SPARTITI PER CHITARRA, ACCORDATURE APERTE

LAURENCE JUBER'S DADGAD SOLOS: GUITAR SOLO. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA .

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Laurence Juber's DADGAD Solos
Series: Guitar Solo
Format: Softcover - TAB
Arranger: Laurence Juber

12 songs for solo guitar in DADGAD tuning, arranged by Wings lead guitarist and two-time Grammy-winning fingerstylist, Laurence Juber. Extensively fingered in notation and tablature, the songs include: As Time Goes By • Come Rain or Come Shine • Don't Let Me Be Misunderstood • Over the Rainbow • Runaway • (Sittin' On) The Dock of the Bay • Yesterday • and more. “The melodies, textures and harmonies he coaxes out of an acoustic guitar are absolutely spellbinding.” – Michael Molenda, Guitar Player magazine

Laurence Juber's DADGAD Solos
Series: Guitar Solo 
TAB
HL #00122217

Song List:
All The Things You Are (from VERY WARM FOR MAY)
As Time Goes By (from CASABLANCA)
Autumn Leaves
Come Rain Or Come Shine (from ST. LOUIS WOMAN)
Cry Me A River
Don't Let Me Be Misunderstood
Georgia On My Mind
Over The Rainbow (from THE WIZARD OF OZ)
Raining In My Heart
Runaway
(Sittin' On) The Dock Of The Bay
Yesterday

Inventory #HL 00122217
ISBN: 9781480354609
UPC: 884088948481
Width: 9.0"
Length: 12.0"
64 pages 

OPEN-STRING FINGERSTYLE METHOD FOR GUITAR, A BEGINNER'S GUIDE, BY DANIEL HO. LIBRO CON CD E TABLATURE

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Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
Created in collaboration with the Grammy® Museum, six-time Grammy® award-winner Daniel Ho's revolutionary open-string method may be one of the simplest ways to play fingerstyle guitar. Special open-string voicings are easy to play and sound beautiful. You will play chords in the keys of E and G using only two fingers on your left hand, learn chords in every key using no more than three fingers on your left hand, and study proper hand technique to make playing comfortable and enjoyable. An audio CD of examples is included.

HAWAIIAN STEEL GUITAR. Lorene Ruymar.

LIBRO ILLUSTRATO SULLA STEEL GUITAR DALLE ORIGINI AD OGGI.

Series: Fretted
Publisher: Centerstream Publications
Format: Softcover
Author : Lorene Ruymar

The term "steel guitar" can refer to instruments with multiple tunings, 6 to 14 strings, and even multiple fretboards. To add even more confusion, the term "Hawaiian guitar" refers to an instrument played flat on the lap with a steel bar outside of Hawaii, but in Hawaii, it is the early term for the slack key guitar. Lorene Ruymar clears up the confusion in her new book that takes a look at Hawaiian music; the origin of the steel guitar and its spread throughout the world; Hawaiian playing styles, techniques and tunings; and more. Includes hundreds of photos, a foreword by Jerry Byrd, and a bibliography and suggested reading list. 216 pages

NON CONTIENE PAGINE DI MUSICA

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.

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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 2^nd 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

COMPLETE DOBRO PLAYER, Phillips. 245 Pagine. 2CD TABLATURE

LIBRO METODO DI MUSICA PER DOBRO CON 2 CD.

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TECNICA, 

Product Description:
Stacy Phillips is an internationally acclaimed soloist and author on Resonator Guitar. This comprehensive book took years to produce and is the culmination of Stacy's many years of playing the instrument, studying new Resonator techniques and interviewing other Resonator greats. This book achieves the following objectives: 1. To present an in-depth survey of the styles in which well-rounded lap guitarist should be competent. 2. To examine the playing styles and techniques of some of the world's greatest Resonator guitarists. 3. To catalog many of the licks that are lingua franca in the world of Resonator guitarists. 4. To indicate some of the underlying relationships between notes, keys, and chords by introducing some basic music theory as it relates specifically to the six-string guitar in G tuning. 5. To gain insights into the world of Resophonic guitar stylings and performance through interviews with some of the top players. 6. To demonstrate unconventional concepts in order to stimulate fresh approaches to playing the instrument. Tablature included.

The double-CD set presents more than 90 minutes of stereo recording featuring Stacy Phillips on Dobro and Paul Howard on guitar. Play-along tracks are included for several of the tunes.

