blackbird • Four • Freddie Freeloader • I Could Write a Book • Milestones • Nardis • Nefertiti • Seven Steps to Heaven • So What • Solar • There Is No Greater Love • When I Fall in Love. Included audio offers full demos of each piece by Jamie Findlay. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Song List :
All Blues
All Of You
Blue In Green
Bye Bye Blackbird
Four
Freddie Freeloader
I Could Write A Book
Milestones
Nardis
Nefertiti
Seven Steps To Heaven
So What
Solar
(There Is) No Greater Love
When I Fall In Love

Inventory: #HL 00699264
ISBN: 9780634023026
UPC: 073999992649
Width: 9.0"
Length: 12.0"
Page Count: 96 Pages 

MOCK DON, MOCK'S MODAL MOJO. The "No Mystery" Approach to Modal Improvising. CD TABLATURE

LIBRO METODO DI MUSICA, CON CD. MP3 AUDIO DI 8 ORE.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE. 

CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Modal Theory

Modal Fingerboard Patterns

Modal Comping and Rhythm Patterns

Challenging Modal Etudes

Substitute and Optional Modal Scales

Arpeggios and Pentatonic i Modes

28 Practice Grooves with Complete Play-Along Tracks in Major, Minorm and Dominant 7th Modes

Modal Mojo is an in-depth and complete lesson on modes for modern guitarists. With its 84-page book, and over eight hours of audio instruction, demonstration, and play-along tracks, this is truly one of the most complete studies of the modes available for players of any level. Mock includes etudes and rhythm examples for each mode as he takes you step-by-step through all 28 modal grooves. He demonstrates the use of arpeggios, sequences, intervals, chromatics, and optional scales to make your modal improvising more melodic and interesting. The book also features a special Resource Section, which illustrates the best scale patterns for the modes and important modal chord substitution concepts.

The 28 play-along grooves are performed live by guitarist Don Mock, bassist Steve Kim, and drummer Dave Coleman, and cover all the common and not-so-common Dominant 7th, Major and Minor modes. The tracks are creative real-world performances with dynamic and color changes, which can inspire new ideas from the practicing musician. The trio performs the grooves using contemporary jazz, Latin, fusion, and rock feels in various tempos and keys. Not only are the play-along grooves a valuable resource for developing improvisational skills, but also offer a wealth of ideas for rhythm and comping.

With over eight hours of audio instruction, demonstrations, and play-along tracks, as well as an 84-page book, this is one of the most complete studies of modes available for modern guitarists of any level. Don Mock includes etudes and rhythm examples for each mode as he takes you step-by-step through 28 modal grooves. He demonstrates the use of arpeggios, sequences, intervals, chromatics, and optional scales to make your modal improvising more melodic and interesting. The book's special resource section illustrates the best scale patterns for the modes and important modal chord substitution concepts.

Performed live by guitarist Don Mock, bassist Steve Kim, and drummer Dave Coleman, the 28 play-along grooves cover the dominant 7th, major, and minor modes. The trio performs the grooves using contemporary jazz, Latin, fusion, and rock feels in various tempos and keys. The play-along grooves are a valuable resource for developing improvisational skills and offer a wealth of ideas for rhythm and comping.

