PRIVATE LESSONS

FINGERSTYLE JAZZ GUITAR ESSENTIALS Private Lessons TABLATURE METODO LIBRO SPARTITI CHITARRA

FINGERSTYLE JAZZ GUITAR ESSENTIALS, Guitar Private Lessons. METHOD, SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA JAZZ.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Acoustic Guitar Private Lessons
Series: String Letter Publishing
Publisher: String Letter Publishing
Format: Softcover - TAB
Author: Sean McGowan

Learn the art of fingerstyle jazz guitar with these 12 insightful lessons. With chapters aimed at building chord vocabulary, separating bass and melody voices, and improvisation in the style of jazz guitar greats like Wes Montgomery and Joe Pass, this book is your guide to building and playing great solo guitar arrangements of songs from the classic jazz-standard repertoire. Complete with jazz interpretations of traditional songs. Lessons include audio downloads, standard notation and tablature for all examples and songs, and much more. 

Inventory #HL 00119954
ISBN: 9781936604319
UPC: 884088914912
Width: 9.0"
Length: 12.0"
84 pages

Prezzo: €26,99
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CLASSICAL THEMES FOR ELECTRIC GUITAR 25 Solo Guitar Arrangements Jean Marc Belkadi CD TABLATURE

CLASSICAL THEMES FOR ELECTRIC GUITAR, 25 Solo Guitar Arrangements, Jean Marc Belkadi. CD TABLATURE

Classical Themes for Electric Guitar 
25 Solo Guitar Arrangements

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Author: Jean Marc Belkadi

This book/CD package contains 25 timeless classical themes from the Renaissance to the Romantic Era and beyond. It includes works by J.S. Bach, Bartok, Beethoven, Brahms, Chopin, Dowland, Guiliani, Handel, Haydn, Mozart, Purcell, Satie, Stravinsky, Tchaikovsky. A bio for each composer is also included and the CD features demo tracks of each piece.

Inventory #HL 00695806
ISBN: 9780634070129
UPC: 073999958065
Width: 9.0"
Length: 12.0"
48 pages

Prezzo: €16,99
€16,99

ACOUSTIC GUITAR MAGAZINE ACOUSTIC GUITAR SLIDE BASICS David Hamburger CD TABLATURE METODO

ACOUSTIC GUITAR MAGAZINE PRESENTS SLIDE BASICS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA SLIDE CON CD.

SPARTITI PER CHITARRA CON: 

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TECNICA CHITARRISTICA, 

Le tecniche principali per lo slide blues, e per scivolare in altri generi. 9 Lezioni, 15 canzoni complete. Single string melodies, working in the thumb, open g tuning and closed position, pull-offs hammer-ons and blue notes, turnarounds and moving basslines.

Series: Guitar Educational
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: David Hamburger


David Hamburger, leading sideman, solo performer and teacher, guides players through this complete introduction to bottleneck slide guitar playing with progressive lessons in open tunings and fingerstyle technique, tips on slide guitars and gear, technical exercises, and full songs. The accompanying CD features all of the music played slowly, then up to tempo. In standard notation with tablature and chord diagrams.
Bitten by the blues bug? If you have always wanted to explore the haunting sounds of acoustic slide guitar, or are looking to brush up on your bottleneck basics, this easy-to-follow, step-by-step CD lesson book will have you well on your way to mastering one of the great styles of American roots music. David Hamburger, a master teacher, sideman, and solo performer specializing in slide and Dobro, is uniquely qualified to offer you these nine progressive lessons on the fundamentals of acoustic slide guitar. 72 pages.

Contents
Lessons

GETTING STARTED :

Guitars, Slides, and Tunings,

le diverse accordature, i tipi di bottleneck, messa a punto per lo slide

Single-String Melodies

l'angolatura del bottleneck, muting, terzine,  


Working in the Thumb

OFFBEAT

MOVING AROUND THE NECK :

Open-G Tuning and Closed Position

Vibrato

Spicing Up Your Melodies

Shuffling in D

MORE TOOLS AND TECHNIQUES :

Travis Picking

Tampa Red


Pull-offs, Hammer-ons, and Blue Notes

lo slide di un quarto di tono, le "BLUE NOTES"

Turnarounds and Moving Bass Lines

SONGS:

Cucina Blues
Steady Now
Offbeat Blues
From Twelve to Seven
Transposin' and Tumblin'
Three-Note Jump
Two-Chord Draw
The Cover-up
Better Late Than Never
Slidin' and Frettin'
Since I've Laid My Burden Down
Blue Note Special
Muddy's Blues
Muddy's Blues #2
Goin' Back to Clarksdale

Your pull-offs will be only as clean as your technique is in general. That is, if you're
still hearing lots of other strings sound as you slide up on a particular string, you're
going to hear all those strings ringing open along with the one string you want to hear
when you lift the slide. So keep paying attention to your damping and muting. Also,
make sure you've really reached the fret you were aiming for before you actually lift
the slide from the strings. Unless you're going for a quarter-tone slide ...
 
