LIBRO CON CD

INTELLI-SHRED, (The Thinking Musician's Guide to Incredible Guitar Soloing) by Kevin Dillard. 

SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA JAZZ CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Intelli-Shred
The Thinking Musician’s Guide to Incredible Guitar Soloing
By Kevin Dillard
Item: 00-28027
UPC: 038081307169
ISBN 10: 0739047450
ISBN 13: 9780739047453
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Kevin Dillard introduces a book allowing experienced guitarists to take their playing to an entirely new level. Intelli-Shred offers an in-depth look into the mechanics and concepts behind those amazing guitar solos by legendary artists like Yngwie Malmsteen, Paul Gilbert, Steve Vai, Joe Satriani, Randy Rhoads, John Petrucci, and others. Guitarists learn the theory behind melodic modal shapes and arpeggios and various techniques for applying them in solo playing. The exercises and etudes serve to challenge and motivate while simultaneously building strength, speed, dexterity, and knowledge of the fretboard. The CD included demonstrates all the examples in the book.

"With some tasty and muscular etudes to finish, intermediate plus rockers will find much to keep themselves busy here." -Guitar Techniques Magazine 

(The Thinking Musician's Guide to Incredible Guitar Soloing) Written by Kevin Dillard. Instructional book and examples CD for guitar. Series: National Guitar Workshop Book - Approved Curriculum. 96 pages. With standard guitar notation, guitar tablature and instructional text. Instructional, Rock and Method. 9x12 inches.

ABOUT THE AUTHOR
Kevin Dillard has over 30 years of experience in the world of music, having started at the age of five. A self-taught guitarist, he adapted piano studies to create his own unique guitar method. He later went on to study music theory, composition and percussion at the University of South Alabama. In 2001, Kevin was involved in an accident which shattered two vertebrae in his neck, causing spinal trauma that left him paralyzed from the neck down. He was told he would never walk again. However, he began to regain movement only four days after a miraculously successful seven-hour spinal fusion surgery. In less than one year, Kevin was fully functional and had returned to full-time music performance and instruction. A music instructor for the past 17 years, Kevin teaches guitar, theory and improvisation at Cascade Hills Church at the School of the Arts program in Columbus, Georgia. He has served as a mentor for graduation requirements in Columbus High's Mentor Program and has been a speaker at Muscogee County school career day events. Kevin has been involved in promoting children's music education, and in 2003 and 2004, he was one of Georgia's spokesmen for VH1's "Save the Music" program.
Kevin has performed as a clinician at various outlets and events for the some of the biggest names in the music industry and is currently an endorser for DiMarzio guitar pickups and accessories. You can find his soundc1ips demoing some of their products on their website: Kevin also currently serves and performs on the television ministry "Realtime with Bill Purvis," reaching a television audience of over 350 million viewers on a weekly basis. There's also a live webcast every Sunday to millions. In the summer, you can study rock guitar with Kevin at the National Guitar Workshop

ACKNOWLEDGEMENTS
I'd like to thank God for giving me the opportunity to write this book and to play, perform and support my family through music. I'd like to thank my wife Hayley and my children Colton, Devany and Tegan for their love, support, patience and understanding. Thank you to my mom, Betty, for all her years oflove and support. A HUGE thanks to David Smolover, Burgess Speed, Nat Gunod and the folks at NGW/Workshop Arts for believing in me as an author, artist and instructor. THANKS to Matt Smith, for without you this would not be possible! Much thanks for your friendship and guidance. Thanks to Steve Blucher at DiMarzio, Jeremy "Jem" Hurnberstone at Nocturne Guitars, Morley Pedals, DR Handmade Strings, Line 6, and Pickboy/Brooklyn Gear.

