ALFRED PUBLISHING

BEATLES, FROM LIVERPOOL TO ABBEY ROAD: A GUITAR METHOD FEATURING 33 SONGS OF LENNON & MCCARTNEY. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE. 

Music by John Lennon and Paul McCartney / arr. L.C. Harnsberger and Ron Manus
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

This easy-to-use beginning method teaches everything you need to know to get started playing guitar. Start by learning how to hold the guitar and how to read standard music notation and TAB. Photos are included to clearly show proper fingering position. Great arrangements of songs by Lennon & McCartney are introduced to reinforce new techniques. Once you have completed this book, you will be able to play from sheet music and be ready to play in a band. The CD demonstrates songs and exercises. Songs include: All My Loving; And I Love Her; Eight Days a Week; Eleanor Rigby; The Fool on the Hill; Here, There and Everywhere; Hey Jude; I Am the Walrus; It's Only Love; Michelle; Norwegian Wood; Nowhere Man; Ob-La-Di, Ob-La-Da; Paperback Writer; Penny Lane; Rain; Revolution; Sgt. Pepper's Lonley Hearts Club Band; With a Little Help From My Friends; Yellow Submarine; Yesterday; You've Got to Hide Your Love Away...and many others.

BOTTLENECK BLUES GUITAR, BOB BROZMAN. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA SLIDE, CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA CHITARRISTICA SLIDE, 

Acoustic Masters Series: Bob Brozman's Bottleneck Blues Guitar
By Bob Brozman
SERIES: Acoustic Masters Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

E' d'obbligo l'accordatura SOL APERTO (OPEN G TUNING dalle corde basse verso le alte: RE, SOL, RE, SOL, SI, RE.), per poter suonare degli accordi con il bottleneck. La seconda, la terza e la quarta corda rimangono in accordatura standard. 

Quelle che Brozman chiama le "Buddy note" sono le famose "Blue note", note che non appartengo né all'armonia minore, né maggiore. L'intervallo di terza maggiore del Sol è il Si, e quello di terza minore è il Sib, la Blue note sta tra il Sib e il Si. Con la chitarra possiamo tirare la corda di un quarto di tono, terza corda terzo tasto, dal Sib andiamo un poco in su per fare una nota "stonata" un Si calante, il piangente del classico lamento blues.

Charlie Patton quelli del Delta, e gli Hawaiiani usano la dissonanza suonando contemporaneamente due note vicine come Si e Sib. 

Esercizi sul Vibrato, lo staccato, "strike and slide", trillo, le corde stoppate. Un'altro effetto ritmico alla Robert Johnson consiste nel suonare con l'indice e con il medio le ultime 4 corde verso l'alto, e poi con il pollice verso il basso, tutto molto velocemente e con le corde stoppate.

L'accompagnamento di Willie Brown e gli armonici con il bottleneck il pollice e il palmo della mano. 

Per imparare i turnarounds, la tecnica bottleneck, blue notes, open G tuning, tecnica della mano destra, blues licks and phrases, authentic blues rhythms, harmonics, e altro. Incluse complete trascrizioni di "Terraplane Blues," parole e musica di Robert Johnson,  "Moon Goin' Down," and "Rhythm in the Blues."

• CD Included
• Turnarounds

Introduction

Notation Guide

Getting Started

Tuning

Turnarounds

Exs.2a - 2f

Exs.2g - 2j

Bottleneck Techniques

Exs.3a & 3b

Exs.3c - 3e

Exs.3f - 3g

Ex. 3h

Exs,3i - 3k

The "Buddy" (Blues) Note

Exs.4a - 4g

Right Hand Techniques

Exs.5a - 5e

Exs.5f - 5h

Review Of Picking Techniques

Exs.5i - 5j

Speciality Strokes

Exs.6a - 6e

Ex.6f

Creating Blues Verses

EX.7a

Analytical Breakdown, Ex. 7b

Ex,7c

Exs,7d - 71

Exs,7j - 7k

Exs,71- 7m

EX.7n

Exs.70 - 7q

Rhythmic Exercises

2 Against 3 Rhythm

3 Against 2 Rhythm

3 Against 4 Rhythm

Chords

Wrong Notes & Right Notes

(Exs, lOa - 109 Not Recorded)

Intro To Terraplane Blues

Terraplane Blues

Ex. 10j

G Down The Staff

Exs. 11a - 11d

Ex, 11e: Moon Gain' Down

Exs. llf - 11j: Analysis

Ex. 11 k

Exs. 11l- 11o

Harmonics

Exs. 12a - 12c

Palm Harmonics: Exs. 12d - 12g

Coda: Putting It All Together

Rhythm In The Blues

MASTERS OF THE TELECASTER, ARLEN ROTH'S. SHEET MUSIC BOOK WITH 2 CD & GUITAR TABLATURE .

