BERKLEE PRESS

ADVANCED READING STUDIES FOR GUITAR Berklee William Leavitt studies all keys using positions 8 major minor symmetric scales

ADVANCED READING STUDIES FOR GUITAR. Berklee press.

Guitar Technique
Series: Guitar Solo
Publisher: Berklee Press Publications
Author: William Leavitt

This Berklee Workshop is designed for serious guitarists who want to sharpen their high register reading skills and take their playing expertise to the next level. It introduces studies in all keys, using positions 8 through 12 and all major, minor and symmetric scales. Individual studies consist of scale passages, arpeggios, intervals and notated chord sequences in various time signatures. 112 pages

Price: €21,99
€21,99

A MODERN METHOD FOR GUITAR VOLUME 3 EDIZIONE ITALIANA William Leavitt Berklee Press Libro senza Tablature

A MODERN METHOD FOR GUITAR VOLUME 3. William Leavitt. Tecnica avanzata, arpeggi, ritmi, costruzione degli accordi e voicing, scale, pezzi, 160 pagine. In italiano.

Le diteggiature per scale ed arpeggi di due ottave sono sviluppate al massimo per cui qualunque altra diteggiatura possiate scoprire non sarà altro che la combinazione di due o più di quelle qui presentate. Per quanto riguarda accordi e armonia, vengono forniti tutti i diagrammi e tutto è ricavato da una conoscenza della nomenclatura e della costruzione delle voci. Il dominio delle pagine relative ai ritmi della mano destra vi metterà in grado di eseguire qualsiasi combinazione ritmica che vi si possa presentare in ogni momento.

Price: €22,99
€22,99

MELODIC RHYTHMS FOR GUITAR WILLIAM G. LEVITT BOOK LIBRO METODO SPARTITI CHITARRA JAZZ

MELODIC RHYTHMS FOR GUITAR, WILLIAM G. LEAVITT, BERKLEE. BOOK AND CASSETTA

Price: €21,99
€21,99

ROCK GUITAR STYLES MIKE iHDE BERKLEE CD LIBRO SPARTITI CHITARRA ACCORDI MUSICA METODO

 

ROCK GUITAR STYLES. BERKLEE, Mike Ihde.

Metodo per solista e ritmica con marcati esempi di musica hard rock, metal, funk, blues ecc. . CD

Mike Ihde, Guitar
Peter Olson, Bass
Bob Harsen, Drums

FOREWORD
This book is written for all guitarists, professional or not, who realize the importance of being versatile on their instrument. If you plan to make a living as a working guitarist, sooner or later whether you like it or not, you'll be called upon to play some kind of Rock and Roll. This is why I've tried to cover what I think are the most valuable and enduring styles of rock. There may be only an example or two for each topic, but if you can play it exactly as written, with the right sound or gadget, I know you'll sound authentic. Hopefully, you'll find this book to be a short cut in learning rock lead or rhythm. You will need a certain amount of reading skills to handle it all, but I'm sure the results of your practice will be worth the struggle. Not all of the examples are recorded, but each one I chose demonstrates a particular technique that you must be able to imitate. All examples that have been recorded are indicated by a large star"* . I've been teaching the styles shown in this book in my Rock Guitar Styles Workshop at Berklee over the past few years with excellent results. Start anywhere in the book you want, but learn each style completely before going on. Most of all, try to learn why each style is different from the other, this way you'll be able to create your own licks instead of copying someone elses. The recordings are included because no matter how well you read, you won't be able to achieve the right feel unless you hear it

H. RIGHT HAND HAMMERING
Here's a new twist on bending that will add a great deal to the licks you already know. You know how to playa hammer when using your left hand. Well, this technique is the same except for the fact that the hammer is done with your right hand .. Use your right hand's middle finger and sharply nail it down anywhere on a string. You should hear a note just as you would have had you done it with your left hand.
It will definitely take a while to build up the strength and accuracy necessary for this technique but it'll be worth it. Now, try a bend with your left hand. Let's say G to A on the second string. While the note is bent up to A, hammer on your right hand's middle finger on the 13th fret. This will produce the note D. Now, keep your right hand's D helci.down while you release the bend in your left hand. You should hear that D go down to C. All right hand hammers are indicated with a star*.