Modal Mojo is an in-depth lesson on modes for contemporary guitarists. Each of the 13 modes on the play-along CD is explored from both a single-note improvisational and rhythm guitar point of view. You'll notice that this book contains very little text; it's intended to be used for reference to show the modes, patterns, scale harmonies, examples, and etudes in music notation and tablature. Join me on the audio CD, where you will find the demonstrations and my discussions about each example. And we'll do a lot of playing, too: we'll learn the correct mode, its fingerings, and some optional scales for each of the 28 tracks on the play-along CD. The modes are divided into three sections: minor, major, and dominant. I'll demonstrate each mode and talk about concepts you can use to make your modal playing melodic and interesting. I've also included an etude for each mode. The etudes, which are sample solos from 8 to 32 bars in length, include intervals, arpeggios, chromatics, and rhythms: all the ingredients for an interesting improvised solo. I'll take you through each etude slowly, then we'll play it up to tempo with the corresponding modal groove. Next, we'll get into the details about how to play interesting modal rhythm parts. We'll look at the scale harmony and theory for each mode, and discover ways to use extended and substitute chords to create convincing rhythm parts. In the Resource Section, you'll find fingering patterns for all the primary "parent" scales that the modes are derived from. These include the major scale, harmonic and melodic minor scales, and pentatonic scales. I've also included a hybrid scale called a minor sixth pentatonic. The Resource Section also includes the most useful patterns for the symmetrical diminished and whole tone scales, as well as a special chapter on the three principles of chord substitution. Modal Mojo addresses the most common modes a modem guitar player might encounter. All seven modes derived from the major scale are included. From the melodic minor scale we'll look at the Lydian #5, Lydian/Dominant, and Super-Locrian modes. We'll study the Ionian #5 and the Phrygian/Dominant modes from the harmonic minor scale, as well as one other modal groove, which is not really considered a mode: the Dominant 7#9. You'll find this popular groove discussed in both the dominant modes section and the minor modes section. The study and understanding of modes and the scale harmonies derived from them is truly a study of the workings of music. Although our emphasis is on playing rhythm and soloing on single-chord extended modal grooves, the knowledge you'll gain will go a long way toward understanding key centers, theory, and how chords work together in progressions. Be sure to understand the mode, what its parent scale or key center is, and the chords that are built off of its scale tones. Make it a point to notice the sound and color modes create. And don't forget to take advantage of the guitar fingerboard as a guide to find solutions: think of it as a slide rule, remembering that chord shapes and scale patterns can be moved up or down to new locations. Modal Mojo is organized in a way that allows you to start with any mode you choose. If modes are new to you, I would recommend tackling the modes of the major scale first. From the minor category, these include Dorian, Phrygian, Aeolian, and Locrian. The major mode category includes Ionian and Lydian, and the dominant group includes Mixolydian.

CONTENTS:

CD #1

Title Example MP3 File Page Title Example MP3 File Page

Introduction

Modes: An Overview

The Modal Naming Game

Minor Modes

Track I

A Dorian

A Dorian Rhythms

A Dorian Etude

Track 2

D Dorian

D Dorian Rhythms

Track 3

E Dorian

E Dorian Rhythms

Track 4

C Aeolian

C Aeolean Rhythms

C Aeolian Etude

Track 5

A Aeolian

A Aeolian Rhythms

Track 6

B Phrygian

B Phrygian Rhythms

Track 7

A Phrygian

A Phrygian Rhythms

A Phrygian Etude

Track 8

B Locrian

B Locrian Rhythms

B Locrian Etude

Track 9

E Locrian

E Locrian Rhythms

Track 10

Dominant 7(#9)

Dominant 7(#9) Rhythms

A7(#9) Etude

Major Modes

Track 1

D Ionian

D Ionian Rhythms

D Ionian Etude

Track 2

Bb Ionian 4

Bb Ionian Rhythms

Track 3

A Lydian

A Lydian Rhythms

Track 4

G Lydian

G Lydian Rhythms

Track 5

C Lydian

C Lydian Rhythms

C Lydian Etude

Track 6

F Lydian (#5)

F Lydian (#5)Rhythms

F Lydian (#5)Etude

Track 7

C Lydian (#5)

C Lydian (#5)Rhythms

Track 8

F Ionian (#5)

F Ionian (#5)Rhythms

F Ionian (#5)Etude

Dominant Modes

Track I

G Mixolydian

G Mixolydian Rhythms

G Mixolydian Etude

Track 2

E Mixolydian

E Mixolydian Rhythms

Track 3

B Mixolydian

B Mixolydian Rhythms

Track 4

C Lydian/Dominant

C Lydian/Dominant Rhythms

Track5

Bb Lydian/Dominant.

