LIBRO CON CD

GAMBALE FRANK, SPEED PICKING FOR GUITAR. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA FUSION, CON CD.

SPARTITI PER CHITARRA CON CD:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

MANUALE, TECNICA, STUDIO, DIDATTICO.

Speed Picking - Frank Gambale

Series: Stylistic Method
Format: Softcover with CD
Artist: Frank Gambale

REH Book/ Audio Pack Improve your speed and fluidity through increased pick efficiency. Gambale explains and demonstrates sweep arpeggios, speed picking licks, harmonic superimpositions, sequence licks, and more!
Inventory #HL 00070033
ISBN: 9780793527519
UPC: 073999700336
Width: 9.0"
Length: 12.0"
36 pages
 

Frank Gambale
Frank Gambale arrived in the U.S. in September 1982, an Italian Australian, to study at the
renowned Guitar Institute of Technology (GIT) in Hollywood. Graduating with the highest honor,
Student of the Year Award, he was offered a teaching position which he held for three years while
performing in Los Angeles with his own band.
Frank's list of performance credits is long and varied, including such musicians as Chick Corea and
the Elektric Band, with whom he won a Grammy and two nominations, Jean Luc Ponty, and Steve
Smith and Vital Information.
In addition, Frank has two guitar models with the Ibanez company, and endorsements with many
companies including D'Addario Strings, and DiMarzio pickups.

SELECTED DISCOGRAPHY
Passages
(JVC)
The Great Explorers
(JVC2020)
Note Worker
(JVCVIO 75)
Thunder From Down Under
(JVC3321)
Frank Gambale "LIVE"
(Legato/Important 1003)
A Present For the Future
(Legato/Important 1002)
Brave New Guitar
(Legato/Important 1001)
WITH VITAL INFORMATION
Easier Done Than Said
OTHERS
MVP - Truth In Shredding
(Alan Holdsworth)

Speed Picking
Over the years of playing, performing and teaching guitar, one of the biggest
problems encountered is not with the left hand fingerings as much as with the
right hand picking technique. Many guitarists openly admit that their picking
is pretty bad.
Unfortunately, there is not much written on this particular subject and that is
the purpose of this book, to give you an insight into the techniques that I have
been developing and using that really work. The basic idea has been with us for
many years and can be used to achieve mind-boggling speed and flawless accuracy
while being completely relaxed in the right hand.
I refer to this style of picking as SPEED PICKING (sometimes referred to as
sweep picking). A lot of us know at least one SPEED PICKING lick:

In this example of SPEED PICKING, one down stroke is used for the first 3 notes
and a Hammer-on for the last note. Most guitarists have played this simple lick
at some time or another and leave the technique at that, little knowing how far
this germ of an idea may be taken.
The most common style of picking today is 'Alternate' picking (down up down)
or the reverse (up down up) which is an excellent way to pick and I am by no
means trying to talk anyone out of it. What I am trying to do is broaden your
horizon. Alternate picking is fine for scale-type runs but just doesn't cut it for
arpeggios or lines where there is only one note per string for example.
SPEED PICKING is actually partly alternate picking except, whenever a str ing
is crossed, one stroke is used for the two notes whether going from low to high
or the reverse.

REH HOTLINE SERIES

IMPROVE YOUR SPEED AND FLUIDITY THROUGH INCREASED PICK EFFICIENCY

STANDARD NOTATION AND TABLATURE

SWEEP ARPEGGIOS

SPEED PICKING LICKS

HARMONIC SUPERIMPOSITIONS

SEQUENCE LICKS AND MORE !

BUILD MAXIMUM PICKING EFFICIENCY

GAMBALE FRANK, TECHNIQUE BOOK 2. CD. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO PER CHITARRA DI MUSICA FUSION, CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE

By Frank Gambale
SERIES: Manhattan Music Publications
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

A method that looks at the way the legendary Frank Gambale solos over chordal harmonies. It shows how to use simple musical materials to create sophisticated solos. Book II covers the last two chordal types and includes a 70-minute recording.

Description
The essential soloing theory course for all guitarists!
The Techique Book looks at the way Gambale solos over chordal harmonies. The method is structured around 6 basic chordal types (minor 7, major 7, dominant 7, altered dominant 7, minor 7 flat 5, and diminished) approached in 5 ways; by diatonic scales (selected based on the tonality required), pentatonic/blues scales, four note arpeggios, triads (both as notes and chordal fragments) and two note intervals. This is the second book and covers the latter chordal types and builds on the skills from the first volume.
CD included.