INTRODUCTION
Welcome to Intelli-Shred. This book explores the often-neglected topic of intelligent melodic
development. Most shred guitar teachers focus on two aspects of guitar playing: 1) the mechanical aspects of developing technique, speed and facility; 2) music theory such as scales, chords and arpeggios. The danger of this approach is getting boxed into a pattem of "speed for speed's sake" and sounding mechanical or sterile. The exercises in Intelli-Shred, on the other hand, make good melodie sense whether played fast or slow. By understanding the fretboard, you'll be able to pull whatever flavors, moods or colors you want from your guitar, without having to play every note of a scale or mode. Rather than playing more notes at blinding speed, you'llleam to eliminate the unnecessary notes to find the intelligent, melodie choices. Intelli-Shred emphasizes the process of melodie discovery, giving you the tools to develop coherent musical ideas of your own. This book is written with a relaxed and conversational tone and tries to capture the experience of sitting in a room with a good teacher. It's supposed to be a warm and personable experience, not a cold, technical textbook. Intelli-Shred is not a "leam to play guitar" book. You won't leam how to read music or play barre chords. Rather, it's intended for experienced players looking to take their playing to the next level. If you need a refresher on the basics, check out The Total Rock Guitarist by Tobias Hurwitz (Alfred/National Guitar Workshop #24423). If you're unfamiliar with any of the techniques or notations in Intelli-Shred, consult the Notation Key on page 95. Here are some tips on how to approach the material in this book:
1. Take it slow and easy. Don't try to work through all of it at once. Give the information and exercises time to sink in. Get each of the shapes, pattems, scales and licks under you fingers before moving on to the next exercise. It may take a little while before you can visualize pattems on the fretboard or before the theory makes sense. Also, information is processed more easily in small amounts and shorter practice sessions, rather than Herculean marathons lasting several hours. You'll retain what you've leamed and be able to make better use of it more quickly this way. Unless you're already accustomed to two-hour practice sessions, try 15- to 30-minute bursts instead.
2. Combine licks and exercises. Playing up and down the same old scale pattems can get boring; try combining fragments of these licks with others in the book or with your own that you've already worked out. As with any new concept, lick, trick, pattem or scale, once you've got it down, ask yourself, "Now, how can I twist and warp this idea to make it my own?"

Please, for the sake of music: EXPERIMENT! Get creative! Use the ideas in this book as springboards and launching pads for you own musical ideas. Strive to find your own voice on the guitar-your own musical identity. Most prospective students approach their new teacher and ask, "Can you make me play and sound just like (insert the name of their favorite guitarist here)?" But the world already has a Steve Vai, a John Petrucci and a Joe Satriani. What the world really needs is you. What do you have to say? How will you choose to express your living, breathing creativity with your chosen instrument? What will be your personal musical statement? This attitude will open new doors for you as a guitarist, as an overall musician, and as a unique voice in the world. 

SOME TIPS FOR ORGANIZING YOUR PRACTICE TIME
• First of all, try to find a place and time for practice as free from distractions as possible.
• Now, let's say for the sake of argument that you have one hour set aside for practice
time today. Let's divide this hour up and pick four areas in which you need to improve.
For example:
1. Alternate picking
2. Legato techniques (hammer-oilS and pull-offs)
3. New chord voicings
4. Arpeggios
• You now have four areas to work on and 60 minutes to practice. Take a few minutes at the start of the session to properly warm up. Then, divide the remaining time into four sections, each lasting about 10-15 minutes.
• If you can stick to this routine for just four days, with four one-hour sessions divided into four areas of study, you will progress at a much more well-rounded pace than if you had spent a solid hour on each topic. Even if you can only budget 30 minutes for a daily practice routine, if you budget your time in this manner, you'll be happy with your development of new and useful skills. Staying well-rounded and focused with a clear set of goals for yourself is paramount to growth. You don't want to focus on only one thing and leave others areas neglected.
• Here's another practice pointer: Wash your hands before you start to practice. This is a great ritual to work into your routine for a couple of reasons. First, it will get you into the right frame of mind. It will clear your mind of distractions so that you can concentrate on the task at hand: practice. It will also help warm up the muscles in your hands (especially on cold days or in cold venues before a performance) and will help promote flexibility and good blood flow. (The warmer the better in regards to water temperature.) Finally, clean hands help your strings last longer, and we all know that saving a couple of bucks is a good thing!
• Remember that in the end, it's still called playing music, not workingmusic. It should always be fun. When something isn't fun, we tend to not want to continue; it's just human nature. Never take thefun out ofplaying the guitar!
• If you find yourself going over and over the same things, stop. Take a break. Don't sit there spinning your wheels, because you're only beating yourself up and sucking the fun out of it. When you reach this point, either move on or find something else to do. You don't want to burn yourself out. Keep it fresh, and it will stay fun. 