LIBRO METODO DI MUSICA BLUES, COUNTRY, ROCK. CON 2 CD. 

SPARTITI PER CHITARRA CON : 

ACCORDI, NOTE PENTAGRAMMA E TABLATURE. 

STUDIO, METODO, MANUALE, 

185 Pagine, quasi 2 ore con 143 esempi di Blues, R&B, country, rockabilly, soul, R&R, rock, tutti dedicati a una delle chitarre più impiegate. Muddy Waters, Cornell Dupree, Albert collins, Elvis, Albert Lee, Steve Cropper, Roy Buchanan, Clarence White, James Burton, Danny Gatton, Jerry Donahue, Scotty Anderson, Keith Richards, Pete Townshend, Jeff Beck, Jimmy Page, Summers. I fondamentali: ritmi shuffle, piano-style blues, damping, pick and finger technique, costant bass, banjo rolls, double-stops, Memphis soul stew, chicken pickin', pedal steel-style e hawaiian stile, dissonanza country, tecnica telecasteriana. Falso armonico controllo del tono e del volume, B. bender, country bending, bending alla paletta, bending blues e doppio bending! Con fotografie a colori di alcuni modelli. 

CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs
--------------------------------------------------------------------------------
Perhaps no other instrument in history has had such a profound effect on the history, style and development of popular music as the Fender Telecaster. This beautiful coffee table-style book includes color and black and white photos of vintage and custom shop models and the great "tele" artists. Plus, deep insights into the history and uses of this fantastic instrument, including licks, solos and techniques of all the great "Telemasters" and influences on blues, country, R&B, and rock. Also includes over 140 music examples--all demonstrated by Arlen Roth on the included CD. All examples are in standard notation, tablature.

La marcia in più delle Telecaster.
Il B-Bender è stato inventato nel 1967 da Gene Parsons dei Nashville West e Clarence White dei The Byrds. Originariamente chiamato Parsons White Pull-String, in seguito ribattezzato String Bender, oggi é meglio conosciuto come il B-Bender. I primi prototipi sviluppati da Parsons avevano incluso più dispositivi di bending per le corde E, B, G e D, ma White ha deciso che preferiva una bending per la singola corda B. La corda Si è alzata di un tono pieno tirando la cinghia della tracolla verso l'alto. Questa è attaccata ad una leva e a una molla alla base della corda. Il braccio della leva passa attraverso il corpo della chitarra ed è collegato alla corda B dietro il ponte. Il B bender è un marchingegno che ti permette di fare i bending, spingendo senza fatica verso il basso il manico della Telecaster. Albert Lee, il chitarrista Bernie Leadon degli Eagles, Jimmy Page dei Led Zeppelin hanno hatto fare installazioni personalizzate di B bender sulla loro Telecaster.

TELECASTER HISTORY

OVER 140 MUSIC EXAMPLES

Blues, Country, Rhythm Blues, Rock

8 PAGES OF COLOR PHOTOS

Possibly no other instrument has had such a profound effect on the history, style and development of popular music as the Telecaster ... From its impact on early Rock and Roll to its exclusive use by Keith Richards of The Rolling Stones, one of the most influential bands in rock history ... From the early electric country of Jimmy Bryant and James Burton to superpickers such as Albert Lee, Danny Gatton, author Arlen Roth and Jerry Donahue (of The Hellecasters, the triumvirate of Tele superstars named for their instrument of choice) ... From the pioneer electric blues of Muddy Waters to the "Iceman" himself, Albert Collins ... Masters of the Telecaster details the sounds, techniques, licks and solos of the artists, and the instrument, that helped shape the sound of popular music. Includes chapters on Telecaster History, Techniques, Blues, Country, R&B, and Rock. Techniques, licks and solos of all the great "Telemasters" are profiled throughout in standard notation and tablature and each example is contained on the included recordings.