Bb Lydian/Dominant Rhythms

Bb Lydian/Dominant Etude

Track 6

A Phrygian/Dominant

A Phrygian/Dominant Rhythms

A Phrygian/Dominant Etude

Track 7

F#Phrygian/Dominant.

F#Phrygian/Dominant Rhythms

Track 8

Dominant 7(#9)

C7(#9)Rhythms

Track 9

Dominant 7(#9)

G7(#9) Rhythms

G7(#9) Etude

Track 10

Altered Dominant

B7 Altered Rhythms

B7 Altered Etude

Resource Section

PLAY-ALONG TRACKS MENU

CD#2

Minor Modal Grooves

MP3 Track Title Time Tempo (bpm) Style

1 Dorian Am7 12:42  118  Bossa

2 Dorian Dm7 6:28  110  Swing

3 Dorian Em7 6: 13  112  Rock/Funk

4 Aeolian Cm7 8:51  101  Light Rock

5 Aeolian Am7 6:22  128 Quasi-Reggae

6 Phrygian 8m7 5:10  170  6/4Rock

7 Phrygian Am7 6:30  96  Funk

8 Locrian 8m 7(b5) 7:26  112  Funk

9 Locrian Em7(b5) 6:53  128  Rock

10 Dominant 7(#9)A7(#9) 9:47  98  Funk

Major Modal Grooves

MP3Track Title Time Tempo (bpm) Style

1 Ionian Dmaj7 5:32 105 R&B

2 Ionian amaj7 10:24 128 Light Rock/Funk

3 Lydian Amaj7(#11) 5:58 166 Fast 8th

4 Lydian Gmaj7(#11) 9: 17 90 Slow Rock

5 Lydian Cmaj7(#11) 9:04 101 Funky

6 Lydian (#5)Fmaj7(#5) 6:16 94 Funk

7 Lydian (#5)Cmaj7(#5) 5:55 98 Medium 3,4 Swing

8 Ionian (#5)Fmaj7(#5) 7:09 94 Modern Swing

Dominant Modal Grooves

MP3 Track Title Time Tempo (bpm) Style

1 Mixolydian G7 5:31 115 Latin/Rock

2 Mixolydian E7 5:52 112 Medium Shuffle

3 Mixolydian 87 7:20 108 7/4 Medium Rock

4 Lydian/Dominant C7(#11) 8:28 94 Medium Funk/Rock

5 Lydian/Dominant Bb7(#11) 5:34 104 Swing

6 Phrygian/Dominant A7(b9) 6:31 110 Fusion

7 Phrygian/Dominant F(#7,b9) 5:42 117 Latin

8 Dominant 7(#9)C7(#9) 7:04 90 Funk

9 Dominant 7(#9)G7(#9) 8:07 108 Shuffle

10 Altered Dominant 7 87 7:29 126 Funk/Rock

TRADITIONAL SOUTHERN ITALIAN MANDOLIN AND FIDDLE TUNES JOHN LABARBERA. CD TABLATURE

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER MANDOLINO.

ACCORDI, PENTAGRAMMA E TABLATURE.

Product Description:
The first and foremost Italian mandolin book dedicated to the traditional music from Southern Italy. Written in standard notation and mandolin tablature with guitar and mandolin chord accompaniment, this book introduces the reader to the various authentic folk songs from the regions of Campagnia, Calabria, Puglia, Sicily and Sardinia. With detailed descriptions of the songs and dances, historical and technical information about tarantella and pizzica music, the book will increase the knowledge and repertoire of Italian folk music for both beginners and professional musicians alike.

The book provides an excellent foundation needed to play in the style of the music. With preparatory technical studies, the student will learn the Italian style of tremolo, picking, and rhythms that accentuate the music. Together with the accompanying CD, the student will be able to play along and follow the precise nuances that distinguish the music.

