SPARTITI PER CHITARRA DI MUSICA JAZZ

GYPSY GUITAR, THE SECRETS VOL.1, coup de pouce, Angelo Debarre, Samy Daussat, Denis Roux.

LIBRO METODO DI MUSICA MANOUCHE, CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE.

TECNICA, STUDIO, MANUALE, 

Metodo per chitarra ritmica: accordi per l'accompagnamento, tecnica del damping, gli accenti, ritmi vari.
La solista: fraseggio in stile Django, il picking delle terzine, sweeping, armonici, bend, slide. 7 brani completi con basi. CD TABLATURE

As an introduction to the gypsy guitar we have gathered together a series of tips, tricks and techniques as used by the masters.

ACCOMPANIMENT
The traditional gypsy method of learning to play always starts with the rhythm. You'll study the famous gypsy pumping and other rhythms used in the gypsy swing.

PLAYING SOLO
We've collected a number of classic tunes in the style of django. You'll study the techniques used in gypsy jazz: chromaticism, rolling, sweeping, octave etc ...

THE TUNES
We finish our course with 6 pieces performed by angelo debarre and accompanied by samy daussat. Each piece is scored and in guitar tablature.

A series of tips, tricks, and techniques as used by the masters introduces the gypsy guitar style of playing. The first section covers the various traditional accompaniment rhythms such as pumping, waltz, bolero, bossa nova, and rumba. Part two introduces solo playing with techniques used in gypsy jazz: damping, sweeping, rolling, chromaticism, and more. The book ends with six pieces played by Angelo Debarre and accompanied by Samy Daussat. An aid to practicing soloing, the play-along tracks can be found at the end of the CD along with all the exercises.

Tackling a new playing style can be difficult if you don't have a grip of the
particular techniques it uses.

As an introduction to the gypsy guitar we have gathered together a series of tips, tricks
techniques as used by the masters.

This course is split into three parts. we suggest you work through one before moving on to the next.

Guided by the accompanying cd, you will study in detail the famous gypsy pumping (see accompaniment),
As well as a variety of other rhythms used in the gypsy swing.

Part two introduces solo playing, with a number of licks in the style of django reihardt.

The course ends with 6 pieces of music played by angelo debarre and accompanied by samy daussat.

To help you practise your soloing, the play-along tracks can be found at the end of the CD.

PART 1 ACCOMPANIMENT .

FREQUENTLY USED CHORDS .
Gypsy PUMPING .
THE RHYTHMS
WAlTZ .
BOLERO .
BOSSA NOVA .
RUMBA .
TEST EXERCISE .

PART 2 PLAYING SOLO.
TEST EXERCISE .
THE TECHNIQUES
UP AND DOWN.
DAMPING.
TRIPLET.
SWEEPING .
ROLLING.
CHROMATICS.
HARMONICS.
OCTAVES.
BEND / VIBRATO / SLIDING .

PART 3 THE TUNES .
GYPSY SWING .
ANGELO'S WALTZ .
THE OLD GYPSY (GUITAR ONLY) .
SWING 2003
DARK EYES (GUITAR ONLY VERSION) .
DARK EYES .

SCALES OF THE PLAY'ALONG TRACKS .
GYPSY SWING .
ANGELO'S WALTZ .
SWING 2003 .
DARK EYES .

HALL JIM, JAZZ GUITAR ENVIRONMENTS. SHEET MUSIC BOOK FOR GUITAR WITH CD.

LIBRO METODO DI MUSICA JAZZ, CON CD. 

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA. 

Series: Guitar
Medium: Softcover with CD
Artist: Jim Hall

Artist Transcriptions: An in-depth study of Jim's unique approach to music in ensemble and solo settings. Includes complete transcriptions taken from his instructional Star Licks video, also available from Hal Leonard. Tunes include: All Across the City - Something Special - Something Tells Me - and more. 71-minute accompanying audio includes actual live performances from the video by Jim Hall. 40 pages

HENDERSON SCOTT, GUITAR BOOK. SHEET MUSIC BOOK FOR GUITAR.

LIBRO DI MUSICA FUSION.

SPARTITI PER CHITARRA E E BASSO.

ACCORDI, PENTAGRAMMA. 

10 titoli per chitarra e basso.