Standard Notation
The string bending notation is my own, but the following notations are standard in all forms of music. THE SLUR: A curved line connecting two notes of different pitch, tells you not to attack the second note. For a horn player this would mean not to tongue the second note. For the guitar player it means not to pick the second note. The only way this can be done is by hammering on or pulling off . Beat one of measure one uses a hammer on. Pick only the first note(E~) and drop your third finger sharply on the string to produce the F. Between the "and" of three and beat four, pick only the F and ...

Early Rock
Ballads and Up Tempo Styles When rhythm and blues was discovered by white artists like Elvis, and mixed with the country music of the day, the result was Rock and Roll. In July of 1955 when "Rock around the clock" hit the number one spot on Billboards top 40 charts, a new era of music began. In 1956, Dean Martin and Nelson Riddle were riding high on the charts when Elvis released "Heartbreak Hotel". In the same year he had four more No.1 hits with "Hound Dog", "Don't be Cruel", "Love Me Tender" and "Any Way You Want Me". From then on, rock and roll was in full swing. Because of the roots rock had in country and blues, the chord progressions were always simple. The old "three chord special" was the rule in almost all the hits. This simplicity was probably the main·reason that thousands of kids decided to take up guitar and bass. Almost anybody could figure out a C, F and G chord on the guitar. Soon, every town had at least five or ten bands trying to get gigs at the high school dances. (Ah yes, I remember it well!) Most tunes were either slow ballads or fast rock and roll. For slow tunes, a typical rhythm would look like this:


Table of Contents
Foreword
Notation for string bending
Standard notation
Notation for rhythm guitar

CHAPTER ONE ROCK RHYTHM GUITAR
Early rock, ballads and up tempo styles
Cha Cha
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
NewWave
Blues
Soul & Funk
Funk
Jazz Rock

CHAPTER TWO ROCK LEAD GUITAR
Early rock and roll, ballads and up tempo styles
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
New Wave
Blues
Soul & Funk
Jazz Rock

CHAPTER THREE ELECTRONIC DEVICES FOR THE ROCK GUITARIST
Distortion & Fuzz
Phase Shifter & Hanger
WaWa & Envelope Follower
Octave Divider
Echo
Compressor & Limiter
Chorus & Double Tracking
Volume Pedal
Guitar Synthesizer
The Harmonizer

CHAPTER FOUR ARRANGEMENTS FOR LEAD GUITAR, RHYTHM GUITAR, BASS and DRUMS
Notation for rhythm guitar, bass and drums
Basic technique for arranging the rhythm section
Full length examples
1. "St;::eplechase", rock style
2. "Bent Over Backwards", country rock style
3. "Slightly Out", jazz rock style
4. "Funky Chicken Pickin"', funky country style
5. "After two very dry Martinos", fusion style 

Price: €44,99
€44,99

BERKLEE PRACTICE METHOD BASS CD TABLATURE JOHN REPUCCI GET YOUR BAND TOGETHER comping-improvisation-rhythm

BERKLEE PRACTICE METHOD: BASS. GET YOUR BAND TOGETHER. CD TABLATURE

Berklee Practice Method: Bass
Series: Berklee Methods
Publisher: Berklee Press Publications
Format: Softcover with CD - TAB
Author: John Repucci
Author: Rich Appleman

Make your band better, or prepare yourself to join one! This sensational series lets you improve your intuitive sense of timing and improvisation, develop your technique and reading ability, and master your role in the groove. Play along with a Berklee faculty band on the accompanying CD, then play with your own band!

Inventory #HL 50449427
ISBN: 9780634006500
UPC: 073999494273
Width: 9.0"
Length: 12.0"
176 pages

 