 
QUARTER-TONE SLIDES
This concept is a little more tricky to communicate in print, and even if you listen to
the examples on the CD, you may find it difficult at first to hear the difference
between a quarter-tone slide and a half-tone slide. Still, it's an important sound, and
I wouldn't want you to come away from this book thinking, "Hamburger, that slacker,
he never even tried to explain quarter-tone slides." So here goes.
To begin with, remember that a one-fret distance on the guitar is called a half-step
or a half tone. So a quarter tone is just going to be half of that. "Dave," I hear you say,
"how am I supposed to play half a fret?" Well, say, what's that on your little finger? A
slide? Try this. On the third string, slide from the third fret completely up to the
fourth fret (Example 4a). That's a half-step (one-fret) slide, and if you play that over
a G bass, the B you're landing on will sound really bright and perfect as the major
third of a G chord.
Now slide from the third fret only halfway up to the fourth fret-to an imaginary
three-and-a-half fret (Example 4b). Over a G bass, that note won't quite sound major,
and it won't quite sound minor. Ifyou just stop right there in the middle, it won't quite
sound right, either. There's a blue note you're trying to find, and I can really only
describe it as being the note on the way to the major third. If you haven't lost your
patience with this project yet, try this last step: Start at the third fret again and slide
toward the fourth fret, but this time lift the slide from the strings somewhere between
your start at the third fret and your conclusion at the fourth, killing the note midflight.
You need to be damping behind the slide with your index finger so that lifting
the slide actually stops the note; otherwise you'll get a pull-off to the open G.
 
It's a tangy, ambiguous sound, and it does work as a pull-off to the open G string,
too. Let's try a few licks with this sound. In Example 5, almost all the action is in the
pickup before the downbeat. Example 6 also has a long pickup, this time with a pulloff:
make the two quick slides into the seventh fret, and on the second one, lift the
slide from the string to get the open G. This open note gives you time to jump down
with the slide to the third fret for the last move of the measure.
Prezzo: €22,99
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EARLY JAZZ AND SWING SONGS FOR GUITAR Acoustic Guitar Method Songbook CD TABLATURE LIBRO

EARLY JAZZ AND SWING SONGS FOR GUITAR, Acoustic Guitar Method Songbook. CD TABLATURE

LIBRO DI MUSICA JAZZ SWING CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: String Letter Publishing
Publisher: String Letter Publishing
Softcover with CD - TAB
Artist: Various Artists

Editor: Jeffrey Pepper Rodgers

Author Photograph: Stephen Hunt

Add to your repertoire with this collection of early jazz and swing standards! The companion CD features a two-guitar recording of each tune, and the book includes full guitar parts in standard notation and tab with chord diagrams, plus detailed notes on the song origins and arrangements.

Includes 15 songs: After You've Gone - Avalon - Baby, Won't You Please Come Home - Ballin' the Jack - Hindustan - I Ain't Got Nobody (And Nobody Cares for Me) - Indiana (Back Home Again in Indiana) - Limehouse Blues - Poor Butterfly - Rose Room - Saint James Infirmary - St. Louis Blues - Tain't Nobody's Biz-ness If I Do - Till the Clouds Roll By - Whispering. 38 pages

 

EARLY JAZZ AND SWING SONGS FOR GUITAR INTRODUCTION

Early jazz refers to a period in American popular music that lasted from the late 'teens through the 1920s; the swing era basically refers to the 1930s. These periods overlap, of course, since musicians from the '20s continued playing throughout the 1930s and beyond, and the swing players of the '30s likewise continued to perform and record into the subsequent decades. With one exception, the 15 songs in this book were composed by professional songwriters in the first quarter of the 20th century. They were written as popular songs, to be sung in theatrical shows and revues and to be sold as sheet music, which at the time was still a bigger business than the sale of recordings. By the mid-1920s, as Louis Armstrong was hitting his stride with his Hot Five and Hot Seven sessions, recorded music was having its first big boom, and the interpretations of jazz musicians like Armstrong began to create a whole second life for certain popular songs. Jazz groups recorded these tunes with looser, more swinging interpretations of the melodies, new chord voicings, and a jazz pulse, generally using the songs as vehicles for improvisation. This fresh approach served to pull the songs in this book into what was then just becoming the jazz repertoire. By the 1930s the swing orchestras of Fletcher Henderson, Count Basie, and Benny Goodman were streamlining and refining the innovations made by Armstrong, Jelly Roll Morton, and others. Having cut their teeth on the music of the 1920s, Henderson, Basie, Goodman, and their peers and sidemen naturally gravitated toward reinterpreting those tunes, even as they composed new pieces and chose current show music to arrange. So we get Basie's and Goodman's versions of "Royal Garden Blues," Goodman's and Henderson's versions of "Rose Room," Basie's and Fats Waller's versions of "I Ain't Got Nobody," Goodman's and Jimmy Lunceford's versions of Introduction and Tune-Up: "Avalon"-all songs written a good 15 to 20 years before and given new life in the latest popular style. History exerts a winnowing effect on the music of the past-the 1960s' reputation as a golden era of rock 'n' roll, for instance, rests as much on forgetting the work of the Archies as on remembering that of Beatles and Bob Dylan. With the jazz age, too, certain songs have emerged as standards while countless other topical, novelty, and sentimental songs lie crumbling in the dust where they probably belong. In terms of the jazz repertoire, a standard is simply a song still in circulation because at some point an artist with sufficient influence saw fit to treat it as jazz material, and enough others subsequently ratified that first musician's judgement by recording and performing the song themselves. Early Jazz and Swing Songs includes the melody and chords to 15 standards in the public domain. The Cdincludes a two-guitar recording of each arrangement, but to really learn how to play these tunes, especially the melodies, I suggest tracking down at least one original recording of each song. I have stayed close to the published sheet-music versions of the melodies found in Hal Leonard's Early Jazz Standards, and more than a few of the tunes sound somewhat square when played that way. I did so, however, because even by the 1930s, many jazz musicians' renditions of these tunes were loose interpretations of the original theme, and if you want to understand the kind of improvisors they were, there are few better places to start than observing how they ornamented and re-created the melodies. I hope you have fun learning to play these tunes. Like fiddle tunes or classic rock songs, early jazz and swing standards are a great meeting ground for casual jamming with friends and fellow musicians. So once you've got a few of these under your fingers, don't hesitate to try them out the next time you're doing some picking. Good luck!