Contents:
About the Author
Introduction
Practice vs. Jamming
Some Tips for Organizing Your Practice Time
The Art of Practice
Chromatic Chaos
Outside Picking
Inside Picking
Finger Permutations
Double Picking
Psycho Triplet Exercises
G Blues Lick
More Psycho Triplets
More Double Picking
String Skipping Pedal Tones
The Modal System
Shape Shifting
A Aeolian Mode
B Locrian Mode
C Ionian Mode
D Dorian Mode
E Phrygian Mode
F Lydian Mode
G Mixolydian Mode
Harmonic Minor Scale
Phrygian Altered Scale
Blues Scale and Minor Pentatonic Extension
Minor 7th Arpeggio Patterns
Extended Arpeggios
Diminished 7ths Arpeggios
String Skipping Arpeggio Shapes
Four- and Six-Note Patterns
Major 7th Arpeggio
Ascending Diminished 7th Arpeggios
Looping with A Aeolian and B Locrian
Symmetrical Shapes Applied
More Licks
Tapping
Modal Arpeggios
Dorian
Mixolydian
Lydian
Sus2, Dom7, and Sus4
Overlapping Minor and Major Shapes
Overlapping Minor Shapes
Overlapping Major Shapes
Thinking Inside
Multi-Finger Mayhem (Exploring Multi-Finger Tapping)
Multi-Finger Madness
E Major Etude
C Sharp Minor Etude
C Dorian Etude
Appendix
A Listening Exercise
Choosing the Right Teacher for You
Suggestions and Helpful Hints
Recommended Reading for Further Study
Notation Key

ROMERO CELINO, THE ART OF SPANISH GUITAR A METHOD. SHEET MUSIC BOOK WITH CD .  

LIBRO METODO DI MUSICA CLASSICA / FLAMENCO, CON CD,

SPARTITI PER CHITARRA CON PENTAGRAMMA.

MANUALE, DIDATTICO, STUDIO, TECNICA.  

For guitar. Method book. 143 pages. Celino Romero's "The Art of Spanish Guitar" embodies more than two hundred years of guitar playing experience accumulated by three generations of Romeros. Celino embraces the variety of styles and innovations that the Romeros have brought to this art form individually and thorugh the many years of playing together.

This book explores the complexity and subtlety of Spanish guitar while explaing it in a way that makes learning both accessible and highly enjoyable. By the end of this book, you will be able to apply the correct technique to your playing, and perform pieces by some of the most famous composers for Spanish guitar, such as Carcassi, Sor, and Tarrega.

THE ART OF SPANISH GUITAR: A Method by Celino Romero Book and CD pack. This priceless text embodies more than two hundred years of guitar playing experience accumulated by three generations of Romeros. Celino embraces the variety of styles and innovations that the Romeros have brought to this art form individually and through the many years of playing together.

Written by the grandson of Celedonio, nephew of Pepe and son of Celin Romero, this method represents the culmination of three generations of classical guitar playing. Covers all of the important aspects: position and posture, right-hand rest strokes and free strokes, chords, arpeggios, tremolo, ascending and descending slurs, more, plus how to achieve the Romero Touch. Celino's explanations of fundamental technique are clear and complete with many helpful photos. Includes sections on: ornaments, harmonics; Guitar Gymnastics to build velocity, strength and flexibility; 24 diatonic scales (with positions and fingering); shaping your fingernails (including close-up photos); and all of Giuliani's "120 Studies for Right Hand Development." Concepts are illustrated with studies by Carcassi, Sor, Aguado, Tarrega; with repertoire pieces from Schumann, Chopin and others. The 29-track CD features Celino demonstrating several exercises and studies. An indispensable resource for all classical guitarists beginner to advanced. 143 pp.