The Scott Henderson Guitar Book Scott Henderson
CATEGORY: Guitar Personality
VERSION: Authentic Guitar Transcription
FORMAT: Book
Instrument: Guitar

One of the most influential and technically stunning guitarists on the planet, Scott Henderson's killer fusion of jazz, hard rock, and blues is captured here note-for-note in this fantastic collection of complete guitar transcriptions. Titles: Big Girl Blues - Caribbean - Elvis at the Hop - Mango Prom - Nomad - Peru - Rituals - Signal Path -Spears - Sub Aqua.

TITLE COMPOSER
Caribbean Scott Henderson (composer)
Spears Scott Henderson (composer)
Big Girl Blues Scott Henderson (composer)
Elvis at the Hop Scott Henderson (composer)
Peru Scott Henderson (composer)
Signal Path Scott Henderson (composer)
Sub Aqua Scott Henderson (composer)
Mango Prom Scott Henderson (composer)
Nomad Scott Henderson (composer)
Rituals Scott Henderson (composer)
 

GRAYDON JAY, BEBOP PLAY ALONG WITH ACTUAL ALBUM TRACKS MINUS GUITAR. Blow Man -C Bop -G Wizz -Go 'Way Moon -My Hot Girth -Oh Yes, There Will -Tubs -4.2 -And A Bonus Track Of Star Spangled Banner For Solo Guitar, tab.. 28 pagine. SHEET MUSIC BOOK & CD BACKING TACKS . 

LIBRO DI MUSICA JAZZ FUNKY BEBOP . 

CD DI BASI PER CHITARRA . 

SPARTITI CON ACCORDI, PENTAGRAMMA. 

CD DI BASI DI ALTA QUALITà. 

FORSE IL SUO NOME NON VI DIRà MOLTO, MA ALCUNI RICORDERANNO LA SUA CHITARRA FUNKY NELLA FAMOSA CANZONE DI ALAN SORRENTI DEL 1977 '' SIAMO FIGLI DELLE STELLE'' . 

TITLES : 

4.2
Blow Man
C Bop
G Wizz
Go 'Way Moon
My Hot Girth
Oh Yes, There Will
Tubs
The Star Spangled Banner - JAZZ VERSION FOR SOLO GUITAR - WITH GUITAR TABLATURE .  

Series: Instrumental Folio
Medium: Softcover with CD
Artist: Jay Graydon
Composer: Various Composers

Now you can play along with one of the music industry's most celebrated artists: guitarist, songwriter and producer Jay Graydon. Actual tracks from his Grammy®-nominated Bebop album have been remixed minus guitar on the CD to let you learn and perform eight of Jay's original bebop tunes, recorded by Jay himself and top session players. The book includes jazz-style notated lead sheets, a biography, album notes, photos and discography highlights. Songs: Blow Man - C Bop - G Wizz - Go 'Way Moon - My Hot Girth - Oh Yes, There Will - Tubs - 4.2, and a bonus track of -Star Spangled Banner, for solo guitar. 28 pages.

GREEN GRANT, BEST OF. A step-by-step breakdown of the guitar styles and techniques of the jazz groove master. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Grant Green
Author: Wolf Marshall

Explore the many stylistic turns of one of the most influential guitarists in jazz! Renowned guitar educator Wolf Marshall takes you inside 13 of Grant Green's most popular tunes to examine his unique lines and musicality. Includes: Airegin - Born to Be Blue - Cool Blues - If I Should Lose You - My Favorite Things - Oleo - Sookie Sookie - Stella by Starlight - This Could Be the Start of Something Big - Tune Up , and more. The CD includes full demos. 88 pages

TiTLES :
Ain't It Funky Now, Pt. 2
Airegin
Born To Be Blue
Cool Blues
If I Should Lose You
Little Girl Blue
My Favorite Things
Oleo
Sookie Sookie
Stella By Starlight
This Could Be The Start Of Something Big
Tune Up
Wives And Lovers (Hey, Little Girl)