Foreword
Berklee College of Music has been training musicians for over fifty years. Our graduates go onto successful careers in the music business, and many have found their way to the very top of the industry, producing hit records, receiving the highest awards, and sharing their music with millions of people.
An important reason why Berklee is so successful is that our curriculum stresses the practical application of musical principles. Our students spend a lot of time playing together in bands. When you play with other musicians, you learn things that are impossible to learn in any other way. Teachers are invaluable, practicing by yourself is critical, but performing in a band is the most valuable experience of all. That's what is so special about this series: it gives you the theory you need, but also prepares you to play in a band.
The goal of the Berklee Practice Method is to present some of Berklee's teaching strategies in book and audio form. The chairs of each of our instrumental departments-guitar, bass, keyboard, percussion, woodwind, brass, string, and voice-have gotten together and discussed the best ways to teach you how to play in a band.
They teamed with some of our best faculty and produced a set of books with play-along audio tracks that uniquely prepares its readers to play with other musicians.
Students who want to study at Berklee come from a variety of backgrounds. Some have great technique, but have never improvised. Some have incredible ears, but need more work on their reading skills. Some have a very creative, intuitive sense of music, but their technical skills aren't strong enough, yet, to articulate their ideas.
The Berklee Practice Method teaches many of these different aspects of musicianship. It is the material that
our faculty wishes all Berklee freshmen could master before arriving on our doorstep.
When you work through this book, don't just read it. You've got to play through every example, along with the recording. Better yet, play them with your own band.
Playing music with other people is how you will learn the most. This series will help you master the skills you need to become a creative, expressive, and supportive musician that anyone would want to have in their band.
Gary Burton
Executive Vice President,
Berklee College of Music


Preface
Thank you for choosing the Berklee Practice Method for bass. This book/CD package, developed by the faculty of Berklee College of Music, is part of the Berklee Practice Method series-the instrumental method that teaches how to play in a band.
The recording included with this method provides an instant band you can play along with, featuring great players from Berklee's performance faculty. Each tune has exercises and practice tracks that will help prepare you to play it. Rock, blues, and funk are just some of the styles you will perform.
The lessons in this book will guide you through developing reading skills and playing basic grooves, walking bass lines, and other standard bass techniques. This book is for bass players who are just beginning lessons with their teacher, though players learning on their own will also find it invaluable. You should have some knowledge of fingering on the low part of the neck and a sense for how to play the bass notes. These are reviewed in the "Basics" chapter.
Most importantly, you will learn the skills you need to play bass in a band. Play along with the recording, and play with your friends. This series coordinates methods for many different instruments, and all are based on the same tunes, in the same keys. If you know a drummer, guitarist, hom player, etc., have them pick up the Berklee Practice Method for their own instruments, and then you can jam together.
Work hard, make music, have fun!
Rich Appleman
Chair of the Bass Department
Berklee College of Music
John Repucci
Assistant Chair of the Bass Department
Berklee College of Music

 

This series coordinates methods for many different
instruments, and all are based on the same tunes, in the same
keys. !fyou know a guitarist, drummer, keyboardist, vocalist,
horn player, etc., have them pick up the Berklee Practice
method for their own instrument, and jam together!

Lessons throughout this book guide you through playing basic
grooves, walking bass lines, and other standard bass
techniques. Daily practice routines are designed for practicing
by yourself or with other musicians. The accompanying CD
features outstanding Berklee players and covers a variety of
styles including rock, funk, jazz, blues, swing, and bossa nova.

Get Your Band Together
This is the first-ever method that teaches you how to play in a
rock band. learn what all the great musicians seem to know
intuitively-how to listen, interact and respond, improvise, and
become part of the groove. The book and play-along CDwill help
improve your timing, technique, and reading ability. Become the
great player that everyone wants to have in their band.

Topics include:
• learning by ear
• theory and technique
• rhythmic interpretation
• improvisation
• comping
• reading
• song form
• interpreting lead sheets

"THE BEST WAY TO LAUNCH YOUR PLAYING TO THE NEXT LEVEL IS BY PERFORMING REAL TUNES WITH SEASONED MUSICIANS. THIS BOOK/CD COMBO PROVIDES THAT KIND OF EXPERIENCE FOR ASPIRING BASSISTS, ALONG WITH A TREASURY OF MUSIC-THEORY KNOWLEDGE AND PRACTICAL INSIGHTS."
RICHARD JOHNSTON, EDITOR, BASS PlAYER MAGAZINE