Format: Book/2-CD Set

Acknowledgments
Introduction
Reading the Tablature
A Survey of Techniques for Resonator Guitarists (String Damping; Hammering On; Pulling Off; Forward Slants; Reverse Slants; Harmonics; Pulling the Strings; Some Bar Control Exercises; Vibrato; Fingering)

Elements of Variation and Improvisation for Resonator Guitarists (Position Playing; Playing in First Position; Nuances of Sliding and Approaching a Note; Thinking Chordally; A Sampling of 3 Note Chords; The Problem of Major Second Intervals and Chromatic Licks in G Tuning; Rhythmic Phrasing; Some General Thoughts about Improvising)

The Sweet and the Simple/Scalar Manipulation and the Melodic Line( Go Tell Aunt Rhodie; I Never Will Marry; Tennessee Waltz; Mike Auldridge Style House of the Rising Sun)

Blues, Boogie and Acoustic Rock (Frankie and Johnnie; Blues Pentatonic Solos; Albert King Style Solos; Bottleneck Guitar Style Solo; Backing Up a Vocalist; Rhythm Grooves; Eric Clapton Style Blues Solo)

Bluegrass and Open String Licks (Aunt Rhodie Bluegrass Style; Bluegrass Breakdown Licks; Roll in My Sweet Baby's Arms; Dark Hollow; Over the Waterfall; Buck Graves Style Solos; Don't Let Your Deal Go Down)

A Resonator Guitar Approaches Jazz (Aunt Rhodie Swing Style; Corrine, Corrina Swing Blues; Bring It on Down to My House; II-V-I Jazz Licks; Modern Jazz Blues; Leon McAuliffe Style Swing Blues; Bob Dunn Style Solos; Shine on Harvest Moon; Deep Elm Swing; Comping)

Hawaiian Roots, Retunings and the Pedal Prodigal Grandchild( A Primer of Hawaiian Style Licks; B Minor Tuning; Modal Tuning; G add 2 or G9 Tuning; G6 Tuning; Mike Auldridge's Eight String Swing; Pedal Steel Licks Transferred to Resonator Guitar.

Playing in Minor Keys (The Dorian, Aeolian and Harmonic Minor Scales; Saint James Infirmary; G Minor Tuning; David Grisman's Opus 57 in G Minor and G Modal Tunings)

A Garland of Tunes and Resonator Guitarists (Shot Jackson Style Fort Worth Drag; Gene Wooten Style Rainbow; Rob Ickes' Style Deep Elm Blues; Stacy Phillips' Style Leather Britches; Stacy Phillips' Style Panhandle Rag; Jerry Douglas' Style Panhandle Rag; Jerry Douglas' Style John Henry; Jerry Douglas' Style Sally Ann; Jerry Douglas' Style Saint Anne's Reel; Jerry Douglas' Style Swing Blues; Genial Hawaiians' Style Saint Louis Blues)

The Interviews (Mike Auldridge; Bob Brozman; Cindy Cashdollar; Gene Wooten; Buck Graves; Archduke of the DOBRO®; Jim Bennett; Jerry Douglas)

Resonator Guitar Shopping Mall

Discography and Bibliography

Basic Music Theory for Resonator Guitarists

Fade Out

Acknowledgments

Sean Coane, Jeff DeMayo and Peter Menta for access to their record collections
Chris Davis for his fanatic proofreading
Paul Howard and Dave Hamburger for ideas for rock riffs
Some examples of rock riffs were loosely adapted from Andy Aldort's columns in Guitar Magazine
Dick Blattenberger for helping to track down photos
Mike Auldridge for tabbing his solo on "Eight String Swing"
Rob Ickes for help with tabbing Jerry Douglas' and his own solos
Jeff DeMayo for help with interpreting pedal steel licks
Johnny" Angry Red" Weltz for invaluable assistance with the Archduke of the Dobro interview
Jerry Douglas, Mike Auldridge, Jim Bennett, and Rob Ickes for allowing short excerpts of their
playing on the accompanying recording
Paul Howard for his guitar and vocal work on the accompanying recording
Georgia Sheron for the cover photo
All the musicians who took the time to be interviewed and the resonator-guitar fans
who contributed photos