 

THE RHYTHM STYLE

I've arranged the chord progressions in this book in what guitarists call the Freddie Green style, after the rhythm guitarist who reportedly took only one recorded solo in his five decades with the Count Basie orchestra. While such nobility may not be your cup of Darjeeling, Green nevertheless perfected a comping (as in, ac-comp-animent) style that lays down just the right groove for a swing interpretation of the melody. There are two components to this style: what chords to play and how to play them. Let's look at each one before we get into the tunes themselves.

 

THE CHORDS

Jazz guitarists tend to use four-note chord voicings, but Green's style trimmed each chord down to the three notes found on the sixth, fourth, and third strings, as shown below in the second row. (Note that there is no commonly used fournote version of the G/D, so just the three-note version is shown.) You can play all 15 arrangements in this book using just these nine chord shapes.

Four-Note Voicings. Several of these chords have the third or the fifth of the chord on the lowest string, rather than the root. You may also have noticed that the Gm6, G7/D,and Gdim chords all have the exact same shape. These chords are meant to be played with a bassist, who is presumably playing the root of the chord on the first beat of each measure. Heard out of that context, these chords may not sound right at first, which is another good reason to spend some time with original recordings of these tunes and even to try and play along with them. Wherever possible, I've arranged these songs in the keys in which they were first published. While jazz musicians usually stick to the original key, sometimes another key becomes a popular alternative-for example, "Indiana" is just as frequently played in the key of F as in the original key of AJ,. And standards are frequently moved to another key to accommodate a vocalist.

 

STRUMMING

In the swing era, the guitarist was usually part of a four-piece rhythm section that also included piano, bass, and drums. Keeping good time meant providing a steady flow of quarter notes, four per bar, by playing a downstroke on every beat and possibly emphasizing beats 2 and 4 somewhat. Ifyou let your fretting fingers mute the fifth, second, and first strings, you can do a big, percussive strum across all six strings and just hear the notes you want to hear, on the sixth, fourth, and third strings. Relaxing your grip at the end of each quarter note dampens the strings and creates a little space between each stroke. At slower tempos, the four strums in a bar tend to come out relatively evenly, as in Example 1. At a moderate tempo (Example 2), the second and fourth beats start to get more clipped. And at faster tempos (Example 3), the second and fourth beats tend to become just a percussive backbeat.  

 

After You've Gone

Avalon
Baby, Won't You Please Come Home
Ballin' The Jack
Hindustan
I Ain't Got Nobody (And Nobody Cares For Me)
Indiana (Back Home Again In Indiana)
Limehouse Blues
Poor Butterfly
Rose Room
Saint James Infirmary
St. Louis Blues
Tain't Nobody's Biz-ness If I Do
Till The Clouds Roll By
Whispering

Prezzo: €18,99
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CHORD-MELODY GUITAR A Guide to Chords and Melody to Create Solo Arrangements LIBRO CD TABLATURE MI

CHORD-MELODY GUITAR, A Guide to Combining Chords and Melody to Create Solo Arrangements in Jazz and Pop Styles. Musicians Institute Bruce Buckingham. SHEET MUSIC BOOK WITH CD 6 GUITAR TABLATURE. 

LIBRO METODO PER CHITARRA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Chord-Melody Guitar
A Guide to Combining Chords and Melody to Create Solo Arrangements in Jazz and Pop Styles

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Author: Bruce Buckingham

Master the art of blending melody and harmony on the guitar with this book/CD pack. It includes in-depth studies of chords and chord melodies as well as a CD containing 90 demonstration tracks. Lessons include:
the five patterns;
chord shells;
inversions;
voice leading;
cadences;
diminished chords;
and more.