I always felt that this book was a necessity, because no one had ever written a guitar book strictly on the direct effect that one instrument can have on its player. I think we can all agree that as guitar players, we certainly understand, or at least recognize this phenomenon. How many times do we refer to a certain guitarist as a "Strat" or "Les Paul" type of player? Well, Tele players are perhaps the most unique of the bunch, and certainly this "inner group" of players has really started to expand. This is probably due in most part to the rise in popularity of country music as of late. The Telecaster has always been a mainstay of country music since it was fust released, and today it's hard to imagine country without it. What a pleasure to be sitting here writing a book (now my eighth) about a subject and musical form that is so near and dear to my heart! I've been a Telecastef® fanatic since about 1965 when I first laid eyes on one, and I've been playing almost strictly "Tele"® since my tour with John Prine in 1975, when I purchased my 1953 Telecaster for a whopping $400! Shame I didn't have any money then-the guy had a car full of them, all about the same price. Telecasters are special. They seem to bring out something in guitarists that other guitars just don't. Not only that, but there seems to be an ever-growing affinity that we Tele players seem to have with each other that makes us a special brotherhood; a "club" of sorts. We know omething about our relationship to our Telecasters is special, and that we more than likely, all have similar feelings. One incredible fact to us all is how right Leo Fender got it the first time! After all, we are talking about the very first production solidbody guitar in the world here (introduced as the Broadcaster in 1948 by Fender), and an instrument of incredible simplicity and purity of design. Now, after almost 48 years and literally hundreds of new guitar experiments, the pure essence of the Telecaster shines through, and the original three: the Telecaster, the Stratocastef® and the Les Paul®,all still remain the "three wise men" of the guitar, and that by which all other guitars are measured. My feeling is that because these guitars were literally designed out of necessity, and were direct descendants of hollow-bodied instruments, their purity of design for both beauty and function was inevitable.

CONTENTS

INTRODUCTION

Intro Music CD 1

Tuning Notes

ABOUT THE AUTHOR

ABOUT THE TELECASTER

CHAPTER 1:

FOUNDATION TECHNIQUES

Shuffle Rhythms

Examples 1, 1A & 2

The Harmony Shuffle II

Examples 3 & 4

Piano Style Rhythm Grooves

Examples 5 & 6

Single-Note Rhythm Licks

Example 7

Heel Damping

Example 8

PICK AND FINGER TECHNIQUE

Example 9

The Constant Bass

Examples 10 & 11

Pick and Finger "Roll" Patterns"

Open G "Banjo" Rolls

Examples 12, 13 & 14

CHAPTER 2:

RHYTHM AND BLUES TELECASTER

Partial Chords in R&B Guitar

Examples 15 - 21

STEVE CROPPER

Example 22: The "Soul Man" Lick

CORNELL DUPREE

Examples 23 - 30

Example 31:

The "Memphis Soul Stew" Lick

CHAPTER 3:

TELECASTER BLUES

The Basic Blues Scales

Examples 32 & 33

Blues Passing Tones

Examples 34 & 35

First Position Licks

Examples 36 & 37

Adding The Major Third

Examples 38 - 41

BLUES STRING BENDING

Whole Step and Half Step Bends

VIBRATO

The "Bend and Release" Vibrato

Example 42

BLUES SOLOING

Examples 43 & 44

FALSE HARMONIC AND VOLUME CONTROL SWELL TECHNIQUES

Examples 45 - 47

Volume and Tone Control "Swells"

Examples 48 & 49

Tone Control Tricks

Examples 50 & 51

ROY BUCHANAN 66

Example 52: The "Haunted House" Lick

Examples 53 & 54: "Lonesome Fugitive"

Example 55: Soloing Buchanan Style

ALBERT COLLINS

Example 56

MUDDY WATERS

Example 57

CHAPTER 4:

COUNTRY AND ROCKABILLY TELECASTER

Basic Country Scales and Positions

Examples 58 - 60

Some Hot Country Licks

Examples 61 & 62

The Extended Country Pentatonic Scale

Examples 63 - 74

CD 2

COUNTRY STRING BENDING TECHNIQUES

String Bending as Substitution

Examples 75 - 83

Pedal Steel-Style "Banjo" Roll

Example 84

Advanced "Pedal Steel" Bend Positions

Example 85

Examples 86 - 88

CLARENCE WHITE

Examples 89 - 93

Example 94: Advanced String Bending Solo

Two-String Bends

Examples 95 - 98

JAMES BURTON: A TELE MAN FOR ALL SEASONS

Examples 99 - 103

Examples 104 & 105: The "Mystery Train" Lick

Chicken Pickin'

Example 106

DANNY GATTON: TELEMASTER

Examples 107 - 109

ALBERT LEE

Examples 110 & 111

BENDING BEHIND THE NUT

Examples 112 - 117

JERRY DONAHUE

Examples 118 & 119

HOT COUNTRY DOUBLE STOPS

Examples 120 & 121

Combining Double Stops with String Bending

Example 122 & 123

SCOTTY ANDERSON: KING OF THE DOUBLE-STOP.