FRANK GAMBALE
THE FRANK GAMBALE TECHNIQUE BOOK II

Frank Gambale is one of the most distinctive guitar players on the
scene. He sounds like a happy hybrid of a jazz player's love of harmonic
lines, a metal player's love of arpeggios and a full singing legato
tone, as if George Benson, Malmsteen and Holdsworth collaborated
on a single solo. His speed/sweep-picking technique is already legendary,
so this new book is a welcome instructional publication.

The Technique Book looks at the way Gambale solos over chordal harmonies.
The method is structured around six basic chordal types (minor
7,maj 7,dom 7,altered dom 7,min 7 flat 5, and diminished) approached
five ways: by diatonic scales (selected based on the tonality required),
pentatonic/blues scales, four-note arpeggios, triads (both as notes and
chordal fragments) and two-note intervals. This book is the first of two
and covers the first four chordal types.

The Technique Book is a method for examining what all these
possibilities sound like over a given chord. Gambale provides all the
options and then tells you what his preferred sounds are in context.
It ends up that what Frank plays are moving harmonic progressions
superimposed over more or lessstatic chords or vamps. The melodically
phrased progressions selected give his solo lines harmonic interest and
internally generated movement (in contrast to the usually single modal
approach used by the average rock player).

The Book is an expose of how to use rather simple musical materials
to create sophisticated solos by combining them in specific ways.
Without burdening the player with overly theoretical jargon, Gambale
shows how to play harmonic extensions to basic chordal sounds that
end up sounding rather "hip."Jazz players have been using these techniques
for decades and this book explains them to the guitar player.
A short and pithy appendix covers all the theory basics you need. If
you follow the fingering notation you will gain insight into Gambale's
mastery of the fretboard.

Examples of what each scale approach sounds like are on the accompanying
audio cassette. The examples are well chosen and sometimes
he plays them at several tempos, even at his usual blistering rate. The
tape begins and ends with some typical Gambale soloing for those who
don't know why he is considered a guitar hero.

The Frank Gamba/e Technique Book is a valuable source of new ideas
for the guitarist wishing to expand beyond the usual melodic territories.
Guitar World
May 1988

CD Tracking Information
1 Song & Introduction
2 Diminished 1/2 Whole Scale Examples 1-2
3 Example 3
4 Example 4
5 Example 5
6 E Phrygian Examples
7 Arpeggios Example
8 Triads Examples
9 Lowanna Street
10 Locrian Examples
11 Arpeggios Example
12 Triads & Intervals Examples
13 Aeolian Examples
14 Arpeggios & Triads Examples
15 Scales & Arps Examples
16 Triads & Intervals Examples
17 Beef Intolorable
18 Diminished Examples
19 Arpeggios Example
20 Triads & Intervals Examples
21 Mode VII Harmonic Minor Examples
22 Arpeggios Example
23 Triads Examples
24 Cleo & Rebecca

FORD ROBBEN, THE BLUES AND BEYOND. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA BLUES - ROCK CON CD,

SPARTITI PER CHITARRA CON:

ACCORDI, NOTE, PENTAGRAMMA, TABLATURE. 

E' Ford in persona che parla e con la sua chitarra ci fa ascoltare le sue note. Contiene:

PART I: -rhunba blues transcription -chord usage -scale usage -trasposing scale -comparing the three scales -focusing on the D7 (V) chord -comping examples.

PART II: -reveletion transcription -chord for revelation -the B7 -change -the bridge -the chorus -tying it all together.

PART III: -diminisched scale usage.

PART IV -I ain't got nothing' but the blues lead sheet -chord voicing -the D altered scale -the G harmonic and melodic minor scale -the bridge.

PART V: -miles groove transcription -the changes -final version. 

CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

This book begins with basic blues concepts such as the pentatonic, mixolydian and blues scales and builds on them, progressively incorporating more sophisticated scales and chord voicings. With lots of transcriptions and music examples, the book moves from basic 12-bar blues through gospel, jazz and modal feels.

FOO FIGHTERS, BEST. SIGNATURE LICKS EDITION. SHEET MUSIC BOOK with CD & GUITAR TABLATURE . 

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

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Foo Fighters
Author: Troy Stetina

In this great book/CD pack, Troy Stetina, the senior editor of GuitarOne magazine, provides complete lessons, detailed performance notes, and a step-by-step breakdown of the Foos' guitar styles and techniques. Guitarists will learn to play exact licks from 12 tunes. The CD features full-band demos at both normal and slow speeds.