Inventory #HL 00695646
ISBN: 9780634032110
UPC: 073999956467
Width: 9.0"
Length: 12.0"
64 pages
 

Introduction

The subject of chord melody studies the relationship between a melody and its accompaniment. This can be a difficult thing if the student doesn't have a thorough understanding of the harmonic ideas presented in the tune. The intent of this book is to give the guitarist the tools to understand the interaction between the melody and the chords that support it, by both hearing these relationships and seeing them on the instrument.

When you play the melody to a song, there are certain parts that require some support from the harmony in order to create a complete and effective arrangement. It is up to the performer to realize where these points are and supply the chordal accompaniment. Most of this has to do with realizing how the melody relates to the key and thereby understanding which would be the proper chord for this point in the tune. Of course the composer has supplied that chord, but we may have different ideas from the composer. We also might encounter some melody notes that need special treatment, because they are passing notes that don't work well with the given chord for that measure; these require passing chords or no chord at all. Further complicating things is the idea of style, which can dictate a complete change of accompaniment patterns. We should be aware of stylistic demands and try to adhere to their ideals. Chet Atkins, a great country guitarist, might have a different (yet equally valid) approach from that of Joe Pass, a great jazz guitarist. In either style, an arrangement will be an exercise in resolving problems related to the interaction of harmony and melody. Therefore, students of chord melody should strive to understand harmony as well as looking for arrangements and studying the guitar and various musical styles. Classical guitar study addresses the harmonic issue from the very beginning, but popular styles (jazz, pop, country, etc.) usually don't. It is only the advanced players in those styles that create something for the rest to emulate, when in fact this can be done at any level of complexity. We should try to accomplish "musical" ideas at all costs! One way to open up your sense of melody is to play many different voicings of chords. A voicing of a chord is how the notes are ordered from the bass note up. An example would be a major seventh chord with its notes in this order: C-G-8-E, or possibly C-8-E-G. Notice that by re-ordering the chord tones we get a different note on the top; therefore a melody evolves on the top note of the chord when we move from one voicing to the next. Even if we just change the voicing of the chord once, it sounds as though some movement has occurred. Your daily practice should include technique and rhythm/time, the musical element of arranging (harmonic moves and/or songs), and memorization of repertoire. If you are serious about the harmonic possibilities of the guitar, the study of chord melody can continue for the rest of your life.

 

Contents

Introduction 

1. An Overall Fretboard View .

The Five Patterns 

Relationship of Chord Tones to Scale Tones .

Common Guitar Voicings .

 

2. Shells .

II-V-I Moves with Shells .

Blues with Shells .

 

3. Inversions .

Triads 

Seventh Chords 

 

4. Harmonized Scales 

 

5. Chord Scales 

 

6. Slash Chords 

Upper Structure Triads 

 

7. Harmonic Moves 

Triadic Harmony 

Seventh Chord Harmony 

 

8. Voice Leading .

 

9. Cadences .

 

10. Moving Lines .

 

11. Substitution .

Diatonic Substitution .

Flat-Five Substitution .

II for V7sus Substitution .

Melodic Minor Substitution .

 

12. Diminished Chords .

Dominant-Diminished Substitution .

Diminished Passing Chords .

 

13. Chordal Interpretation .

 

14. More Chord Voicings .

 

About the Author .

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A MODERN APPROACH TO JAZZ, ROCK & FUSION GUITAR Jean Marc Belkadi Publisher Mus. Inst. CD TABLATURE

A MODERN APPROACH TO JAZZ, ROCK & FUSION GUITAR. Jean Marc Belkadi, Musicians Institute. Le scale maggiori, i cromatismi, triadi e tapping, arpeggi e sweep picking, fusione di idee. CD TABLATURE


Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Jean Marc Belkadi

Jean Marc Belkadi gives you over 30 great lines using a variety of techniques and melodic ideas. Covers: alternate, sweep, and skip picking; major scale, chromaticism, arpeggios, superimposing triads; legato, wide intervals, alterations; and much more. Includes standard notation and tablature.

Inventory #HL 00695143
ISBN: 9780793573776
UPC: 073999951431
Width: 9.0"
Length: 12.0"
24 pages

 

A Modern Approach to JAZZ, ROCK, & FUSION GUITAR

Jean Marc Belkadi gives you over 30 great lines using a variety of techniques and melodic ideas

- Major scale, chromaticism, arpeggios, superimposing triads
- Alternate picking, sweep picking, and string skipping
- Legato, wide intervals, alterations
-Standard notation and TABLATURE

HL00695143

MUSICIAN INSTITUTE PRESS
is the official series of Southern California's renowned music school. Musicians Institute
MI instructors, some of the finest musicians in the world, share their vast knowledge and
experience with you nomatter what your current level.
Whether your instrument is guitar, bass, drums, vocals, or keyboards, MI PRESS
offers the finest music curriculum for higher learning through a variety of series:

Essential Concepts – designed from MI core curriculum program

Master Class - designed from MI elective courses

Private Lessons - tackle avariety of topics "one-on-one" with MI faculty instructors

Pocket Guide - handy reference to the basics

Video - in-depth lessons with many of Ml's well-known instructors

Workshops - transcribed scores of music's greatest songs, designed from Ml's performance workshop classes.