- The first and foremost Italian mandolin book dedicated to the traditional music from Southern Italy.
- Written in standard notation and mandolin tablature, with guitar and mandolin chords
- The reader will learn authentic folk songs, together with historical and technical information about tarantella and pizzica music
- For beginners and professional musicians who want to expand their repertoire of Italian folk music
. The first and foremost comprehensive mandolin book focusing on traditional Southern Italian folk music
- Teaches playing techniques and historical information about the mandolin, tarantella and Italian folk music
- An important asset for beginners to professional musicians interested in expanding their knowledge and repertoire of Italian folk music.

About the Mandolin
The eapolitan Mandolin, also known as the round back or bowled back mandolin, may have descended from the tenth century when similar instruments such as the Ud were first introduced through Arabic culture in Southern Italy. Throughout medieval and renaissance Europe, these instruments evolved and developed their own unique playing styles and various terms were used to describe them such as: lute, quintern, chitarra, and pandora. An instrument referred to as the mandola first appeared in Italian documents in Florence in the late sixteenth century. Manuscripts about the Italian Commedia dell'Arte also referred to it as an instrument used by .Scappino' , one of it's stock comic characters and the most musical of the Commedia troupe. Even the great violin maker, Antonio Stradivari, was also responsible for making an instrument called the mandolino, however at that time the instrument had five courses and gut strings and could be considered a soprano lute. B the sixteenth century, Naples was the cultural capital of Southern Italy and its style of music and instruments influenced all of Europe. The use of metal strung, plectrum instruments had already been popular in Naples with instruments such as the colascione and the chitarra battente and were used to accompany popular songs and dances. It was not until the major developments in construction made by Neapolitan luthiers in the eighteenth and nineteenth century, that the mandolin continued to be successful. One of these first important luthiers was Gaetano Vinaccia whose instruments were widely in use during the 1740's. However, his son Pasquale, could be credited for redesigning a mandolin around the 1830's which used eight metal strings, or four courses, was played with a plectrum made of tortoiseshell instead of a quill and was tuned in fifths, (g,d,a,e) similar to the violin. Because the mandolin was now fitted with steel strings, an influence that might have come from new innovations on the piano and violin, Vinaccia also changed the construction of the instrument in order to fit the tension of the strings and to produce more volume. Thus, the modem mandolin was born. The instrument became known as the Neapolitan Mandolin especially because of its popularity in and around Naples and it's success as quickly influencing the rest of the world. B the late 1800's, mandolins were very much in demand and with the rise of Italian immigration to America, mandolins were being manufactured in the United States. Italian luthiers were working for larger manufacturers uch as Lyon and Healy of Chicago and the C.P. Martin company in Nazareth, Pennsylvania. Some of these lutbiers tried to work on their own and set up shops in downtown New York City where the Italian population as the greatest. One of them was Angelo Mannello, who emigrated to New York from Naples in 1885. The standard Neapolitan design had not changed much since Vinaccia until 1898 when Orville Gibson, an inentor from upstate New York, came up with a successful design of a mandolin with a flat back. The idea of a flat back had been unsuccessful before and not very popular. Gibson finally got his patent in 1902 and the flat back mandolin began to flourish and seep into the mainstream of American music. There have been many debates since that time over the preference and sound of the two instruments. Whatever your preference, you will find the music in this book to be very rewarding as you enjoy playing authentic tunes from Southern Italy.

