CHITARRA - GUITAR

FRIEDMAN MARTY, SUPER GUITARIST. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA METAL. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

TRASCRIZIONE DELLE DUE CHITARRE. 

MARTY FRIEDMAN , GUITAR. 

JASON BECKER, GUITAR.

Transcriptions of 2 guitars. 

Contiene:

- speed metal symphony - Music by: Marty Friedman, Jason Becker - From The album: SPEED METAL SYMPHONY / CACOPHONY - 1988

- go off! (with Becker)  - Music by: Marty Friedman, Jason Becker - From The album: GO OFF / CACOPHONY - 1989

- dragon mistress - Music by: Marty Friedman - From The album: DRAGON'S KISS / MARTY FRIEDMAN - 1988  

- namida (tears) - Music by: Marty Friedman - From The album: DRAGON'S KISS / MARTY FRIEDMAN - 1988

- thunder march - Music by: Marty Friedman - From The album: DRAGON'S KISS / MARTY FRIEDMAN - 1988

- angel - Music by: Marty Friedman - From The album: SCENES / MARTY FRIEDMAN - 1992

- trance - Music by: Marty Friedman - From The album: SCENES / MARTY FRIEDMAN - 1992

- hangar 18 - Words and Music by: Dave Mustaine - From The album: RUST IN PEACE / MEGADETH - 1990

- skin o' my teeth - Words and Music by: Dave Mustaine - From The album: COUNTDOWN TO EXTINCTION / MEGADETH     

- ashes in your mouth - Words and Music by: Dave Mustaine, David Ellefson, Nick Menza, Marty Friedman - From The album: COUNTDOWN TO EXTINCTION / MEGADETH 

FORD ROBBEN, THE BLUES AND BEYOND. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA BLUES - ROCK CON CD,

SPARTITI PER CHITARRA CON:

ACCORDI, NOTE, PENTAGRAMMA, TABLATURE. 

E' Ford in persona che parla e con la sua chitarra ci fa ascoltare le sue note. Contiene:

PART I: -rhunba blues transcription -chord usage -scale usage -trasposing scale -comparing the three scales -focusing on the D7 (V) chord -comping examples.

PART II: -reveletion transcription -chord for revelation -the B7 -change -the bridge -the chorus -tying it all together.

PART III: -diminisched scale usage.

PART IV -I ain't got nothing' but the blues lead sheet -chord voicing -the D altered scale -the G harmonic and melodic minor scale -the bridge.

PART V: -miles groove transcription -the changes -final version. 

CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

This book begins with basic blues concepts such as the pentatonic, mixolydian and blues scales and builds on them, progressively incorporating more sophisticated scales and chord voicings. With lots of transcriptions and music examples, the book moves from basic 12-bar blues through gospel, jazz and modal feels.

FOO FIGHTERS, BEST. SIGNATURE LICKS EDITION. SHEET MUSIC BOOK with CD & GUITAR TABLATURE . 

LIBRO DI MUSICA ROCK con CD .
SPARTITI PER CHITARRA CON : 
ACCORDI, PENTAGRAMMA, TABLATURE . 

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Foo Fighters
Author: Troy Stetina

In this great book/CD pack, Troy Stetina, the senior editor of GuitarOne magazine, provides complete lessons, detailed performance notes, and a step-by-step breakdown of the Foos' guitar styles and techniques. Guitarists will learn to play exact licks from 12 tunes. The CD features full-band demos at both normal and slow speeds.

Songlist
Alone + Easy Target
Big Me
Breakout
Everlong
Hey, Johnny Park!
I'll Stick Around
Learn To Fly
Live-In Skin
Monkey Wrench
My Hero
Stacked Actors
This Is A Call