HAL LEONARD


by Jean Marc Belkadi

Contents

Dedication
About the Author
Introduction
Introduction to the Recording
Tuning
Chapter 1: The Major Scale and Chromatism
Chapter 2: Triads
Chapter 3: Arpeggios
Chapter 4: Additional Ideas
Closing
Guitar Notation Legend

ISBN 0-7935-7377-7
HAL-LEONARD


DEDICATION
This book is dedicated to Marie Christine Belkadi, my brother Patrick, and my
parents whose love, strength, and faith has been a source of inspiration and
growth.
Special thanks to:
Karen Segal for transcribing, copying, editing, and for all your positive
suggestions.
Vasso Dimitriou for producing, recording, and for your supportive attitude.
Ted Green for editing and positive advice.
Thanks to Frank Gambale, Michael Komitchisk, Francois and Fred from LAG
guitars and Steve Butcher from Dimarzio pick-ups.

ABOUT THE AUTHOR
Jean Marc Belkadi started playing guitar at age 14. He graduated from the
Toulouse Music Conservatory in his hometown. In 1984,he left France for the
u.s. to learn at the Musicians Institute of Technology in Los Angeles where he
received the Best Guitar of the Year Award.
In 1989 and 1992he was awarded third and second prize at the Billboard Song
Contest. For three years he was musical director of the Johnny Hune TV show.
He has written two guitar method books addressing Jazz, Fusion and Rock
soloists and recorded one solo album.

INTRODUCTION
The purpose of this book is not to be a guitar method book with a captalIM."
Rather, it is intended as a source of inspiration to help you develop your own
ideas. The three key areas that I focus on and encourage you to explore are:

Melody
In any style of music you are into, the melodic direction, sound, and phrasing
are the first and most important things to consider. For this reason-and to
develop the connection between your ear and fingers-I recommend that you
sing all the lines (slowly at first).

Harmony
All of the lines are performed against a certain chordal background. However,
they can also be used with other chords and will sound different in each context.
I encourage you to experiment by playing them in different chordal contexts using
a tape recorder, a synthesized background, a friend, or whatever you may have
available.

Technique
This book is geared for guitar players and makes use of various techniques that
are unique to the guitar, including alterna te, sweep, and skip picking, hammer-ons,
pull-offs, and tapping. Play the lines very slowly and accurately at first and
gradually speed up. Don't forget that the melody should sound natural to you at
any tempo. The harmony should be implicit, your phrasing clean, and timing
perfect.
Let's begin now! I hope you will enjoy this as much as l do ...

Editor's notes:
Follow the audio icons in the book to keep your spot on the CD.
A short "introductory" solo portion may sometimes precede the main lick of each
figure, to give it a better sense of context. However, only the main lick itself
appears transcribed in each case.
 

Prezzo: €17,99
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ULTIMATE GUITAR TECHNIQUE-Bill LaFleur-Musicians Institute CD TABLATURE CHITARRA TECNICA

ULTIMATE GUITAR TECHNIQUE, THE COMPLETE GUIDE. Bill LaFleur. Musicians Institute - PRIVATE LESSONS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

LIBRO DI MUSICA, ROCK, CLASSICAL, LATIN, FOLK, METAL, JAZZ, 

METODO DI TECNICA PER CHITARRA. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Publisher: Musicians Institute Press

From bends and picking styles to multi-finger tapping and animal sounds, this book/CD pack contains loads of guitar techniques to learn and master. Hone your skills with chop-building exercises, and use the demonstration CD to master every technique in the book. Includes: chop-building exercises - tremolo bar, tapping, harmonics - bends, slurs, slides - picking styles, rakes - fret-hand techniques - pick-hand techniques - lead and rhythm guitar - rock, classical, Latin, folk, metal, jazz and more - tricks and sound effects - standard notation and TABLATURE

Prezzo: €25,99
€25,99

JAZZ-ROCK TRIAD IMPROVISING FOR GUITAR Jean Marc Belkadi CD TABLATURE 50 LICKS-Substitution-

JAZZ-ROCK TRIAD IMPROVISING FOR GUITAR, Jean Marc Belkadi. Mus. Inst. 50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

SHEET MUSIC BOOK CD WITH GUITAR TABLATURE.

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Jazz-Rock Triad Improvising for Guitar
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Jean Marc Belkadi

In this “private lesson,” MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top, red-hot licks and lead phrases! He covers: modal and tonal usage, triad substitution and superimposition techniques, and much more. The book is in standard notation and tab, and the CD features 50 full-band tracks.

Inventory #HL 00695361
ISBN: 9780634001581
UPC: 073999953619
Width: 9.0"
Length: 12.0"
24 pages

PRIVATE LESSONS

JAZZ-ROCK TRIAD IMPROVISING for Guitar
50 LICKS AND LESSONS FOR CREATING RED HOT LEAD PHRASES

Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top phrases.