Example 124

MARTY STUART: KEEPER OF THE FLAME

Example 125

VINCE GILL: FROM THE STUDIO TO SUPERSTAR

Example 126

PEDAL STEEL-STYLE "CARRY" LICKS

Examples 127 & 128

USING DISSONANCE IN COUNTRY PLAYING

Examples 129 - 132

HAWAIIAN LAP STEEL-STYLE

Example 133

JIMMY BRYANT: TELE PIONEER

Example 134

CHAPTERS:

THE TELECASTER IN ROCK

KEITH RICHARDS

Examples 135 - 137

PETE TOWNSHEND

Example 138

ANDY SUMMERS

Example 139

JEFF BECK

Example 140

JIMMY PAGE

Example 141

CLASSIC TELE ROCK LICKS

Example 142

Example 143: The Final Solo

CONCLUSION  

THE COMPLETE JAZZ GUITAR METHOD. MASTERING JAZZ GUITAR IMPROVISATION. CD TABLATURE

Expand the boundaries of your knowledge and improvisation skills with this exciting book, which picks up where the improv lessons in Intermediate Jazz Guitar leave off. Topics include improvising over altered dominant chords, the diminished scale, the whole-tone scale, targeting the altered chords, revamping licks, modes of the minor scales and more! Loaded with easy-to-read scale diagrams and example phrases, this book is packed with essential information for the improvising jazz guitarist. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 64 pages.

Complete Jazz Guitar Method: Mastering Jazz Guitar, Improvisation
By Jody Fisher
Item: 00-14129
UPC: 038081128351
ISBN 10: 0739025910
ISBN 13: 9780739025918

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
Expand the boundaries of your knowledge and improvisation skills with this exciting book, which picks up where the improv lessons in Intermediate Jazz Guitar leave off. Topics include improvising over altered dominant chords, the diminished scale, the whole-tone scale, targeting the altered chords, revamping licks, modes of the minor scales and more! Loaded with easy-to-read scale diagrams and example phrases, this book is packed with essential information for the improvising jazz guitarist. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 64 pages.

INTRODUCTION
Guitar students typically spend a lot of time looking around for information that will take
them to a higher level. When I was growing up, it was very difficult to learn how to play
jazz. There were no instructional videos, and the books that were available were just not
very helpful. There were no guitar schools. Most students were self-taught and some
took lessons, but really good teachers were very hard to find. I was lucky-I've had some
great teachers.
Today, there are videos, books, guitar schools, tapes, CDs and very talented teachers all
over the place. But there is still something missing: books that give a complete overview
of what you need to know to become a proficient jazz guitarist. Hopefully, this series fills
that gap.
Any student who starts with Beginning jazz Guitar and proceeds through the entire series
will be exposed to most of what they nee-d to know to play jazz guitar. You will
find some complex subjects in this book, as well as some very simple ideas that you can
start to use immediately. Chapter I begins with a discussion of improvising over altered
dominant chords.
This book is not for beginners. It is for guitarists that have worked through Beginning jazz
Guitar and Intermediate jazz Guitar, or have received the same sort of information elsewhere.
To get the most out of this book you should be proficient with the pentatonic
scales, blues scales, the major scale, diatonic harmony and chord scales, transposition,
diatonic arpeggios, neighbor tones, triads, licks and formulas for extended and altered
chords.
Each lesson in the first two books had two seperate sections. The "A" sections dealt with
harmonic principles and chord work while the"B" sections handled the topic of single-line
improvisation. This entire book concerns itself with single-line improvisation. It starts
right where the "B" sections in the intermediate book left off. Mastering jazz Guitar:
Chord/Melody starts where the "A" sections of the intermediate book left off. You may
want to go through the book in order, or you may want to use it as a sourcebook of
concepts and techniques to investigate in your own way.
The concepts and exercises in this book are intended to inspire you for a lifetime of study
and enjoyment. Since jazz improvisation is an ever expanding field of information, one
never really finishes doing this work. Enjoy the journey.

ABOUT THE AUTHOR
Jody Fisher has worked professionally in virtually all styles of music during his career,
from straight-ahead and contemporary jazz, to rock 'n' roll, country, pop and show tunes.
He taught Guitar and Jazz Studies at the University of Redlands in Southern California and
at the Idyllwild School of Music and the Arts (ISOMATA). An active performer in the
Southern California area, he still maintains a private teaching practice, serves on the faculty
of the University of La Verne, and as an associate director of the National Guitar
Summer Workshop's California and Nashville campuses. Jody Fisher is also the author of
the Guitar Mode Encyclopedia, also published by the National GuitarWorkshop and Alfred.