AUTHOR'S PREFACE
It Would be impossible to approach writing a book on the Romero guitar technique without first giving the reverence due my grandfather Celedonio Romero, the creator of the “Romero Technique." The Romero family has given the lovers of the classical guitar a technique and a special approach to this instrument that is so remarkable. Growing up in the Romero family, I was fortunate to have not just one, but four master teachers: my grandfather Celedonio, my father Celin, and my uncles Pepe and Angel. If you can imagine a small boy reaching out to touch, handle, and embrace this instrument of exquisite beauty, then you can get an inkling of my world as a child and teenager. From that to becoming an actual practicing member of the family has been my entire life. Given this magnificent gift of membership, I decided I would like to write a book that would share with other lovers of the guitar the unique "Romero Technique." This would consist of simple melodies, perfect finger placements, and the remarkable use of integrating melody and nuance while creating passion, personality, and character in the art of playing the guitar. All of these parts collectively form the embodiment of the Romero Technique. These parts reflect the training and technique of my grandfather and my own adaptations of these remarkable fundamentals. The exercises, rudies, and repertoire included in this book are the fitst steps mat my grandfather taught his sons, which were then passed on to my cousin Lito and me.
My hope is to give you the reader, you the guitatist, you the aficionado of the guitar all that my grandfather taught my family and me-the incredible art of the guitar. When we play an instrument, we must be very systematic in building our technique, since it will be one of the most vital tools for expressing our emotions through our instrument and its beautiful music. Without a solid technique, we will continuously struggle with our hands, fingers, maybe even with our entire body and our own mind. We should abandon the illusion that one can reach joy and satisfaction in the art of music making without having the proper working toolsour hands and fingers. Finding the correct technique will be an exciting process that will require your patience, sensitivity, and love. During this development, you have to enjoy playing a single note flavored with as much love as if playing a complete concerto. If you take pleasure and pride in playing a single beautiful note or chord, it will not be long before you play two beautiful notes, and then an entire composition. Playing the guitar might seem like entering a great labyrinth with so many possible paths and detailed instructions, but if you follow the instructions step-by-step, you will reach the desired goal. 

Contents:
CD Track List
Forward
Author's Preface
Acknowledgements
Position and Posture
How to Hold and Hug the Guitar
Lines to Remember
Tension: Enemy No. 1
The Right Hand
Terminology for the Right Hand
Placement for the Right Hand
Your First Sounds
Rest Strokes and Free Strokes
(Apoyando & Enganchando)
Exercises for the Rest Stroke Thumb
Exercises for the Rest Stroke Fingers
The Romero Touch
The Left Hand
Terminology for the Left Hand
Positioning for the Left Hand and Fingers
Economy of Force and Finger Exercises
Shifting Positions
Chormatic Scales and Exercises
Chromatic Shifts
Chromatic Triplets
Synchronization
Tarrega Symchronization Exercises
Scale Synchronization
Aguado Synchronization Exercises
Ligados
Ascending Slurs (The Hammer-On)
Ascending Slur Exercises
Decending Slurs (The Pull-Off)
Decending Slur Exercises
Chords
Matters of the Right Hand
Matters of the Left Hand
Chord Exercises
Bar Chords
Tarrega Exercises for the Bar Finger
Andante Allegro (Aguado)
Study No. 2, Op. 6
Arpeggios
The Thumb
The Full Plant
Sequential Planting
Giuliani's Right Hand Studies
Right Hand Studies Nos. 2-20
Repertoire for Right Hand Development
Prelude in A Minor
Estudio
Study No. 10
Prelude in C
Prelude in E Minor
Caprice in G
Study No. 1 in A Minor
Essential Studies
Study No. 1, Op. 60
Study No. 2, Op. 60
Study No. 3, Op. 60
Study No. 10, Op. 60
Study No. 14, Op. 60
Study No. 19, Op. 60
Study No. 9 in B Minor
Study No. 10 in D Minor
Tremolo
Tremolo: Step by Step
Study No. 7, Op. 60
Another Training Method
Flowing Techniques
Recuerdos de la Alhambra (Excerpt)
Rasgueado and Flamenco
Concierto de Aranjuez (Excerpt)
Sevillanas
Verdiales
Repertoire
Saltarello
Waltz in G
Vals in G
Romanze
Minuet
Prelude No. 7
Der Frohlicher LandMann, Op. 68, No. 10
Millitary March
Adelita
Romance Anonimo
Daily "Guitar Gymnastics"
Security
Walking
Velocity
Gymnastics No. 1
Variations on Gymnastics No. 1
Gymnastics No. 2
Flexibility
Crossing Exercises
"Spider" Exercises
Strength
Ascending Slurs
Descending Slurs
Bar Exercises
Ornaments
Vibrato
Grace Notes, Mordents, and Trills
Harmonics
Natural Harmonics
Artificial Harmonics
Appendix A: 24 Diatonic Scales
Appendix B: 120 Studies for Right-Hand Development
Appendix C: The Shaping of Fingernails
About the Author