- CD Includes 50 Full-Band Tracks
- Modal and Tonal Usage
- Triad Substitution and Superimposition Techniques
- Standard Notation and Tablature

ISBN 0-634-00158-2

 

Introduction
In contemporary music, the use of triads is an important element in improvisation and composition.
They are as prevalent as scales, modes, arpeggios, rhythms, and intervallic ideas.
Like scales and modes, triads can be substituted in tonal and modal music. They can also be
superimposed, creating bitonality or polytonality. Superimposed triads give us synthetic scales
such as hexatonic (6 note scales = 2 triads), or nonatonic scales (9 note scales = 3 triads).
What Is a Triad?
A triad is a three-note chord made up of a root, third, and fifth. There are four triad families:
Major triad: 1-3-5
Minor triad: 1-b3-5
Diminished triad: 1-b3-b5
Augmented tri ad: 1-3-# 5
Of course, in everyday applications triads are played with different inversions:
Root position
1-3-5

Inversion possibilities
3-5-1, 5-1-3, 3-1-5, etc.

Sometimes triads are played with one degree dispersed an octave higher:

regular triads
open triads

This dispersement procedure creates what is referred to as an open triad, and can be applied
to minor, diminished, and augmented triads, as well as major.

Triad Substitution
Triad substitution is where one triad is substituted in place of another. One of the most common
is flat-five-or tri-tone substitution. This is when a triad a flat-fifth degree (tri-tone) away is
substituted for a chord. For example: instead of playing a G major triad over a G7 chord, a Db
major triad (Db is a flat-fifth away from G) is "substituted."

Triad Superimposition
Triad superimposition is where two or more triads are played one after the other, creating a
"dispersed scale" effect of bitonality or polytonality. Of course all triads can be substituted or superimposed
in both tonal and modal music, either using the single-note approach or voiced in chord form.
 

About this Book
The purpose of this book is to help you to create your own ideas using triad concepts. It is
divided into two parts: tonal music (II-V-I chord progressions, Chapters 1 and 2) and modal
music (Chapters 3 and 4). Keep in mind that the examples do not follow a specific order
of difficulty; you can jump in anywhere and work with the licks you like best. You also might want
to listen to the CD first to locate the examples that appeal to you the most.

About the Audio
Throughout this book, the numbers in the audio symbols (+) indicate the CD track number
where each example will be found on the accompanying CD.
Each example is played at full tempo, and most are repeated at half speed. In addition, short
introductory phrases (which are not transcribed in the examples) are sometimes included to provide
a better sense of context and to maintain an improvisational feel.

 

Acknowledgments
I wish to give special thanks to Marie-Christine Belkadi, Kevin Holmes for editing assistance, all at Hal Leonard Corporation, Frank Gambale and Mike Stern for their support, Keith Wyatt from Musicians Institution, Steve Blutcher from DiMarzio, HHHrrernst Homeyer for his good advice, Marco Biasella and Pierre Pichon for letting me use their equipment, Alain Lasseube-Le frere
Gagarine, Olivier Hermitant for his friendship, and Chris Jero of Yamaha.
This book is dedicated to my dear Grandma, Georgette Bach.

About the Author
Jean-Marc Belkadi started playing guitar at age 14. He graduated from the Toulouse Music
Conservatory in his hometown. In 1984, he left France for the U.S. to study at Musicians
Institute in Los Angeles where he received the Best Guitarist of the Year award.
In 1989 and 1992, he was awarded third and second prize at the Billboard Song Contest.
For three years, he was musical director of the Johnny Hune TV show. He has written three guitar
method books-A Modern Approach to Jazz, Rock, & Fusion Guitar, The Diminished Scale for
Guitar, and Advanced Scale Concepts and Licks for Guitar-and has recorded one solo album.

 

Table of Contents
About this Book
About the Audio
Introduction

Chapter 1: Substitution and Superimposition Techniques in Tonal Music
Major Key II-V-I Progressions Using Substitution 
Major Key II-V-I Progressions Using Superimposition 
Minor Key II-V-I Progressions Using Substitution 
Minor Key II-V-I Progressions Using Superimposition 
Major Key IImi7b5-V-1 Progressions Using Substitution 
Major Key IImin5-V-1 Progressions Using Superimposition 
Major Key 117-V-1Progressions Using Substitution 
Major Key 117-V-1Progressions Using Superimposition 

Chapter 2: Open Triad Techniques in Tonal Music
Major Key II-V-I Progression Using Open Triads .
Minor Key II-V-I Progression Using Open Triads 
Major Key Ilmi7b5-V-1 Progression Using Open Triads 
Major Key II7-V-1Progression Using Open Triads 

Chapter 3: Substitution and Superimposition Techniques in Modal Music
Ma7 Chord Examples 
Ma7#11 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples
Dominant7 Chord Examples 

Chapter 4: Open Triad Techniques in Modal Music
Ma7 Chord Examples 
Mi7 Chord Examples 
Mi(ma7) Chord Examples 
Mi6 Chord Examples 
Dominant7 and Altered Dominant7 Chord Examples 
Acknowledgments
About the Author
Guitar Notation Legend
Note: Track to tune up.
 