"By FAR THE MOST INFORMATIVE BOOK I'VE EVER SEEN. GREAT FOR BASSISTS OF BEGINNER OR ADVANCED STAGES. FROM TUNING AND HOLDING THE BASS, TO TRANSPOSING AND IMPROVISING BASS LINES, IT COVERS EVERYTHING. THE WAY THAT THE DIFFERENT BASS
STYLES ARE THOROUGHLY BROKEN DOWN ALONG WITH DIFFERENT PRACTICE TIPS IS FANTASTIC. " CHRISTIAN McBRIDE

"AN EFFECTIVE WAY FOR YOU TO READ CHARTS AND PLAY ALONG WITH OTHER MUSICIANS IN A REAL-TIME PLAYING ENVIRONMENT. THE BOOK WIll KEEP YOUR NOSE IN THE MUSIC AND THE CD WIll KEEP YOUR EARS OPEN TO THE GOINGS-ON OF THE OTHER MUSICIANS WHO ARE PLAYING. HAVE FUN, PRACTICE REGULARLY, ANO ENJOY THIS FINE BOOK."
JEFF BERLIN

"TRUE TO THE TRADITION OF BERKLEE COLLEGE OF MUSIC TO THOROUGHLY TRAIN STUDENTS TO BE PROFESSIONAL MUSICIANS, THIS METHOD IS A GREAT WORKOUT. AN EXCELLENT PRACTICE BOOK COVERING MANY STYLES, WHICH WIll HELP YOU LEAR THE NECESSITIES OF WORKING IN THE RHYTHM SECTION CREATIVELY. "
CAROL KAYE, BASS RECORDING LEGEND, PIONEER IN AUTHORING TUTORS FOR THE ELECTRIC BASS, EDUCATOR AT THE HENRY MANCINI INSTITUTE-UCLA

"THE PRACTICE METHOD RULES! IT's A GREAT WAY TO LEARN RIFFS, LATCH ONTO SOME BASIC SONG STRUCTURES, AND SEE HOW TUNES ARE PUT TOGETHER. THIS LETS YOU FOCUS ON PLAYING IN A BAND, AND ON CREATING YOUR OWN INTERPRETATIONS IN ANY STYLE. "
JOE STUMP, SHRED GUITAR MASTER, ASSISTANT PROFESSOR, BERKLEE COLLEGE OF MUSIC

Berklee Practice Method is also available for:
• drum set • alto sax
• guitar • tenor sax
• Keyboard • trombone
• voice • trumpet
• Vibraphone ·violin

"TEACHERS ARE INVALUABLE, PRACTICING BY YOURSELF IS CRITICAL, BUT PERFORMING IN A BAND IS THE MOST VALUABLE EXPERIENCE OF ALL. THAT's WHAT IS SO SPECIAL ABOUT IS SERIES: IT GIVES YOU THE THEORY YOU NEED, BUT ALSO PREPARES YOU TO PLAY IN A BAND.
THIS SERIES WILL HElP YOU MASTER THE SKILLS YOU NEED TO BECOME A CREATIVE, EXPRESSIVE, AND SUPPORTIVE MUSICIAN THAT ANYONE WOULD WANT TO HAVE IN THEIR BAND."
GARY BURTON, EXECUTIVE VICE PRESIDENT, BERKLEE COLLEGE OF MUSIC

Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available proceeds from the sales of our products are contributed to the scholarship funds of the college.
Cover design: mooremoscowitz
Berklee Press

 

Contents
CD Tracks
Foreword
Preface
Basics .
Chapter I. Playing Rock ("Sweet") .
Lesson 1. Technique/Theory .
Lesson 2. Learning the Groove .
Lesson 3. Improvisation .
Lesson 4. Reading .
Daily Practice Routine .
Chapter II. Playing Blues ("Do It Now") .
Lesson 5. TechniquelTheory .
Lesson 6. Learning the Groove .
Lesson 7. Improvisation .
Lesson 8. Reading .
Daily Practice Routine .
Chapter III. Playing Blues Swing ("I Just Wanna Be With You") .
Lesson 9. Technique/Theory .
Lesson 10. Learning the Groove .
Lesson 11. Improvisation .
Lesson 12. Reading .
Daily Practice Routine .
Chapter IV. Playing Funk ("Leave Me Alone") .
Lesson 13. TechniquelTheory .
Lesson 14. Learning the Groove .
Lesson 15. Improvisation .
Lesson 16. Reading .
Daily Practice Routine .