72 pages

1 Standard tuning: E-A-D-G-B-E 1:01

2 This Is a Call, Fig. 1 0:40

3 This Is a Call, Fig. 1 slow 1:17

4 This Is a Call, Fig. 2 1:02

5 This Is a Call, Fig. 2 slow 0:22

6 This Is a Call, Fig, 3 0:41

7 This Is a Call, Fig. 3 slow 0:32

8 I'll Stick Around, Fig. 4 1:20

9 I'll Stick Around, Fig. 4 slow 1:06

10 I'll Stick Around, Fig. 5 0:41

11 I'll Stick Around, Fig. 5 slow 0:36

12 I'll Stick Around, Fig. 6 0:59

13 I'll Stick Around, Fig. 6 slow 0:22

14 Big Me, Fig. 7 1:04

15 Big Me, Fig. 7 slow 1:02

16 Drop D tuning: D-A-D-G-B-E 1:14

17 Alone + Easy Target, Fig. 8 1:29

18 Alone + Easy Target, Fig. 8 slow 0:53

19 Alone + Easy Target, Fig. 9 1:13

20 Alone + Easy Target, Fig. 9 slow 1:01

21 Monkey Wrench, Fig. 10 1:21

22 Monkey Wrench, Fig. 10 slow 1:30

23 Monkey Wrench, Fig. 11 1:08

24 Monkey Wrench, Fig. 11 slow 0:58

25 Monkey Wrench, Fig. 12 0:31

26 Monkey Wrench, Fig. 12 slow 0:17

27 Hey, Johnny Park!, Fig. 13 1:40

28 Hey, Johnny Park!, Fig. 13 slow 2:33

29 Hey, Johnny Park!, Fig. 14 0:55

30 Hey, Johnny Park!, Fig. 14 slow 0:51

31 Hey, Johnny Park!, Fig. 15 0:53

32 Hey, Johnny Park!, Fig. 15 slow 0:20

33 Standard tuning: E-A-D-G-B-E 1:19

34 My Hero, Fig. 16 0:38

35 My Hero, Fig. 16 slow 0:55

36 My Hero, Fig. 17 1:03

37 My Hero, Fig. 17 slow 1:24

38 My Hero, Fig. 18 0:57

39 My Hero, Fig. 18 slow 1:18

40 Everlong, Fig. 19 1:30

41 Everlong, Fig. 19 slow 1:50

42 Everlong, Fig. 20 0:44

43 Everlong, Fig. 20 slow 1:21

44 Drop A tuning: A-A-D-G-B-E 1:27

45 Stacked Actors, Fig. 21 1:39

46 Stacked Actors, Fig. 21 slow 0:47

47 Stacked Actors, Fig. 22 0:46

48 Stacked Actors, Fig. 22 slow 1:17

49 Standard tuning: E-A-D-G-B-E 1:19

50 Breakout, Fig. 23 1:07

51 Breakout, Fig. 23 slow 1:12

52 Breakout, Fig. 24 0:53

53 Breakout, Fig. 24 slow 0:55

54 Learn To Fly, Fig. 25 1:28

55 Learn To Fly, Fig. 23 slow 1:33

56 Drop D tuning: D-A-D-G-B-E 1:14

57 Live-In Skin, Fig. 26 1:31

58 Live-In Skin, Fig. 26 slow 1:16

59 Live-In Skin, Fig. 27 0:42

60 Live-In Skin, Fig. 27 slow 0:42

DREAM THEATER, JOHN PETRUCCI, WILD STRINGDOM. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

Guitar World Presents John Petrucci's Wild Stringdom
By John Petrucci
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Guitar World magazine have teamed up to present an exciting new series. In this book John Petrucci details the patterns and techniques that have made Dream Theater the most amazing and important guitar band of our generation. Includes over 130 music examples, transcribed solos, and techniques to help expand vocabulary, creativity, and chord knowledge.