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CHORD TONE SOLOING A GUITARIST'S GUIDE TO MELODIC IMPROVISING ANY STYLE LIBRO CD TABLATURE BOOK

CHORD TONE SOLOING, A GUITARIST'S GUIDE TO MELODIC IMPROVISING IN ANY STYLE. MUSICIANS INSTITUTE. CD TABLATURE

LIBRO METODO DI MUSICA CON CD,

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

A Guitarist's Guide to Melodic Improvising in Any Style

Barrett Tagliarino
Editore: Musicians Institute Press

La guida per chitarra per le improvisazioni melodiche in qualsiasi stile.


Scopri con questo libro e CD come i professionisti creano assoli meravigliosi! Il Cd allegato contiene 68 tracce di esercizi, frasi, esempi di solos e play alongs. include tutto il materiale necessario di base, le istruzioni dettagliate su come e che cosa allenare; concetti essenziali per musicisti di ogni livello; sviluppa "riflessi melodici" in tempo reale; assoli in qualsiasi progressione e in qualsiasi stile musicale, usare gli accordi come una sorgente infinità di idee e molto altro. 112 pagine.

 

Chord Tone Soloing
A Guitarist's Guide to Melodic Improvising in Any Style
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD
Author: Barrett Tagliarino

Learn how the professionals create monster solos with this easy-to-use book/CD pack! The accompanying CD includes 68 tracks of exercises, licks, solo examples, and play-alongs. Includes all necessary foundation materials; detailed instructions on how and what to practice; essential concepts for players at every level; developing your real-time melodic reflexes; soloing over any progression in any style of music; using chords as an endless source of ideas; and more.
Inventory #HL 00695855
ISBN: 9780634083655
UPC: 073999958553
Width: 9.0"
Length: 12.0"
112 pages

 


A Guitarist's Guide to Melodic Improvising in Any Style

INCLUDES:
All Necessary Foundation Materials
Detailed Instructions on How and What to Practice
Essential Concepts for Players at Every Level
Developing Your Real-Time Melodic Reflexes
Soloing Over Any Progression in Any Style of Music
Using Chords as an Endless Source of Ideas
Standard Notation and Tablature

Learn how the professionals create monster solos with this easy-to-use book/CD! The accompanying CD includes 68 tracks of exercises, licks, solo examples, and play-a longs.


MUSICIANS INSTITUTE PRESS
is the official series of Southern California's renowned music school, Musicians Institute. MI instructors, some of the finest musicians in the world, share their vast knowledge and experience with you nomatter what your current level.

Whether your instrument is guitar, bass, drums, vocals, orkeyboards, MI PRESS offers the finest music curriculum for higher learning through avariety of series:

Essential Concepts – designed from MI core curriculum programs

Master Class - designed from MI elective courses

Private Lessons - tackle a variety of topics "one-on-one" with MI faculty instructors

Video-in-depth lessons with many of Ml's well-known instructors

ISBN 0-634-08365-


Introduction

What It Is
In any style, solos and melodies make use of the notes in the chords that are being played. In this book, we IIstart from scratch and learn to find both the chord tones and the correct scales to go with them in any spot on the fretboard.
Part I is a very simple preview to show you where the book is going. Then all the scales, arpeggios, and theory you need are presented, explained, and drilled in Part II with exercises that have a rhythmic focus. This all serves to prepare you for the longer chord-tone soloing routines in Part III. Pick up a guitar magazine or book and you'll find music being explained with a slew of numbers: "In measure 18, (insert amazing player here) sneaks in a stunning major 6th over the AD,resolving to the 3rd of the I chord." Ever wonder if great players actually think of those numbers, or is it all just theoretical justification dreamed up afterwards? The answer is yes, they do think that way, even if they don't know all the terms used by the guy who writes about it later. Be it crude or sophisticated, much musicality comes from knowing how notes relate to the underlying chords. The numbers (and letters) are the language used to express this chord-related, or harmonic, information. You might pick this up by trial and error, by relying on your ear, and/or by copying other players. This is necessary and desirable, and the way we all learn in the end, but you can cut down the time it takes to reach a professional level (where you're always ready to play something that fits the music) by applying harmonic theory to your practice. In other words, rather than reinvent the wheel, just steal it and run over those who came before you.

Who It's For
This book is for players of any style, at all but the most beginning levels. I'll only assume you know the most basic techniques like strumming chords and picking single notes (techniques like bending strings, hammer-ons, and pull-offs are not needed for the program). Everything beyond that is explained in detail, from basic harmony and theory on up. But there's no mistaking that by the end of Part III the material is advanced, and you can expect to continue to use this book for years to come.
Once you have enough basics from Part II under your fingers, the routines in Part III will produce noticeable differences in your playing in just a few weeks. After a year of applying the method, you'll know how to solo melodically over anything but the most challenging chord progressions. With the concept in hand, you can then make sense of those magazine transcriptions, attack other books with intelligence, and use what you learn from them in your own music.