LE PIÙ GRANDI FRASI DEL JAZZ & FUSION. YANNICK. 197 frasi: Frasi Blues, frasi su accordo M7, frasi su accordo m7, frasi su accordo di dominante, frasi su accordo 7 alterato, frasi su II-V-I maggiore e minore. In italiano. CD TABLATURE

LIBRO PER CHITARRA CON CD TABLATURE 
IN ITALIANO

Vera e propria enciclopedia, quest'opera presenta le più grandi frasi delle musiche Jazz & Fusion. Scoprirete circa 200 frasi indispensabili, utilizzate come dei leitmotiv, in tutti i soli di Jazz. Per ogni frase, troverete un'informazione complementaria (supporto melodico utilizzato, tipo di frase...) ed anche gli accordi sui quali bisogna utilizzarle, e cio' per poterle incorporare alla vostra esecuzione, in tutte le situazioni. Quest'opera sarà quindi una base solida per le vostre improvvisazioni, una fonte d'ispirazione, il vocabolario delle vostre esecuzioni. Il CD riprende ogni frase !

AVVERTIMENTO
Le duecento frasi o "lick" trascritte in quest'opera fanno parte integrante del vocabolario musicale utilizzato in "Jazz-Fusion".
La pratica di queste frasi costituisce sia un lavora di orecchio sia un lavora tecnico. Vi permettera in certi casi di sentire nuovi "colori" e di poter ritravarli sui vostro manico.
Affinché il vostro lavoro sia completamente efficace, non esitate a cercare Ie vostre proprie frasi utilizzando solamente I'inizio, o il colore armonico o ancora il ritmo degli esempi di questo libra. Date libera corso alia vostra immaginazione e siate produttivi !
Questo libro, costituito da una serie di "lick", non vuole essere un'opera a se stante, ma piuttosto il punto di partenza
di un lavora ancora piu approfondito.
Tutte Ie frasi di questo libra sono scritte nella stessa tonalita all'interno di ogni capitolo ("lick" blues in Bb7, II-V-I in CM7, ecc.).
Le aggiunte tra parentesi riguardano delle indicazioni complementarie di scale, di arpeggi o di procedimenti tecnici particolari utilizzati nella frase.
Ecco I'ordine di presentazione delle diverse frasi :

1 Frasi Blues
2 Frasi su un accordo M7
3 Frasi su un accordo m7
4 Frasi su un accordo di dominante
5 Frasi su un accordo 7 alterato
6 Frasi su un II-V-I Maggiore
7 Frasi su un II-V-I minore

Per quel che riguarda il CD, nonestato ovviamente possibile fare 197 brani musicali diversi visto che la tecnica ci limita a 99. E quindi Ie frasi sono state suddivise in 21 gruppi di 10 frasi I'uno.
• La prima selezione racchiude una piccola dimostrazione, nello "stile".
• La seconda selezione racchiude Ie frasi : 1 a 10
• La 3a selezione racchiude Ie frasi : 11 a 20
ecc ...
• La 20a selezione racchiude Ie frasi : 181 a 190
• La 21a selezione racchiude Ie frasi : 191 a 197
Approfittate del CD per ben ascoltare e reperire Ie frasi che vi piacciono. Utilizzatelo ugualmente per correggere i vostri errori e perfezionare in questo modo la vostra interpretazione.