TABLE Of CONTENTS
ABOUT THE AUTHOR .
INTRDUCTION .

Chapter I-Improvising Over Altered Dominant Chords
Lesson I: The Diminished Scale .
Train
Lesson 2: The Whole Tone Scale .
Once
Lesson 3: The Super Locrian Mode (Diminished Whole Tone Scale) .
Moon .
Lesson 4: Using the Altered Scale Over a ii-V7-1 Progression .
Lesson 5: Targeting the Altered Chords-The Altered Clusters .
Lesson 6: Revamping Licks .

Chapter 2- The Minor Scales and Their Modes
Lesson I: The Melodic Minor Scale .
Lesson 2: The Modes of the Melodic Minor Scale .
Lesson 3: Arpeggios in the Melodic Minor Scale .
Lesson 4: The Harmonic Minor Scale .
Lesson 5: The Modes of the Harmonic Minor Scale .
Lesson 6: Arpeggios in the Harmonic Minor Scale .
Lesson 7: The ii min7b5-V7b9-i min7 Progression .

Chapter 3-Using Arpeggios
Lesson I: Chord Superimposition .
Lesson 2: Melodic Patterns Based Around Arpeggios .
Lesson 3: Melodic Patterns Based Around Chord Shapes .

Chapter 4 -Eight-Tone Scales
The Eight-Tone ii-V7 Scale .
The Eight-Tone IScale .

Chapter 5 ConnectingYour Ideas .
Lesson I:The Chromatic Connection
Lesson 2: Accentuating the Difference Between Keys
Lesson 3: Repeating an Idea in Different Octaves
Lesson 4: Rhythmic Motives
Lesson 5: Melodic Connection
Lesson 6: Diatonic Connection

CODA-A Medley of Suggestions and Musical Concepts
Playing on the Extensions Using Advanced Pentatonics
Playing on the Extensions Using Tones From 13 Chords
PlayingWith Wider Intervals
Octave Disp lacement
Symmetrical Motives

Track. A compact disc is available for each book in this series. These discs can make learning with these books easier and more enjoyable. This symbol will appear next to every example that is on the CD. Use the CD to help insure that you are capturing the feel of the examples, interpreting the rhythms correctly, and so on. The Track numbers below the symbols correspond directly to the example you want to hear. Track I will help you tune to the CD. Have fun!

STERN MIKE, ULTIMATE PLAY-ALONG FOR GUITAR. Basi complete. 2 CD. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA FUSION CON 2 CD. 

CD CON BASI JAM TRAX PER CHITARRA. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Ultimate Play-Along for Guitar
By Mike Stern with Askold Buk
SERIES: Ultimate Play-Along Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs

Ultimate Play-Along for Guitar has been developed so that the beginner to intermediate level guitarist can practice in different styles along with all-star musicians including Mike Stern on guitar, John Patitucci on bass and Dave Weckl on drums. This book and CDs package contains two CDs: the first disc contains seven complete rhythm tracks with the guitar melodies and solos, and the second CD contains the rhythm tracks minus the guitar. The book features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as tear-out "roadmap" charts for each tune.