Where It Came From
Students hear me soloing over tunes in different styles-rock, country, whatever. Sometimes they stop me and say, "Show me THAT lick!" I'd like to, but often I can't. There is not a giant mental library of licks that I simply plug in one after another. There are some licks to learn, of course, but there's more to it-some way of picking out notes on the fly so that they flow in a musical way, all in less time than it takes to think about it.
Then they might ask, "What scale did that come from?" or "Was that an arpeggio?" I explain that it's
neither scale nor arpeggio, but sort of both at the same time, which leads us into a productive course of study, the refinement of which you now have before you.


PRIVATE LESSONS
By Barrett Tagliarino
Table of Contents
Introduction .
About the CD .

Part I: A Preview to Chord-Tone Soloing .
Chapter 1: Let's Jam .
Chapter 2: Chord-Tone Targets on a Basic Blues .

Part II: A Solid Foundation .
Chapter 3: Getting Serious About Practicing .
Chapter 4: Timing .
Chapter 5: The Five Patterns .
Chapter 6: Major Scales .. '': .
Chapter 7: Intervals ~ .
Chapter 8: Chords and Arpeggios .
Chapter 9: Diatonic Harmony .
Chapter 10: Finding Key Centers .
Chapter 11: Minor Scales and Keys .
Chapter 12: Modes .
Chapter 13: Extensions .
Chapter 14: Modal Interchange, Secondary Dominants, and Modulation .

Part III: Chord-Tone Soloing Exercises .
Chapter 15: 3rds and 7ths .
Chapter 16: The Frosty Fretboard .
Chapter 17: Arpeggiation .
Chapter 18: Targeting 1, 3, 5, or 7 ,
Chapter 19: Steady Eighth-Note Lines .
Chapter 20: Scalar Connection to Any Chord Tone .
Chapter 21: Ascending Arpeggios and Descending Scales .
Chapter 22: Choosing Your Targets .
Conclusion .
About the Author .
Acknowledgments

ISBN 0-634-08365-1

 

Conclusion
I suggest keeping some type of tone-targeting exercises as set forth in Part III of this book in your
practice regimen on a long-term basis. Add more challenges as you go:
• continue to target chords that change on beats beside beat 1 or 3 of the measure
• play lines consisting of triplets (three notes per beat), sixteenth notes (four notes per beat), or a mixture of the two
• use scale sequences and melodic ideas that fit or overlap chord phrases
• target chord tones over progressions that use odd time signatures
• apply phrasing ideas you've learned from other players
• think of some of your own ideas and practice until you can toss them in at will
An idea for a song may pop up while you're exploring a new exercise. It's also important to continue
learning and analyzing solos and melodies by other players, so you can absorb the pacing, phrasing, and structure, as well as the fun part: stealing the licks.
It's been a pleasure for me to work on this book, and I sincerely hope these practice routines help you as much as they have me and my students. Good luck.

About the Author
Barrett Tagliarino has been an MI instructor since 1987 and was Rock Department Head at Hohner
MusikSchule in Vienna, Austria, in 1994. This is his fourth book for the Hal Leonard Corporation. Barrett has recorded TV and radio commercials and a Starlicks instructional video, Classic Rock Guitar Soloing.
Barrett has also written articles in magazines like Guitar Player and Guitar One, and released an independent CD, Moe's Art. Find out more at his website, monsterguitars.com.

Acknovvledgllnents
I'd like to thank Tommy Gunn for playing the drums and Jason Moussa for testing this book. Thanks also to everyone at the Hal Leonard Corporation.
 

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Acoustic magazine SWING GUITAR ESSENTIALS CD TABLATURE LIBRO SPARTITI DJANGO REINHARDT

Acoustic guitar magazine, SWING GUITAR ESSENTIALS. 90 Fraseggi, accordi fondamentali, la melodia, lo stile ritmico di Freddie Green e la big-band, Texas swing, Minor swing di Reinhardt, Avalon e altri 3 titoli. CD TABLATURE

LIBRO METODO DI MUSICA SWING, CON CD. 

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA E TABLATURE.  


Acoustic Guitar Private Lessons Series
Series: Guitar Educational
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: Various Authors

This comprehensive book/CD pack includes 5 full songs (including Minor Swing and Avalon) and 10 in-depth lessons for players of all levels, taught and recorded (slowly and up to tempo) by the master teachers at Acoustic Guitar magazine. It introduces guitarists to swing's essential styles and pioneering players from Eddie Lang to Count Basie's rhythm master Freddie Green to Hot Club virtuoso Django Reinhardt, and covers topics such as jazz chord basics, movable chord forms, swing soloing, and more. Instructors include Dix Bruce, Hal Glatzer, David Hamburger, John Jorgenson, John Lehmann-Haupt, Tony Marcus, Scott Nygaard and Michael Simmons.

Avalon
Been There, Dunn That Blues
Dominant Seven Swing
Leather Britches
Minor Swing

80 pages

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