INTRODUCTION
Grant Green personifies the appellation "soul jazz." He is one of the most colorful
and exciting guitarists to have emerged from the genre, and his work remains the yardstick
by which subsequent practitioners are measured to the present day. In the early and
mid 1960s, Grant Green was a leading exponent of the burgeoning hard bop movement
and a studio stalwart of countless recording sessions that chronicled the rise of the art
form. In these productive years Green lent his singular blue-tinged touch and talents to
groups led by luminaries like Jimmy Smith, Herbie Hancock, Lee Morgan, Larry Young,
Art Blakey, Lou Donaldson, Jack McDuff, Stanley Turrentine, Hank Mobley, Baby Face
Willette, Johnny Hodges, Ike Quebec, and many others. Green was one of the most prolific
recording artists in the prestigious Blue Note stable. He recorded an unheard-of seventeen
albums in 1961 alone, his first year with the company. Between 1961 and 1965,
his classic jazz years, Green made more records than any other artist at Blue Note.
During this time, in addition to his many sideman sessions, he established a formidable
legacy with a substantial catalog of his own albums as leader.
By decade's end, Green had expanded his artistic vision to include the new
rhythm and blues hybrid dubbed "funky jazz." As a result, in the late 1960s and 1970s he
enjoyed a second prominent and influential career as performer and innovator and was
hailed as the quintessential "groove master" of jazz. Green's contributions in the medium
affected countless players on both sides of the jazz-rock divide. You can put George
Benson, Pat Martino, Henry Johnson, Stevie Ray Vaughan, Carlos Santana, Mark
Whitfield, Eric Gale, John Scofield, Joshua Breakstone, Andy Summers, Melvin Sparks,
Dave Stryker, Kevin Eubanks, and Peter Bernstein on the top of the list.
This is the first Signature Licks book/CD to explore the music, style, and playing
techniques of Grant Green in depth. The note-for-note transcriptions will provide you with
countless hours of revelation, and the matching audio will invite you to step into his musical
world to put the theory into practice-the way Green himself did in his formative years.
The selections reflect the diversity of Green's approach and are drawn from his various
musical epochs. You will find material from the hard bop and soul jazz genres, straightahead
standards and blues, modal jazz outings, and funky rock-influenced sessions, all
attesting to the many shades of Green that have endured to become a vital piece of the
mosaic we know and love as the American musical experience.

Figure4-010
Green's two-chorus solo in "If I Should Lose You" is one of the finest of his early
years, a superb example of his hard-bop improvisation in a moderate swing tempo.
Throughout, he cultivates a relaxed soulful feeling distinguished by thoughtful melodic
invention and an ever-present rhythmic congruence.
Green plays unmistakable blues-based licks in Bb minor over the song's minormode
areas to begin each A section in measures 1-3, 17-19, 33-35, and 50-51.
Moreover, his cadential lines at the end of each sixteen-measure section, beginning with
the opening break, are harmonically active bop melodies that emphasize the movement
to and arrival in Bb minor. Green also imbues the crucial secondary dominant-seventh
sections of the song with related minor-mode sounds. In measures 13-14 and 45-46, he
applies characteristic Bb minor lines to Eb9, and approaches each phrase with an altered
dominant melody based on F, the V chord of Bb minor, in measures 12 and 44.
Green favors swing-oriented ideas and generally simpler, more diatonic bop lines
during the contrasting but tonally related major-mode portions (in Gb and Dbmajor) of the
tune. Check out measures 4-11,21-27,36-43, and 53-58. These measures contain a
mixture of scalar and arpeggiated patterns shaped into memorable solo phrases. A case
in point is the voice-leading figure in measures 8-10, a well-known and favorite Green
cliche. This trademark phrase implies an Ebm7-Ab7-Dbmaj7 progression with a descending
minor-seventh arpeggio (Db-Bb-Gb-Eb), disguised chromatic motion arranged in a
familiar zigzagging pattern of Eb-Bb-D-Bb-Db-Bb-C, a rising 9th chord arpeggio
(C-Eb-Gb-Bb), stepwise descent (Bb-Ab-Gb), and a resolving target figure (Gb-E-F).
Green pursues and develops a simple motive in measures 37-39 with an
inescapable logic. Note the melodic expansion and rotation in this three-part phrase.
Green was a master of this sort of melodic invention, and was able, on the fly, to harness
the same elements and procedures used by great classical composers to produce similar
thematically coherent results in improvisation.
Green plays signature raked arpeggio patterns in measures 20, 57, 60, and
62. These short, crammed figures are articulated with sweep picking in both ascending
and descending motion. Green applies side-slipping (in this instance "slipping" a half step
higher) in measures 46-47 to momentarily suggest the remote key center of A minor over
Eb7 and Ebm7. The phrase is made more striking with his barrage of crammed triplet
rhythms. Green's prevalent use of eighth-note triplet rhythm patterns in the solo further
energizes important phrases throughout, most notably in measures 27-28, 32, 43-44,
47-48, and 63-64. Another ear-catching highlight is the funky double-stop figure in measures
51-52. Here Green combines an anchoring pedal tone (Db)with a descending chromatic line.