Chapter V. Playing Light Funk ("Affordable") .
Lesson 17. Technique/Theory .
Lesson 18. Learning the Groove
Lesson 19. Improvisation .
Lesson 20. Reading .
Daily Practice Routine .
Chapter VI. Playing Hard Rock ("Don't Look Down") .
Lesson 21. Technique/Theory .
Lesson 22. Learning the Groove .
Lesson 23. Improvisation .
Lesson 24. Reading .
Daily Practice Routine .
Chapter VII. Playing Bossa Nova ("Take Your Time") .
Lesson 25. Technique/Theory .
Lesson 26. Learning the Groove .
Lesson 27. Improvisation .
Lesson 28. Reading .
Daily Practice Routine .
Chapter VIII. Playing Stop Time ("Stop It") .
Lesson 29. Technique/Theory .
Lesson 30. Learning the Groove .
Lesson 31. Improvisation .
Lesson 32. Reading .
Daily Practice Routine .
Final Remarks .

Price: €16,00
€16,00

SLAP BASS LINES. Berklee Press Publications JOE SANTERRE CD TABLATURE

INTRODUCTION. Welcome to Slap Bass Lines. This book is designed to help bass players create solid slap bass grooves in rock, funk, and jazz music. The examples throughout the book will help you understand how to create a good slap bass line.
The Basics
Bass players using this book should know:
• basic music theory;
• the notes on the bass fingerboard (at least through fourth position);
• how to play in position, keeping a finger on each fret;
• how to mute open strings so that the only note heard is the one being played.
"Theory Review" pages are a resource for any items you may need to look up as you go through the
exercies.
The Role of the Bass Player
In any style, the bass's role in the groove is the same: to keep time and to outline the tonality. When
developing bass lines, these two things should always be your goal.
About the Book
There are eight lessons in Slap Bass Lines. Each lesson contains several practice exercises, a song that
utilizes the exercises, and play-along tracks on the accompanying CD. Also included in each
lesson are blank staffs for you to write out your own slap bass grooves.
Examples are given in regular notation and in tablature. The suggested fingerings are my own preferences.
If you prefer a different fingering, use that instead.
In addition to the exercises and play-along opportunities in this book, you can learn a lot by listening
to bass players on recordings and trying to imitate what they are playing. The suggested listening lists
at the beginning of each lesson will get you started. You will come across many other inspiring artists
on your own.
Though there are a variety of tempos and types of slap grooves in this book, it remains a very general
overview of how to create a solid slap bass line. Each track of the CD contains keyboards, drums, and
bass, and is designed for you to concentrate on the rhythm section sound. They are similar to rhythm
section tracks of the songs and music that you will come across in your usual listening.
Before you get started, make sure:
• your bass is in tune;
• your attacks on each note are consistent;
• you play with some attitude!

 

Series: Berklee Labs
Publisher: Berklee Press Publications
Softcover with CD - TAB
Author: Joe Santerre

Learn the art of creating a solid slap bass groove. Whether you're an aspiring or seasoned bassist, this workshop will teach you many of the slap bass lines and styles found in your favorite rock, funk and jazz tunes, and inspire you to experiment with your own creations. Includes helpful exercises, strategies for locking in with the drummer, tips for reading chord symbols, standard notation & tab, a list of suggested recordings to check out, and an accompanying CD with play-along tracks. 58 pages

Price: €19,99
€19,99

KELLY JIM GUITAR WORKSHOP BOOK CD BASI TABLATURE LIBRO METODO SPARTITI CHITARRA

 

KELLY JIM, GUITAR WORKSHOP, Jim Kelly. CD TABLATURE

Improve your playing in Jazz, Blues, Latin and R&B styles.

