KOCH GREG, GUITAR CLUES Operation Pentatonic. Tasty licks, tricks, and techniques. CD TABLATURE

KOCH GREG GUITAR CLUES Operation Pentatonic. CD TABLATURE

Tasty licks, tricks, and techniques

Assoli completi con jam tracks, Rock, Country, Blues, Funk, scritta anche la parte della chitarra ritmica.

Lezioni su: scale maggiori e minori Pentatoniche, Scale Blues, Slides, bends, Vibrato, Pinch Harmonics, Whammy bar, Chicken Pickin', Open-string pull-offs, Merle Travis picking, Volume Swells, Pedal steel effects.

Series: Guitar Educational

Softcover with CD - TABLATURE
Author: Greg Koch

Guitar Clues
Operation Pentatonic
Series: Guitar Educational
Format: Softcover with CD - TAB
Author: Greg Koch

Join renowned guitar master Greg Koch as he clues you in to a wide variety of fun and valuable pentatonic scale applications. Whether you're new to improvising or have been doing it for a while, this book/CD pack will provide loads of delicious licks and tricks that you can use right away, from volume swells and chicken pickin' to intervallic and chordal ideas. The CD includes 65 demo and play-along tracks.

Inventory #HL 00695827
ISBN: 9780634074141
UPC: 073999958270
Width: 9.0"
Length: 12.0"
80 pages

INTRODUCTION

What clues?" you may ask. Well, my friends, instead of just bombarding you with a deluge of theory and a myriad of scales, both of which usually numb the average soul into a state of selfdeprecating perplexity (often exemplified by a vacuous expression and a dab of drool around the corners of the mouth), I will "clue" you in to a bevy of tasty morsels which you can immediately apply to lead and/or rhythm playing, which will inspire you to play better guitar. What a concept! By taking one of the most basic improvisatory tools, the pentatonic scale, and employing all the powers of minutia, you shall accumulate a host of ideas and nuances that, demonstrated in sample improvisations over guitar rhythm tracks which are also transcribed, will have you playing more inspired lead and rhythm guitar from the first few pages. Whether you are somewhat new to improvising or have been doing it for a while, you will harvest golden info-nuggets that you can put to use right away, from volume swells to chicken-pickin' to intervallic and chordal ideas. All of these things are shown in a universally-applicable bluesy environment that gradually adds cool skills to basic concepts, which not only makes it easy to use effectively right away but also makes it easy to explain to others, if you are so inclined. A host of other facts and tidbits are thrown in to clue you in on everything from keeping your guitar in tune to jam etiquette inspired by the onslaught of questions received by the author at clinics, at gigs, and on the internet. This is not a beginner's book, nor is it a grand thesis on improvisatory complexity, but folks on both ends of the spectrum can learn something from it!

BLUES JAM ETIQUETTE

Playing
with other live human beings is the best way to get your timing together, to learn to develop solos, to get an understanding of dynamics, to get a tone happening, and so on. If getting your own band together to either rehearse and/or perform is not practical at the moment, going to a blues jam at a local club is not a bad idea. It is important, however, to be familiar with some of the rules of engagement to avoid an unpleasant experience (although some are seemingly unavoidable, but do not let that deter you!). First of all, make certain that it is an "open jam" before bringing in your guitar and stating a desire to sit in. Going into a club, no matter how unassuming it may seem, and asking to sit in with a random band on a random night is a recipe for disaster. It may be no big deal, or it may be like asking some stranger to let you dance with his wife. Why chance it? Once the jam has been sussed, be apprised that the band leader hosting the jam can range from 1) a benevolent soul who enjoys playing with other musicians so much that he has decided to provide an opportunity to jam with friends and to nurture fledgling instrumentalists on an off night for a nominal fee to 2) a bitter bar-band grifter who wants to enjoy another evening of free drinks and the opportunity to humiliate lesser-qualified musicians over endless renditions of tunes like "Sweet Home Chicago" and "Mustang Sally." Sometimes these two descriptions can apply to the same individual from one week to the next! So, beware! Inform the leader of the jam of your desire to sit in. Do not give him your history up to that point, your favorite bands or nostril circumference. If you have a mutual acquaintance that is genuine, mention it and this may save you the trouble of waiting for three hours to play. Other than that, he or she will probably ask you if you can sing. If you can, it means they can take a break and go to the bar, so the likelihood of you getting up sooner than later is good. If you don't sing, grab a seat because it could be a while, and lay low on the sauce. A drunken musician is about as en vogue as a leisure suit. When you finally get up to jam, make sure you are in tune, and it is helpful if you have your own guitar cord. Most jams have amps ready to go and some folks get a little weird if you walk in with your own amp, but keep one in the trunk just in case. One of the members of the house band will probably be up there with you but sometimes they will just call up people on the different instruments and let you figure it out from there. Whoever is singing will shout out "this is a shuffle in A" or "slow one in E from the V," or else they will just blast off, and you are expected to hang on for dear life. Whatever you do, be sensitive even if the others are barbarians. Watch your volume, be attentive for cues and listen, listen, listen. When given a solo, the unwritten law is to take two choruses or twenty-four bars. You may be egged on to do more, or they may cut you off after one chorus. Watch and listen. The other unwritten rule is to play two tunes and get off. Some may stay longer because they are friends of the band or whatever, but two tunes is usually the norm. After a few of these jams you will have sussed out the posers from the folks who just want to play and get better, and you may even find potential band mates. If you use the above as a warning, if anything. you should be able to weather the phenomenon that is the blues jam. Thanks folks, and stay tuned for more Guitar Clues!

CONTENTS:
INTRODUCTION .
Tuning
MINOR PENTATONIC SCALE .
SLIDES .
Slidin' and Shufflin'.
BENDING .
VIBRATO.
BENDS WITH VIBRATO.
Bend 'em and Shake 'em .
CONGA EFFECT.
PINCH HARMONICS.
Pinch It.
SCALE MANIPULATION.
2NDS KIND OF .
Pickin' and Pullin' .
4THS MOSTLY .
A 4th to Be Reckoned with Blues
5THS YES, 5THS .
WHAMMY WIGGLlN' .
Gimme Five .
6THS AND 7THS.
OCTAVES .
Mean Bunions .
THE BLUES SCALE .
Rockin' Bloozer .
CHICKEN PICKIN' .
Fowl Play.
OPEN-STRING PULL-OFFS .
TRAVIS PICKING
Barnyard Bonanza .
MAJOR PENTATONIC SCALE .
Major Pent Roundup.
MAJOR PENTATONIC SCALE WITH ADDED b3RD .
VOLUME SWELLS .
PEDAL STEEL EFFECT
Steelin'Swells .
Intersection Blues.
BLUES SCALE AND MAJOR PENTATONIC EXTENSIONS .
Bring It. .
BLUES JAM ETIQUETIE .
ABOUT THE AUTHOR .
GUITAR NOTATION LEGEND .