Un'opera totalmente dedicata al Jazz, una vera enciclopedia dello stile, una raccolta completa di frasi, di «clichés»,di «Iicks» ricavati dai più grandi chitarristi.
Troverete in quest'opera 200 frasi indispensabili, di difficoltà variabile. La pratica di queste frasi costituirà sia un lavoro di orecchio sia un lavoro tecnico che arricchirà notevolmente il vostro modo di suonare, la vostra
scioltezza musicale ed anche la vostra capacità d'improwisazione, acquistando un vero vocabolario jazz.
Le frasi sono presentate In diversi capitoli:
frasi blues,
su un accordo M7,
su un accordo m7,
su un accordo di dominante,
su un accordo 7 alterato, poi sui II-V-l Maggiori e minori.
Ciò per permettervi di capire tutto e quindi di essere capaci di utilizzare in seguito queste frasi in contesti diversi (tonalità. ..).

Quest'opera non vuole essere un'opera a se stante, ma piuttosto il punto di partenza di un lavoro ancora più approfondito, più creativo. Queste frasi hanno dunque anche lo scopo di aiutarvi a sviluppare le vostre proprie idee. 
Il CD vi permetterà di sentire ogni frase e quindi di perfezionarne l'esecuzione.

Un ouvrage totalement dédié au Jazz, une véritable encyclopédie du style, un recueil complet de plans, de clichés, de «licks» croustillants, tirés des plus grands guitaristes. Vous trouverez dans cet ouvrage 200 plans incontournables, de difficulté variable. La pratique de ces phrases constituera aussi bien un travail d’oreille qu’un travail technique, qui enrichira considérablement votre jeu, votre aisance musicale mais aussi et surtout votre capacité d’improvisation, en vous forgeant un véritable vocabulaire jazz. Les plans sont présentés en plusieurs chapitres : plans blues, sur un accord MA7, sur un accord m7, sur un accord 7, sur un accord 7 altéré, puis sur les II-V-I Majeurs et mineurs. Ceci afin de comprendre le pourquoi du comment et donc être capable d’utiliser par la suite ces plans dans des contextes différents (tonalité...). Ainsi, cet ouvrage ne doit pas être une fin en soi mais plutôt un point de départ pour un travail plus approfondi, plus créatif. Ces plans ont donc également pour vocation de vous aider à développer vos propres idées. Le CD vous permettra d’entendre chaque plan et ainsi d’en parfaire l’exécution.

AVERTISSEMENT

Les deux cents phrases ou plans transcrits dans cet ouvrage font partie integrante du vocabulaire musical utilisé en «Jazz - Fusion».

La pratique de ces phrases constitue aussi bien un travail d'oreille qu'un travail technique. Elle vous permettra dans certains cas d'entendre de nouvelles «couleurs» et de pouvoir les retrouver sur votre manche. Pour que votre travail soit tout à fait efficace, n'hésitez pas à chercher vos propres phrases en utilisant uniquement Ie début, ou la couleur harmonique ou encore Ie rythme des exemples de ce livre. Laissez libre cours à votre imagination et soyez productif ! Cet ouvrage, constitué d'une suite de plans, ne doit pas etre une fin en soi mais bien Ie point de départ d'un travail encore plus approfondi.

Tous les plans figurant dans cet ouvrage sont écrits dans une meme tonalité à I'intérieur de chaque chapitre (plans blues en Bb7, II-V-I en CMaj7, etc.).

Les rajouts entre parenthèses concernent des indications complémentaires de gammes, d'arpèges ou de procédés techniques particuliers employés dans la phrase.

Voici I'ordre de présentation des différents plans:

1/ Plans Blues

2/ Plans sur un accord Maj 7

3/ Plans sur un accord min 7

4/ Plans sur un accord 7

5/ Plans sur un accord 7 altéré

6/ Plans sur un II-V-I Majeur

7/ Plans sur un II-V-I mineur

Concernant Ie CD, il n'a bien sur pas été possible de faire 197 plages différentes puisque la technique nous limite à 99. Ainsi, les plans ont été regroupés par 10 dans 21 plages différentes.