CD with 8 full band, 11 play- along, and 2 solo tracks

10 original composition in standard notation and TABLATURE


Jim Kelly's Guitar Workshop
Series: Guitar Educational
Publisher: Berklee Press Publications
Format: Softcover with CD
Author: Jim Kelly


Jim Kelly's Guitar Workshop is an exciting book/CD pack to help guitarists improve their playing in jazz, blues, Latin and R&B styles. The ten original compositions Jim has written especially for this book are designed to help guitarists learn how to play in the style of Kenny Burrell, Mike Stern, Pat Metheny, Joe Pass, Stevie Ray Vaughan and other guitar greats. The songbook features these helpful songs and studies in standard notation with tablature and fingerings. The accompanying CD includes 8 full-band backing tracks (featuring alto sax, acoustic and electric guitars, bass and drums), 11 play-along tracks (with the guitar parts removed), and 2 solo tracks (featuring Jim on electric and acoustic guitar). The full-band and play-along tracks will help players phrase their own solos by incorporating the techniques of master guitar players, as Jim demonstrates on his solos.

Inventory #HL 00695230
ISBN: 9780793585724
UPC: 073999952308
Width: 9.0"
Length: 12.0"
64 pages

 

Great players practice with great teachers. Berklee instructor Jim Kelly has taught some of the world's most accomplished guitarist's how to play like a pro, and he can teach you. Jim Kelly's Guitar Workshop series, including this book/CD, videos, and a DVD (all with tab) are designed to help you learn how to play in the style of guitar greats such as Jeff Beck, Mike Stern, Pat Metheny, Wes Montgomery, Joe Pass, Stevie Ray Vaughan, and other players representing a cross-section of styles.

This workshop will help you develop your own approaches and phrase your own solos by using the techniques of master guitar players. Learn to play rock, blues, jazz, funk, Latin or r&b. Traditional lead sheet music notation and guitar tablature includes notes on style, tempo, form, fingerings, song descriptions and commentary, hints, tips, and practice ideas.

 

About the Author
Jim Kelly is a professor of Guitar at Berklee College of Music. One of the cornerstones of the guitar faculty. Kelly has traveled the world, teaching and performing throughout Europe. South America, and Japan in the college's "On the Road" series of clinics. For over 20 years, Jim has worked closely with several thousand aspiring guitarists, building their technique. feel and confidence. He has for many years been the most requested guitar teacher on the faculty.

Kelly plays in a variety of settings that helps give a diverse but practical edge to his teaching. He has performed with Swing blues guitarist Duke Robillard. the contemporary musical Rent, rock singer Peter Wolf. And any great Berklee almrmi including Makoto Ozone, SUi Hamm, Bill Frisell, Gary Chaffee. John Abercrombie, and Gary Burton. The band on the CD is his group the Sled Dogs,
which has long been an outlet for his compositions and guitar playing. They have a release on RAc\1Records titled 'The Music of Jim Kelly."

Berklee Press
Berklee Press develops instructional materials for musicians facing the challenges of today's professional music. The press currently carries more than 80 books for a variety of instruments and abilities.

Berklee
Founded in Boston in 1945, Berklee College of Music is the world"s largest independent music college and the premier institution for the study of contemporary music. The college's 3,000 students and 300 faculty members interact in an environment that includes all of the opportunities presented by a career in the contemporary music industry. Guitarists make up one-third of the student body.

Introduction
Welcome to Jim Kelly's Guitar Workshop. For years I've written material to use in private lessons, ensembles, and workshops entitled Jazz Rock Improvisation and Jazz Rock Rhythm Guitar. This is a collection of songs and studies that I use in the classroom and in concert, for the student as well as the working professional. This is not a method book as such., nor is it aimed at a specific level of experience. It need not be studied in sequence. Some parts will be very difficult for a beginner, and some parts easy for the more advanced player. This is resource material to play with friends, teachers, students, or the enclosed CD. Many of these songs T play on gigs because the arrangements are simple enough to learn quickly with a band and there's room to "stretch" and solo. The studies are designed to develop different skills and to build musical and technical vocabulary. The CD falls somewhere between a "record" and a "play-along." The band and I wanted the music to be as alive as possible to keep the sound real while preserving the option of removing the guitar later. You will notice some leakage of the guitar track when it is removed, especially with the acoustic bass. We recorded live in the studio and got as much isolation as we could while keeping a natural feel. Any flaws contained in the performances were left as a matter of "close enough for now." Strive for perfection, but in the meantime, play the best you can. I hope you enjoy this material and find it as useful as I have. Jim