Songlist
Alone + Easy Target
Big Me
Breakout
Everlong
Hey, Johnny Park!
I'll Stick Around
Learn To Fly
Live-In Skin
Monkey Wrench
My Hero
Stacked Actors
This Is A Call

72 pages

1 Standard tuning: E-A-D-G-B-E 1:01

2 This Is a Call, Fig. 1 0:40

3 This Is a Call, Fig. 1 slow 1:17

4 This Is a Call, Fig. 2 1:02

5 This Is a Call, Fig. 2 slow 0:22

6 This Is a Call, Fig, 3 0:41

7 This Is a Call, Fig. 3 slow 0:32

8 I'll Stick Around, Fig. 4 1:20

9 I'll Stick Around, Fig. 4 slow 1:06

10 I'll Stick Around, Fig. 5 0:41

11 I'll Stick Around, Fig. 5 slow 0:36

12 I'll Stick Around, Fig. 6 0:59

13 I'll Stick Around, Fig. 6 slow 0:22

14 Big Me, Fig. 7 1:04

15 Big Me, Fig. 7 slow 1:02

16 Drop D tuning: D-A-D-G-B-E 1:14

17 Alone + Easy Target, Fig. 8 1:29

18 Alone + Easy Target, Fig. 8 slow 0:53

19 Alone + Easy Target, Fig. 9 1:13

20 Alone + Easy Target, Fig. 9 slow 1:01

21 Monkey Wrench, Fig. 10 1:21

22 Monkey Wrench, Fig. 10 slow 1:30

23 Monkey Wrench, Fig. 11 1:08

24 Monkey Wrench, Fig. 11 slow 0:58

25 Monkey Wrench, Fig. 12 0:31

26 Monkey Wrench, Fig. 12 slow 0:17

27 Hey, Johnny Park!, Fig. 13 1:40

28 Hey, Johnny Park!, Fig. 13 slow 2:33

29 Hey, Johnny Park!, Fig. 14 0:55

30 Hey, Johnny Park!, Fig. 14 slow 0:51

31 Hey, Johnny Park!, Fig. 15 0:53

32 Hey, Johnny Park!, Fig. 15 slow 0:20

33 Standard tuning: E-A-D-G-B-E 1:19

34 My Hero, Fig. 16 0:38

35 My Hero, Fig. 16 slow 0:55

36 My Hero, Fig. 17 1:03

37 My Hero, Fig. 17 slow 1:24

38 My Hero, Fig. 18 0:57

39 My Hero, Fig. 18 slow 1:18

40 Everlong, Fig. 19 1:30

41 Everlong, Fig. 19 slow 1:50

42 Everlong, Fig. 20 0:44

43 Everlong, Fig. 20 slow 1:21

44 Drop A tuning: A-A-D-G-B-E 1:27

45 Stacked Actors, Fig. 21 1:39

46 Stacked Actors, Fig. 21 slow 0:47

47 Stacked Actors, Fig. 22 0:46

48 Stacked Actors, Fig. 22 slow 1:17

49 Standard tuning: E-A-D-G-B-E 1:19

50 Breakout, Fig. 23 1:07

51 Breakout, Fig. 23 slow 1:12

52 Breakout, Fig. 24 0:53

53 Breakout, Fig. 24 slow 0:55

54 Learn To Fly, Fig. 25 1:28

55 Learn To Fly, Fig. 23 slow 1:33

56 Drop D tuning: D-A-D-G-B-E 1:14

57 Live-In Skin, Fig. 26 1:31

58 Live-In Skin, Fig. 26 slow 1:16

59 Live-In Skin, Fig. 27 0:42

60 Live-In Skin, Fig. 27 slow 0:42

DREAM THEATER, JOHN PETRUCCI, WILD STRINGDOM. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

Guitar World Presents John Petrucci's Wild Stringdom
By John Petrucci
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Guitar World magazine have teamed up to present an exciting new series. In this book John Petrucci details the patterns and techniques that have made Dream Theater the most amazing and important guitar band of our generation. Includes over 130 music examples, transcribed solos, and techniques to help expand vocabulary, creativity, and chord knowledge.

Table of Contents:

Foreword

Chapter 1: Practice Makes Perfect

Time Management

Managing Your Practice Materials

Chapter 2: Warming Up

Right- and Left-Hand Synchronization

Developing Diatonic Sequences

Developing Endurance

Chapter 3: Expanding Your Technique

Intervallic Slides

String Skipping

Diatonic Arpeggios

Sweep Arpeggios

Using Open Strings

Chapter 4: Expanding Your Vocabulary

Creating the Dorian Sound Using Arpeggios

Creating the Dorian Sound Using Pentatonic Scales

Creating the Dorian Sound Using Intervals

Navigating Lines Outside the Key Center

The Lydian-Dominant Scale

The Chromatic Scale

Using Chromatic Passing Tones

Chapter 5: Expanding Your Creativity

Creating Original Licks

Spicing Up Stock Blues Licks

Breathing New Life Into Pentatonic Licks

Chapter 6: Putting It All Together

Chapter 7: Expanding Your Chord Knowledge

Triads

Suspended Chords

Add-Nine Chords

Extended Major Chord Voicings

Movable Chords With Open Strings

Performance Tips

Chapter 8: Situdying Non-Guitar MU!iic

Building Left-Hand Strength Using Violin-Inspired

Chromatic-Scale Workouts

Using Different Meters to Accommodate Your Technique

Chopin's Piano Concerto in A minor, Opus No.2

The A Section

The B Section

The C Section

Foreword

In order for you, as a guitarist, to become a well-rounded musician, you have to master the three major aspects of guitar playing: the technical side, the musical side, and the creative ide.