• La plage 1 com porte une petite demonstration, dans «Ie style».

• La plage 2 comporte les plans : 1 à 10

• La plage 3 com porte les plans : 11 à 20

etc ...

• La plage 20 com porte les plans: 181 à 190

• La plage 21 com porte les plans: 191 à 197

Si votre lecteur de CD affiche les index, vous pourrez dans ce cas visualiser les 197 plans séparément. Le plan 68, pour I'exemple, sera dans la plage 8, index 8.

Profitez du CD pour bien entendre et repérer les plans qui vous seduisent. Utilisez-Ie également pour corriger vos erreurs et ainsi partaire votre interprétation.

SOMMAIRE:

AVERTISSEMENT 

1 - PLANS BLUES 

2 - PLANS SUR UN ACCORD MAJ 7

3 - PLANS SUR UN ACCORD m 7

4 - PLANS SUR UN ACCORD 7

5 - PLANS SUR UN ACCORD 7 ALTÉRÉ

6 - PLANS SUR UN II·V·I MAJEUR

7 - PLANS SUR UN II·V·I MINEUR 

LA GUITARE GITANE & FLAMENCA VOL.2. A COMPAS "POR MEDIO" Claude Worms. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA GITANA E FLAMENCA, CON CD. 

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.

MANUALE, STUDIO, TECNICA, TEORIA, 

Pour ce deuxième volume, nous consacrerons deux chapittres à des styles "por medio", c’est-à-dire en mode flamenco de la (siguiriya, tientos et tangos) et un chapitre aux alegrias en tonalité de la majeur et la mineur, qui sera aussi l’occasion d’analyser quelques aspects de l’accompagnement de la danse.

Nous développerons les techniques de main droite abordées dans le volume 1 (picado, alzapúa, arpèges et rasgueados complexes) et en dècouvrirons de nouvelles (trémolo, etc.).

Nous travailleros aussi la mobilité et l’endurance de la main gauche (barrés, extensions, liaisons, sur tout le manche).

Les analyses harmoniques et rythmiques sont essentiellement conçues comme une approche de la guitare flamenca contemporaine.

Le CD, quant à lui, reprend la totalité des exemples musicaux de la méthode pour en faciliter la compréhension et donc aussi l’assimilation.

BEGINNING CHITARRA BLUES, D. Hamburger. In italiano. CD TABLATURE

LIBRO DI MUSICA CON CD,

METODO DI CHITARRA BLUES,

SPARTITI PER CHITARRA CON CD E TABLATURE. 

Metodo completo per chitarra blues. (Beginning). Il libro è designato a fornire diversi materiali di studio per esercitarsi e suonare. Sono stati inclusi in ogni dettaglio la chitarra ritmica, gli assoli, diversi stili blues e concetti d'improvvisazione. Vi sono esercizi per sviluppare la tecnica della mano sinistra, come il bending ed il vibrato, ed esempi interi per mostrare gli stili Blues Texas o Chicago, includendo le scale pentatoniche ed il metodo botta e risposta. Un'introduzione completa alla chitarra blues, adeguata a praticanti di ogni livello che per la prima volta si avvicinano a tale genere musicale. Vengono offerte tutte le conoscenze teoriche necessarie allo studio del libro, partendo dalla lettura della partitura, sino ad arrivare alle principali scale, all'analisi dell'armonia blues, alle sezioni di cui si compone un brano. Sono quindi affrontate le principali tecniche soliste (bending, vibrato, legati, slide). Numerosi si susseguono gli esempi di parti ritmiche, soliste e riff, notati in partitura e intavolatura, spesso nello stile dei grandi maestri. Un compagno ideale per costruire solide basi in ambito blues.