Contents
About the Author,
Berklee Press, and Berklee

Introduction

lead Sheets
Like Kenny
'Til Tomorrow
Etta
Jumpin' WiTh Joe
The Shrubber
Study in C Minor: Wake it Up
oF All Things
Mr. Stern
All in a Name
R & B Rhythm

Tablature and Fingerings
Like Kenny
'Til Tomorrow
Etta
Jumpin' with Joe
The Shrubber
Study in C Millar: Wake it up
Of All Things
Mr. Stern
All in a Name
R & B Rhythm


Audio CD
1 Like Kenny - Trio 3:02
2 'Til Tomorrow - Trio 3:15
3 Etta - Trio 1:37
4 Jumpin' with Joe - Quartet 4:40
5 The Shrubber - Solo 1:53
6 Study in C Minor: Wake It Up - Solo 1:26
7 Of All Things - Trio 2:13
8 Mr. Stern - Quartet 4:33
9 All in a Name - Quartet 4:42
10 Tuning notes 0:22
11 R & B Rhythm - Trio 1:09
12 R & B Rhythm - Trio - No Guitar 1:11
13 Like Kenny - Trio - No Guitar 3:08
14 'Til Tomorrow - Trio - No Lead 3:17
15 'Til Tomorrow - Trio - No Rhythm 3:17
16 Etta - Trio - No Lead 1:37
17 Etta - Trio - No Rhythm 1:37
18 Jumpin' with Joe - Quartet - No Sax 4:42
19 Jumpin' with Joe - Quartet - No Guitar 4:42
20 Of All Things - Trio - No Guitar 2:12
21 Mr. Stern - Quartet - no Guitar 4:32
22 All in a Name - Quartet - No Guitar 4:35

Price: €35,99
€35,99

JAZZ GUITAR TECHNIQUES MODAL VOICING. Rick Peckham. Berklee DVD.

MODAL VOICING TECHNIQUES. Rick Peckham. Berklee DVD.

running time: 57 minute
Bring new colors and voicings to your playing with Berklee professor Rick Peckham, internationally known jazz guitarist, composer, writer and clinician. In this master class DVD, Peckham unlocks the mysteries of modal tonality, with a series of exercises and demonstrations that will expand your vocabulary, no matter what instrument you play. Peckham will show you how to extend your capabilities by integrating a variety of new voicings and articulations into your playing, so you can handle any modal situation guided by your own ears and instincts. 57 minutes.

Price: €23,00
€23,00

AFRO CUBAN SLAP BASS LINES. Oscar Stagnaro. CD TABLATURE

AFRO CUBAN SLAP BASS LINES. CD TAB.

Series: Berklee Methods
Publisher: Berklee Press
Softcover with CD - TAB
Author: Oscar Stagnaro

Afro-Cuban rhythms are hot, and the bass is the beating heart of the groove! Now you can learn to play slap bass in seven popular Afro-Cuban styles: cha cha, son montuno, songo, timba, Afro-Cuban 6/8, Latin jazz, and Latin jazz in 7. Whether you read tab or standard notation, you will quickly learn all these styles and develop your slap bass techniques to create style-appropriate articulations. The included CD has percussion tracks, play-along tracks and complete songs to help you improve your groove to an Afro-Cuban rhythm. Grammy-winning bassist Oscar Stagnaro is one of today's top players and a pioneer in bass education. He is an associate professor at Berklee College of Music, where he helped found the Latin bass studies department. He is co-author of The Latin Bass Book. 56 pages.

Price: €21,00
€21,00

ACCELERATE YOUR BASS PLAYING Anthony Vitti TABLATURE DVD SPARTITI METODO BASSO LIBRO

ACCELERATE YOUR BASS PLAYING. Anthony Vitti. DVD TAB.

Publisher: Berklee Press, Hal Leonard
Medium: DVD
Author: Anthony Vitti

The DVD will help take your playing to the next level. Professor Anthony Vitti shares his proven method for improving the fundamental skills required to freely express yourself on the bass in many musical styles. The easy-to-understand exercises and demonstrations in this DVD can be applied to all levels and styles. Topics covered include: fingering exercises -interval and ear training -funk/R&B techniques -rhythm studies. Clear and detailed instruction is given both onscreen and in the accompanying 80-page booklet. 55 minutes.

Price: €31,99
€31,99
Syndicate content