... As Lomax discovered in the 1950's, traces of every period in Italian history could still be heard in the folk music. The songs that have survived clearly have passed the test of time. Some of the songs such as the "Antidotum Tarantulae" and the Neapolitan villanelle we know are from the 1600's and have the characteristics of renaissance music. I was very fortunate to have learned many of these songs while living in Italy during the early 1970's, when there was a resurgence of interest in traditional music. At that time, the Neapolitan composer and director Roberto De Simone and his group, La Nuova Compagnia di Canto Popolare, had led the way by performing and recording songs from the region of Naples. With new arrangements he brought forward many unknown traditional songs based on his research. Many of the tunes in this book were taught to me as I sat down with my guitar and mandolin in an apartment in Florence with the street musicians who later formed the musical group Pupi e Fresedde. They were all from the south of Italy and began singing their traditional songs on the streets and piazzas of Florence, just as it might have been in the sixteenth century. Joining their original troupe and performing and touring with them all over Europe and on the east coast of the United States for several years, I began to realize the vast repertoire of songs that existed and how much of it had been past down by oral tradition. It also gave me an excellent opportunity to be part of the tradition itself and inspired me to continue researching more about this music as well as understanding how it was to be played with the right feeling and gusto. Upon my arrival back to the United States in 1979, I had felt so enriched by the experiences I had in Italy performing and recording with Pupi e Fresedde on the album La Terra Del Rimorso (Divergo-Polygram, DVAP 029), that I wanted to bring to American audiences these beautiful melodies and rhythms. (I was sure that my Italian grandparents would have been proud of
me). Also for the Italian-American community, I felt it was important to re-connect this music that many had forgotten upon their arrival in the new world. That year, I formed the group I Giullari di Piazza in New York City, (my home town) together with the Italian actor Claudio Saponi, from RIMINI, who was a highly trained actor in Italian theater especially the Commedia del'Arte, and with Alessandra Belloni from Rome, Italy. With all of the music I had learned in Italy, I began to teach musicians this repertoire while making my own arrangements as well as writing new compositions inspired on the traditional forms. At first the American audiences were not accustomed to this kind of Italian music and most people wanted us to play the standard Italian music that had already been absorbed into the I mainstream. The Tarantella was only known as an Italian wedding dance and no one had ever heard of a Pizzica or Tammurriata. However, the musicians that I photo: Colita, Barcellona (Spagna) first started to teach this music to were very supportive and eager to learn all about the music and traditions connected to it. During the early 1980's the group I Giullari di Piazza were beginning to make these songs heard to new audiences in New York and throughout the States, presented in theatrical productions which included music, theater and dance. In 1986, I had the great opportunity to work together and tour with one of the most famous singers of traditional Sardinian music, Maria Carta. Known throughout the world for her haunting and heart felt interpretation of Sardinian music she had often been described as Italy's Joan Baez. I had already been familiar with the unique guitar playing style while living in Italy, however working with her on a tour of just voice and guitar forced me to pay close attention to the fine articulation necessary for Sardinian music. She had also taught me so many beautiful songs during our rehearsals, that I cherish them like precious little jewels.

Product Number: 21488BCD
Format: Book/CD Set
ISBN: 078667783X
UPC: 796279106283
ISBN13: 9780786677832
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 4/27/2009

Format: Book/CD Set

Contents:
Song Title: Composer/Source:
Abballati, Abballati
Alla Carpinese
Alziti Bbella
Angelare
Antidotum Tarantulae (part 1)
Antidotum Tarantulae (part 2)
Bo e la ri-bo
Cu Ti Lu Dissi
Danza Siciliana
Fasola Siciliana
Figghia di'n Massaru
Fischiettando
Fronni d'Alia
II Ritornello delle Lavandaie del Vomero
La Ndrezzata
La Palumella
La Procidana
La Sant Allegrezza
La Zita Passa
Marenaresca
Matajola
Motivo di Cantastorie
Pizzica-Pizzica
Pizzicarella
Pizzicarella Mia
Ricciulina
Serenata Amalfitana
Sonos E Memoria
Tammurriata
Tarantella dell 600
Tarantella di Ogliastro
Tarantella Nfuocata
Tarantella Paesana
Villanella Ch all Aqua Vai
Volumbrella
Vurria Addeventare

92 PAGES