Questo libro è il risultato di anni di insegnamento privato individuale e di classe e di molti altri anni di ascolto, esecuzione e apprendimento di chitarra blues. Il blues è definita una musica di "sentimento", qualcosa che non si può imparare in un libro o durante una lezione. È vero che l'intenzione, le finezze, le emozioni di qualsiasi stile di musica trascendono la pagina stampata. E l'intuizione essenziale per gestire l'arte non è qualcosa che si impara in poche ore. Tuttavia, il blues ha una storia di conoscenza tramandata di bocca in bocca. Sembra che ogni musicista intervistato si ricordi precisamente da chi ha ricevuto la sua prima chitarra, chi gli ha mostrato il primo pezzo da suonare, che dischi ascoltava e chi ha visto dal vivo all'inizio della propria carriera. Con questi presupposti, il libro è designato a fornire diversi materiali di studio per esercitarvi e suonare. Sono stati inelusi in ogni dettaglio la chitarra ritmica, gli assoli, diversi stili blues e concetti di improvvisazione.Vi sono esercizi per sviluppare la tecnica della mano sinistra, come il bending e il vibrato, ed esempi interi per mostrare gli stili Blues Texas o Chicago, includendo le scale pentatoniche e il metodo "botta e risposta". Blues è un linguaggio,e questo libro può insegnare un po' del suo vocabolario. Per diventare fluenti nella lingua, comunque, è necessario ascoltare diversi dischi, molti concerti dal vivo, e suonare con diverse persone.

È disponibile un CD in questa serie. Ci auguriamo che questo renda l'apprendimento più facile e divertente. Questo simbolo apparirà vicino a ciascun esempio suonato sul CD. Usatelo, per assicurarvi di carpire la sensazione giusta di ciascun esempio, interpretando correttamente i ritmi, ecc. Buon divertimento!

A PROPOSITO DELL'AUTORE 

INTRODUZIONE 

CAPITOLO l- Iniziamo 

Semitoni,Toni, e l'importanza della forza di gravità 

La Tastiera 

Accordatura 

Notazione Musicale 

Leggere la Tablatura 

Leggere i Diagrammi degli Accordi 

Leggere un Diagramma di Accordi - Notazione Ritmica 

Leggere i Diagrammi delle Scale 

Leggere i Numeri Romani 

CAPITOLO 2- Teoria Blues 

La Scala Maggiore 

Armature di Chiave 

Scale Minori 

Scale Minori Relative 

Intervalli

Accordi 

Armonia Diatonica 

Armonia Blues

CAPITOLO 3-Chitarra Ritmica di Base

Vocabolario Ritmico di Base

Blues di Dodici Misure

Muting con il Palmo della Mano Destra

Lo Shuffle 

Accordi Mobili 

Muting con la Mano Sinistra 

Varianti dello Shuffle 

Stop Time 

Boogie-Woogie in Mi 

CAPITOLO 4-Scale Blues 

Pentatonica Maggiore 

Fraseggio 

Fraseggio Botta e Risposta 

I Riff 

Pentatonica Minore 

Note "Mirate" 

Combinare "Botta e Risposta" con le Toniche 

Trasposizione 

CAPITOLO 5- Tecniche per lo Mano Sinistra 

Hammer-on

pull-off

Unire gli Hammer-on e Pull-offs

Lo Slide

Il Bending

Il Bending Invertito

Licks nello Stile di Artisti Famosi

Il Vibrato

CAPITOLO 6- Stili di Chitarra Ritmica 

Muddy Waters - Vamps

Buddy Guy - Riffs Ritmici

Texas Swing

Blues Lento 

Blues Minore

CAPITOLO 7- lntroduzioni, Ritornelli e Finali

Ritornelli 

Introduzioni 

Finali 

CAPITOLO 8- L'Improvvisazione

Alternare le Pentatoniche Maggiori e Minori 

Aggiungere Note della Pentatonica Maggiore alla Pentatonica Minore 

Aggiungere Note della Pentatonica Minore alla Pentatonica Maggiore 

Accordi 

Espandere gli Schemi Base delle Scale 

CAPITOLO 9- Come Esercitarsi

Obbiettivi da Raggiungere 

Organizzare il Vostro Tempo 

Metronomi, Drum Machine, e Cassette / CD per allenarvi 

Variare le Fonti 

Oltre l'Allenamento a Casa 

Individualità