The technical side comprises the actual physical components you need to have under your belt in order to get around your instrument, such as right- and left-hand technique; synchronization of both hands; the ability to execute scales, arpeggios, and patterns; string-skipping; sweep picking; difficult licks; and memorizing (and playing) complete songs.

Once you've developed some technical facility on the guitar, the musical side (which entails theory, harmony, chord structure, ear training, sight-reading, composition, and being able to hear chord progressions and licks)

comes into playa lot more. This aspect is a lifelong study, but it's what makes you a good musician as opposed to a good guitarist.

The creative side entails expressing yourself as an artist by composing music and/or lyrics. It's often accessed in a totally opposite manner than the other two sides-through free association. Sometimes just allowing yourself to noodle without any structure will enable you to stumble upon great new ideas, culminating in creating your own distinct voice on the instrument.

I've striven to cover all three aspects in this book, which is a compilation of my series of columns in

Guitar World magazine. You can be assured that I've personally used all the concepts and examples found in this book to help make my practicing more productive and efficient, and to develop my technique and personal playing style. They've helped me immensely, and I hope they'll help you too.

Above all, it's important to integrate any new concepts and ideas into your playing as quickly as possible because knowledge and technique by itself won't help you unless you can comfortably use it in day-to-day musical situations. As soon as you learn a new musical idea, try to use it in as many different shapes and forms as you can think of in order to absorb it. As the old saying goes: "Use it or lose'it!" Good luck'

... I learned how to make the most of my practice time early on. Here's what I did: first, I figured out how much time I had for my session. Then, I would parcel out pecific blocks of time for each subject I wanted to cover. For example, if I had allotted only two hours for practice, I would divide that time into eight I5-minute chunks and practice scales for 15 minutes and then move on to arpeggios for 15 minutes. and so on.

Giving yourself small time parcels to learn specific topics makes the broader subjects more manageable and less intimidating. For example, being faced with the prospect of learning all the modes in all the positions can seem to be an insurmountable task. But if you say to yourself, "For the next 15 minutes, all I'm going to learn is the A Dorian scale in the fifth position and nothing else," all of a sudden the task becomes a lot more manageable. And once you master that small bit of information, it gives you positive reinforcement to go on to the next topic, such as learning the A Dorian scale in the seventh position. We all know that practicing can get kind of boring. It's very similar to working out-you know it's good for you and you're getting a lot out of it, but sometimes it's hard to motivate yourself to get started. That's why practicing in IS-minute increments can be psychologically freeing. Instead of being faced with the prospect of sitting in the same seat and staring at a music stand for two hours, you only have to concentrate for 15 minutes at a time. And 15 minutes goes by in a flash! And of course, if that's too long for you, you could divide that 15-minute parcel into three five-minute sections. And c'mon, five minutes is nothing-it will take you almost that long to read this section!

So how do you start a regimen for yourself? It's simple: List your goals and be specific. Instead of saying, "I need to learn some scales and arpeggios and get my chops up," figure out exactly what scales and arpeggios you need to learn. Is there a picking pattern giving you problems? Target it and work it out! The best piece of advice I can give you is this: Always practice what you don't know, not what you do know.

With all of that in mind, let's take a look at Figure 1, a sample schedule depicting the first hour of a practice session. It covers only a couple of subjects you should be practicing, but it should give you enough of an idea of how detailed your daily practice plan should be.

Figure 1:

SAMPLE PRACTICE SCHEDULE

Right- and left-hand synchronization (20 min.)

Wild Stringdom, March 1998 Guitar World

Figure 1 (5 min.)

Figure 2 (5 min.)

Figure 3 (5 min.)

Figure 4 (5 min.)

Scales (20 min.)

G major, third position (5 min.)

G minor pentatonic, third position (5 min.)

G Dorian, third position (5 min.)

G Mixolydian, third position (5 min.)

Arpeggios (20 min.)

Am7, second position (5 min.)

Am7, fifth position (5 min.)

Am7, seventh position (5 min.)

Am7, twelfth position (5 min.)