MASTERING ALTERNATE TUNINGS, A Revolutionary System of Fretboard Navigation for Fingerstyle Guitarists. D. Heines. 96 Pages. CD TABLATURE
LIBRO METODO DI MUSICA ACUSTICA, CON CD.
SPARTITI PER CHITARRA .
ACCORDI, PENTAGRAMMA E TABLATURE.
Series: Guitar Educational
Softcover with CD - TAB
Author: Danny Heines
Open the door to a whole new guitar universe with this one-of-a-kind book/CD pack. You'll discover how to navigate the fretboard in all tunings, how to cultivate new composing and improvising concepts, and how to broaden your fingerstyle skills and techniques. The CD includes 40 tracks for demo and play-along, and the book is fully integrated with an interactive online fretboard. 96 pages.
While there are many books on the market on the subject of alternate tunings, I have yet to find a universal method for mapping a new tuning and navigating its harmony. Without a logical method of navigation, we can only follow our ear, often relying heavily upon trial and error. While this approach can lead to interesting discoveries, it generally gives us only a limited set of options with which to explore a tuning. The ability to see the harmonic architecture of a tuning, along with using your ears, is the key to unlocking its potential. Coming to the world of alternate tunings many years ago as a jazz guitarist well versed in theory, I was able to easily map out the notes of a key or keys that reflected the tonality of a new tuning. This led to establishing and expanding a vocabulary of chords and scales with which to improvise and compose in a solo guitar context. This method, which has now evolved over many years, is clearly demonstrated in this book using a hands-on approach. We'll also be covering many other aspects of playing in modern modal tunings, including right-hand technique, slapping, tapping, and much more. Whether you're new to alternate tunings or have been using them for years and just want to deepen your understanding, I believe you'll find this book extremely useful. As the book develops, we'll be covering some fairly advanced concepts, but I have provided a step-by-step approach that will allow even those who are new to alternate tunings or music theory to learn and integrate the material. If you're an experienced player and have a thorough understanding of diatonic and pentatonic harmony, you may find that you can go very quickly through, or skip altogether, Section One: "Theory Essentials." Feel free to work at a pace that is right for you. If you find something confusing, make sure you have read and fully understand the preceding sections. Most of the chapters proceed with the assumption that all previous chapters are fully understood. If you run across a musical term with which you're unfamiliar, use the Glossary in the Reference Section to learn its meaning before going on. Lastly, keep in mind that music theory should never replace using your ears or intuition in a creative way. Theory should function rather like a roadmap. You look at it before you begin a journey, or when you get lost. If you kept your eyes glued to the map, you'd miss the scenery and probably drive into a tree. If you already know the way, you don't even need to look at the map. In other words, the better your understanding of theory, the less you have to think about it. Ultimately, let your ears and artistic sense he the final judge and he sure to renew your artistic license regularly.
Introduction to Alternate Tunings
Why Use Alternate Tunings?
Let me start by saying that alternate tunings are by no means meant to be a substitute for standard tuning. They are apples and oranges, and useful for very different things. There is a lot of music for which standard tuning is the best possible choice. Gaining mastery over standard tuning can be a lifelong and ever-evolving quest and I'd encourage all serious players to continue to deepen their knowledge of it. That said, alternate tunings open a whole new world of possibilities and allow us to play things that would be impossible in standard tuning. They allow for a resonance and richness in timbre that can only be achieved by making generous use of open strings. Generally, the longer the string length, the richer the sound and certainly the longer the sustain. Try playing the open high E string, then play E on the 2nd string, 5th fret, then play it on the 3rd string (9th fret), then the 4th (14th fret). With each successive E you get less and less sustain. Also, chord voicings that would be impossible in standard tuning become possible and sometimes even easy in another tuning. These voicings may contain tight intervals that spawn melodies out of picking patterns. There are also many tunings that can greatly enhance the technique of tapping, by facilitating chord shapes that allow the necessary velocity of attack to be executed.
Preface
Acknowledgments
Introduction to Alternate Tunings
sing the Online Mapping Software
Tuning
SECTION ONE:THEORY ESSENTIALS
The Diatonic Chords
The Diatonic Modes
Pentatonic Scales
SECTION TWO: DADGAD
Tuning to DADGAD
Fretboard avigation in DADGAD
Thirds Expanded in DADGAD
DADGAD Bass Triads
The Half-Barre Bass
Finding Modes and Chords in DADGAD .
SECTION THREE: BEYOND DADGAD .
Mapping the D7sus4 Tuning
Shifting the Tonic
E-Based Tunings
SECTION FOUR: BEYOND DIATONIC
Creating Modulation
Non-Diatonic Scales. Chords, and Modes
SECTION FIVE:TECHNIQUES
Right-Hand Fingerstyle Technique
Picking Patterns and Excerpts
Creating Melody for Solo Guitar
Tapping Technique
Slap Technique
Essential Tips
REFERENCE SECTION
Chord Construction
Major Scale Formula
Diatonic Triads in All Keys
Diatonic Seventh Chords in All Keys
Extended Diatonic Chord Functions
Diatonic Bass Triads for 1-5-1 Tunings
Extended Bass Chords for 1-5-1 Tunings
Danny Heines Tunings List
Speed Training Log
Glossary
Italiano
English