Introduction
It's 12:00 midnight as Saturday shades into Sunday in an apartment in the South Bronx in New York City, across the street from Yankee Stadium. If I sit in a particular position on the floor and hold my pocket transistor radio just so,
I can hear the final strains of the WWV A; Wheeling, West Virginia "World's Original" Jamboree. Then it's on to "Live from Campbell's General Store in Oxford, Pennsylvania!" for an hour of musical heaven with Alex, ala Belle and the New River Gang. Amid pitches for ten-pound sacks of pinto beans, navy beans, snap beans, kidney beans, and other of life's necessities there is raw, unadulterated, old-time bluegrass featuring Sonny Miller on fiddle, Ted Lundy on banjo and occasional wailing solos and backup by Deacon Brumfield on resonator guitar. Whenever Deacon steps up to the microphone ala Belle Reed lets go with a whoop of glee. Outside the Flatt and Scruggs Foggy Mountain jamboree album that has a few cuts with Buck Graves, this is my resonator guitar input. I still have no idea of what it looks like or how it is played but the instrument has captured my imagination.
A few years later I am playing resonator guitar at a workshop at the Smithsonian Folk Festival in Washington, D.C. In the middle of "Wabash Cannonball" there is a pounding on the side of the wooden stage, followed in close order by a familiar wail. On the way from her own performance, ala Belle hears my imitation of the Deacon and cannot resist.
Such is the stuff of musical fantasy realized.
In the mid-1970s I wrote The Dobro® Book, that has become the standard teaching text for
resonator slide guitar. Complete Dobro® Player is designed to be a continuation of and supplement to that
effort. Acoustic steel guitar is currently experiencing something of a popularity boom, so it seems an
opportune moment to share some of the things I have learned about this instrument over the past 20
years. This book is aimed at six-string steel guitarists, and both acoustic and electric players should be
able to learn a great deal. However, it is slanted towards acoustic resonator guitars as exemplified by
DOBRO® brand resonator guitars. DOBRO® is a registered trademark owned by the Original Musical
Instrument Co. division of Gibson Guitar Corp. Because of their obsessive proprietary interest in this
copyright, I will be substituting various euphemisms which, for our purposes, can be thought of as
synonymous. They include resonator guitars, resophonic guitars, ampliphonic guitars, steel guitars, lap steels
(though the latter usually implies electric, non-pedal steels), and Hawaiian guitars. When I do use
DOBRO®, I am specifically referring to an instrument manufactured by the O.M.l. Company.
This book endeavors to achieve several objectives:
1. To present an in-depth survey of the styles in which well-rounded lap guitarists should be
competent. Ways of creating and varying authentic-sounding solos in country-folk, blues, bluegrass,
jazz, and Hawaiian Islands styles are illustrated and analyzed. There are also surveys on playing in minor
keys, the use of retunings and the application of pedal-steel licks to non-pedal guitars.
2. To examine the playing of some of the top lap steelers. Tablatures of solos by Jerry Douglas,
Buck Graves, Mike Auldridge, Bob Dunn, Leon McAuliffe, Bob Kaii, David Lindley, Shot Jackson, Gene
Wooten and others are featured.

Contents
Acknowledgments .
Introduction .
Reading the Tablature .
A Survey of Techniques for Resonator Guitarists.
String Damping Hammering On Pulling Off Forward Slants Reverse Slants .
Harmonics Pulling the Strings Some Bar Control Exercises Vibrato Fingering
Elements of Variation and Improvisation for Resonator Guitarists.
Position Playing Playing in First Position Nuances of Sliding and Approaching a Note .
Thinking Chordally "Moonglow" A Sampling of Three-Note Chords The Problem of Major
Second Intervals and Chromatic Licks in G Tuning Rhythmic Phrasing Some General Thoughts
about Improvising
The Sweet and the Simple (Scalar Manipulation and the Melodic Line)
"Go Tell Aunt Rhodie" "I Never Will Marry" "Tennessee Waltz" .
Mike Auldridge-Style "House of the Rising Sun"
Blues, Boogie and Acoustic Rock .
"Frankie and Johnnie" Blues Pentatonic Solos Albert King-Style Solos Bottleneck Guitar
Style Solo Backing Up a Vocalist Rhythm Grooves Eric Clapton-Style Blues Solo
Bluegrass and Open String Licks 10:
"Go Tell Aunt Rhodie" (Bluegrass Style) Bluegrass Breakdown Licks "Roll in My Sweet Baby's
Arms" "Dark Hollow" "Over the Waterfall" Buck Graves-Style Solos .
"Don't Let Your Deal Go Down"
A Resonator Guitar Approaches Jazz (Gingerly)
"Go Tell Aunt Rhodie" (Swing Style) "Corrine, Corrina" Swing Blues "Bring It on Down to My
House" II-V-I Jazz Licks Modem Jazz Blues...... Leon McAuliffe-Style Swing Blues .
Bob Dunn-Style Solos "Shine on Harvest Moon" "Deep Elm Swing" Comping
Hawaiian Roots, Retunings and the Pedal Prodigal Grandchild.
A Primer of Hawaiian-Style Licks B Minor Tuning Modal Tuning G add 2 (G9) tuning .
G6 Tuning Mike Auldridge's "Eight String Swing" Pedal-Steel Licks Transferred to Resonator Guitar
Playing in Minor Keys.
The Dorian, Aeolian and Harmonic Minor Scales "Saint James Infirmary" G Minor Tuning .
David Grisman's "Opus 57" in G Minor and G Modal Tunings
A Garland of Tunes and Resonator Guitarists 17,
Shot Jackson-Style "Fort Worth Drag" Gene Wooten-Style "Rainbow" Rob Ickes-Style "Deep
Elm Blues" Stacy Phillips-Style "Leather Britches" Stacy Phillips-Style "Panhandle Rag" .
Jerry Douglas-Style "Panhandle Rag" Jerry Douglas-Style "John Henry" Jerry Douglas-Style
"Sally Ann" Jerry Douglas-Style "Saint Anne's Reel" Jerry Douglas-Style Swing Blues .
Genial Hawaiians-Style "Saint Louis Blues"
The Interviews .
Mike Auldridge Bob Brozman Cindy Cashdollar Gene Wooten. ..... Buck Graves .
Archduke of the Dobro Jim Bennett Jerry Douglas
The Resonator Guitar Shopping Mall .
Discography and Bibliography .
Basic Music Theory for Resonator Guitarists.
Fade Out .