One of the most important considerations to take into account when playing a tune is how to interpret a written melody line. You want to get your "voice" on the tracks, but at the same time, you have to be true to the composer's intent. Here's how I try to approach this. There are times when I get asked to play on a session where the rhythm tracks (bass, drums and piano) are already recorded. My job would then be to overdub the melody. I try to prepare for this beforehand by getting the music ahead of time. Then, I generally learn the notes as written and try to get as comfortable as possible playing them (figuring out positions, etc.). Once I'm more comfortable with the melody, I try to take a few liberties with it. I might find a few spots were I can put in a personal stamp, be it playing a fill or two, bending a few notes or adding some vibrato. This adds a bit of my personality to the tune and, hopefully, makes it come more alive. If you have the chance, it's good to check with the composer ahead of time to make sure that your interpretation goes along with his original intent. This was the case in recording the songs on this project. Before I laid down my parts, I talked with Dave and John (the composers) and made sure that they liked the direction I was going to take. My approach to this tune was to play the melody so it would breathe and sing a little bit. I tried to play the melody pretty much as written, but in my own way, I wanted to lay back, make some of the notes a little longer and add a few embellishments. For example, in the very beginning of this tune (bars 4-7), I threw in a couple of fills that weren't originally written (refer to FIGURE 1- the actual chart given to me for the session). That's because I felt that the tune needed something extra in this space. Using embellishments such as slurs, vibrato and bends brings the individual's personality into interpreting a melody. You're still responsible to play what's written - you don't necessarily change the pitches - but at the same time, you don't want your performance to be stiff. So, in some cases, you could take more liberties. Obviously, the idea is to make these choices on an intuitive, instinctive level - so that it just feels good. Be careful, because you can overthink things. You don't want to get so selfconscious that you'll play like a robot. Let's look at some examples of the stylistic interpretations that I made in the music. As you can see, I didn't adhere strictly to the note values written in the original chart. For example, though the E in bar 14 in the original chart ends at the second beat, I chose to extend the value for the duration of the measure (see measure 12 in the transcription) - it just sounded better to me! I also chose to slide into the B in bar 14, though no slide was notated in the original chart. There's also a long slide at the end of bar 22. Rather than making the A a 16th-note, I slid it down the neck for a more dramatic effect. You can also see that even though no vibrato is indicated in the original chart, I freely use it whenever I think the tune calls for it. A note about rhythm playing: you've got to be careful that your rhythm part works with whatever the soloist is playing, yet doesn't clash with the other rhythm instruments. Otherwise, leave it out. Over the keyboard solo, I just played a single-note "scratch" part throughout, consisting of a D at the 7th position. D was a common tone for all the chords. A common tone is one that fits harmonically through all the changes. Upon analysis, you can see that D is the 9th of C, the flatted 7th of E and the 5th of G. On a session, you also have to be prepared for any unexpected changes in the chart. For example, though an Emll chord was originally written in bar 71, the keyboard player played an E7#9 instead. When I heard that E7#9 chord on the track, I thought it was a strong substitution, so I played it as well. When overdubbing, you should always listen for musical surprises and react to them accordingly.

The best way to practice is to have fun while you learn; and that is exactly what the ULTIMATE PLAY-ALONG series is all about. Every musician has learned by playing along with records, and now with Ultimate Play-Along you can practice with great recorded music as if you were a member of the band. That's because you get eaach track mixed without your instrument. You also get to hear the music with the featured instrument as well, for reference. 
 

ULTIMATE PLAY-ALONG has been developed so that the beginner to intermediate bassist can practice in different styles along with all-star musicians including Mike Stern on guitar and Dave Weckl on drums, John Patitucci on Bass. This book/CD package contains 2 CDs; the first disc contains the full 7 rhythm tracks with the guitar and the second CD includes the rhythm tracks minus the guitar. The seven CD tracks cover a wide range of syles including: Straight Eighths, Shuffle (Blues), Sixteenth-Note Feel, Hip-Hop (Jazz Funk), Pop Ballad, Reggae (Shuffle), and Rock. 

This book and CDs package contains two CDs: the first disc contains seven complete rhythm tracks melodies and solos, and the second CD contains the rhythm tracks minus the guitar. The book features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as tear-out 'roadmap' charts for each tune.

The book features roadmap charts for each tune, as well as a step-by-step discussion of each section. John also gives you a variety of options you can use for both groove and fill ideas. Each section concludes with a 'talk down' of the chart, similar to what you'd encounter on a session or at a rehearsal. Each chart comes perforated so it can be easily removed for use on a music stand. The play-along charts will help improve your reading, time, feel and confidence. So, put on some headphones, turn up the music and work out with the ULTIMATE PLAY-ALONG!

ULTIMATE PLAY-ALONG FOR GUITAR, Features complete transcriptions of all of Mike Stern's guitar parts and solos, as well as "roadmap" charts for each tune. Every chart comes perforated so that it can be easily removed and placed on a music stand. In each chapter, Mike focuses on a specific musical style and explains in depth how he approaches playing in that idiom. He also offers practice tips, soloing suggestions and exercises to help you master each style. Playing along to the tracks will inprove your reading, time and feel and working on the transcriptions will certainly enable you to axpand your improvising vocabulary. So put on some headphones, crack up the music and work out with the ultimate play-along. For guitarists.

Contents: 

Introduction
guitar Notation Guide

Straight Eighths
Shuffle (Blues)
Sixteenth-Note Feel
Hip-Hop (Jazz Funk)
Pop Ballad
Reggae (Shuffle Style)
Rock
Closing Thoughts & Discography
Charts