FLUID SOLOING BOOK 1 ARPEGGIOS FOR LEAD ROCK GUITAR Tim Quinn CD TABLATURE CHITARRA

FLUID SOLOING BOOK 1, ARPEGGIOS FOR LEAD ROCK GUITAR. Tim Quinn. CD TABLATURE

Product Description:
A modern arpeggio handbook and comprehensive training manual for developing fast, flowing arpeggio runs that connect the entire fretboard. Emphasis is on developing fluid, non-shifting arpeggio patterns (across the neck) using hammer-ons and pull-offs for speed and fluidity; and also on developing smooth position-shifting arpeggios (along the length of the neck) using slides. These two types of motion are then connected and combined in an extensive collection of soloing etudes for full assimilation. The result is a complete system of arpeggio pathways that connects every part of the fretboard and facilitates maximum speed, fluidity, and range. Complete whole-neck connections are presented for major 7th, dominant 7th, minor 7th, minor 6th, half-diminished, diminished 7th, major triadic and minor triadic arpeggios.

This book is for all guitarists who are serious about improving their ability to solo over chord progressions using arpeggios, in any style of music; including rock, jazz, fusion, blues, country or pop. Having the ability to instantly outline any chord in a song with a fluid arpeggio run (no matter where your hand is on the neck) is immensely valuable for every guitarist. This book methodically teaches you the skills that make this possible. Loaded with melodic arpeggio passages that can be applied to your music immediately, this is perhaps the most practical and powerful arpeggio book ever written. CD included. Standard notation and Tablature.
Format: Book/CD Set

heartfelt thanks goes out to all the teachers who profoundly impacted my own playing and learning ... thank you jack Petersen, Dan Haerle, Rich Matteson, and Tom johnson at the University of North Texas, as well as to my teachers at Berklee College of Music.To the musicians who have been so inspiring ... Steve Morse, Pat Martino,john Coltrane, Eric johnson, Chick Corea,jimi Hendrix, Frank Zappa, Barney Kessell,Wes Montgomery, Stevie RayVaughan,Albert King,jeff Beck, Steve Vai, Dexter Gordon, Cannonball Adderly, joe Satriani, Igor Stravinsky, Eddie Van Halen,AI DiMeola, Greg Howe, joe Pass, Robben Ford,Vinnie Moore,Allan Holdsworth, and Carlos Santana; for the teachings of Paramahansa Yogananda; to Bill Bay and the fine staff at Mel Bay Publications, Inc.; to Bruce Saunders for his caring engraving; to Dave Austin and George Sanchez for their generous assistance; to josquin DePres at Track Star Studios for much inspiration and guidance; to the many students who have been indispensable in helping me streamline these materials; to my parents who provided the music education and encouraged the young performer; and especially to my wife, Mari, who lovingly tolerated the thousands of hours with me at the guitar while I formulated these concepts ... thank you. The title of this book is "Fluid Soloing:Arpeggios for lead Rock Guitar". Its purpose is to teach you how to solo over chord changes using strictly arpeggios only, as opposed to using scales. Section I of this book presents a special collection of non-shifting arpeggios for the guitarist, designed for developing blistering speed and maximum range while keeping the fretting hand in one location on the neck. These are the fundamental arpeggio components, necessary to facilitate the eventual connection of arpeggios. So, please understand that the activities of connecting arpeggios really begin on page 37. Go right there and beyond for arpeggio connections at any time you wish. Do understand, though, that most of Section I of this book is in itself a practical manual of arpeggio non-shifting fingerings for every guitarist. In order to develop the connection of arpeggios, we must start with these basic non-shifting shapes. It is all about understanding the anatomy of the guitar fretboard and its inherent arpeggio shapes. You will be instructed in how to connect them in activities beginning on page 37 and beyond. But you needn't learn all the shapes in Section I before moving on to Section 2. just begin by practicing a few of the shapes between pages 8-36. But then jump ahead, too! For instance, try pages 38,49,67,84,88 or 90 for some challenging fun, while you continue to pursue the material between pages 8-36. There is enough material in this book to keep you busy for the next two years or more. This is truly a wizard's handbook to arpeggio usage. 

ARPEGGIO CONNECTIONS is a unique collection of 164 cyclically repeating arpeggio studies, designed to provide the guitarist with a logical and effective method for developing fast, fluid arpeggio runs that move freely across the entire fretboard while outlining specific chordal harmonies. The two-fold concept is simple: Section I) to develop the ability to play fast and powerful arpeggios ACROSS THE NECK using hammer-ons and pull-offs for fluidity (non-shifting motion where the fretting hand stays in one area of the fretboard); and Section 2) to develop the ability to play smooth and fast arpeggio runs while the fretting hand shifts ALONG THE NECK using slides (which I like to call "horizontal" motion, since the hand is moving sideways, parallel to the earth's horizon) By developing complete non-shifting arpeggio control, and also developing complete position-shifting arpeggio control, the resulting effect is whole neck fluid motion that freely weaves together an established matrix system of arpeggio patterns and pathways. The design of the material in this book is highly scientific, having been developed through many years of shaping and crafting this concept. What you are holding in your hands is a manual for developing smooth, flowing arpeggio movement on the guitar, which is useful to ALL GUITARISTS in pursuit of virtuosity in ANY STYLEof music. The student should feel free to go directly to the studies anywhere in the book, but is encouraged to eventually read and understand the ideas discussed in the appendix. The goal is to play blistering, continuous streams of fluid melodic lines that outline specific chords. The appendix addresses certain issues that are fundamental to this type of virtuosic control (such as how the organization of strict alternate picking is affected by hammers, pull-offs and slides). By playing the patterns and exercises herein on a regular basis for weeks, months, and years, the player's control over the instrument will continue to unfold and to grow ever more formidable and fierce. This book is the first book in the 'FLUID SOLOING SERIES',a unified set of books that explain different aspects of whole neck fluid motion on the guitar. The soloing etudes marked "Comprehensive" are included to demonstrate some of the techniques from the other three books, as well as the techniques presented in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns. If you like the content of this book, check out the other books in the series as well.

introduction

section one: RAPID FIRE ARPEGGIOS
NON-SHIFTING - Fast & fluid arpeggio patterns for Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(b5), Minor 6, Major Triadic, Minor Triadic chords. Arpeggios are presented in seven different sets. Each set is identified by a number that indicates the string with the lowest root and the finger that plays it in that set (for example, Set 5-1 arpeggios have the root on the 5th string fretted with the 1st finger).Set 5-1 Arpeggios
Set 6-1 Arpeggios
Set 5-4 Arpeggios
Set 6-4 Arpeggios
Set 4-1 Arpeggios
Set 6-2 Arpeggios
Set 5-2 Arpeggios

Practice Suggestions
Soloing Etudes
section two: EXTENDED ARPEGGIO RUNS
POSITION-SHIFTING - Fluid, melodic exercises for whole-neck motion.

Arpeggio Runs with a 16th Note Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triadic, Minor Triadic)
Arpeggio Runs with a Triplet Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triad, Minor Triad)

Practice Suggestions
Soloing Etudes

Appendix: "Guide For Using This Book"
Tablature Symbols Key
106 PAGES