Table of Contents:

Foreword

Chapter 1: Practice Makes Perfect

Time Management

Managing Your Practice Materials

Chapter 2: Warming Up

Right- and Left-Hand Synchronization

Developing Diatonic Sequences

Developing Endurance

Chapter 3: Expanding Your Technique

Intervallic Slides

String Skipping

Diatonic Arpeggios

Sweep Arpeggios

Using Open Strings

Chapter 4: Expanding Your Vocabulary

Creating the Dorian Sound Using Arpeggios

Creating the Dorian Sound Using Pentatonic Scales

Creating the Dorian Sound Using Intervals

Navigating Lines Outside the Key Center

The Lydian-Dominant Scale

The Chromatic Scale

Using Chromatic Passing Tones

Chapter 5: Expanding Your Creativity

Creating Original Licks

Spicing Up Stock Blues Licks

Breathing New Life Into Pentatonic Licks

Chapter 6: Putting It All Together

Chapter 7: Expanding Your Chord Knowledge

Triads

Suspended Chords

Add-Nine Chords

Extended Major Chord Voicings

Movable Chords With Open Strings

Performance Tips

Chapter 8: Situdying Non-Guitar MU!iic

Building Left-Hand Strength Using Violin-Inspired

Chromatic-Scale Workouts

Using Different Meters to Accommodate Your Technique

Chopin's Piano Concerto in A minor, Opus No.2

The A Section

The B Section

The C Section

Foreword

In order for you, as a guitarist, to become a well-rounded musician, you have to master the three major aspects of guitar playing: the technical side, the musical side, and the creative ide.

The technical side comprises the actual physical components you need to have under your belt in order to get around your instrument, such as right- and left-hand technique; synchronization of both hands; the ability to execute scales, arpeggios, and patterns; string-skipping; sweep picking; difficult licks; and memorizing (and playing) complete songs.

Once you've developed some technical facility on the guitar, the musical side (which entails theory, harmony, chord structure, ear training, sight-reading, composition, and being able to hear chord progressions and licks)

comes into playa lot more. This aspect is a lifelong study, but it's what makes you a good musician as opposed to a good guitarist.

The creative side entails expressing yourself as an artist by composing music and/or lyrics. It's often accessed in a totally opposite manner than the other two sides-through free association. Sometimes just allowing yourself to noodle without any structure will enable you to stumble upon great new ideas, culminating in creating your own distinct voice on the instrument.

I've striven to cover all three aspects in this book, which is a compilation of my series of columns in

Guitar World magazine. You can be assured that I've personally used all the concepts and examples found in this book to help make my practicing more productive and efficient, and to develop my technique and personal playing style. They've helped me immensely, and I hope they'll help you too.

Above all, it's important to integrate any new concepts and ideas into your playing as quickly as possible because knowledge and technique by itself won't help you unless you can comfortably use it in day-to-day musical situations. As soon as you learn a new musical idea, try to use it in as many different shapes and forms as you can think of in order to absorb it. As the old saying goes: "Use it or lose'it!" Good luck'

... I learned how to make the most of my practice time early on. Here's what I did: first, I figured out how much time I had for my session. Then, I would parcel out pecific blocks of time for each subject I wanted to cover. For example, if I had allotted only two hours for practice, I would divide that time into eight I5-minute chunks and practice scales for 15 minutes and then move on to arpeggios for 15 minutes. and so on.

Giving yourself small time parcels to learn specific topics makes the broader subjects more manageable and less intimidating. For example, being faced with the prospect of learning all the modes in all the positions can seem to be an insurmountable task. But if you say to yourself, "For the next 15 minutes, all I'm going to learn is the A Dorian scale in the fifth position and nothing else," all of a sudden the task becomes a lot more manageable. And once you master that small bit of information, it gives you positive reinforcement to go on to the next topic, such as learning the A Dorian scale in the seventh position. We all know that practicing can get kind of boring. It's very similar to working out-you know it's good for you and you're getting a lot out of it, but sometimes it's hard to motivate yourself to get started. That's why practicing in IS-minute increments can be psychologically freeing. Instead of being faced with the prospect of sitting in the same seat and staring at a music stand for two hours, you only have to concentrate for 15 minutes at a time. And 15 minutes goes by in a flash! And of course, if that's too long for you, you could divide that 15-minute parcel into three five-minute sections. And c'mon, five minutes is nothing-it will take you almost that long to read this section!

So how do you start a regimen for yourself? It's simple: List your goals and be specific. Instead of saying, "I need to learn some scales and arpeggios and get my chops up," figure out exactly what scales and arpeggios you need to learn. Is there a picking pattern giving you problems? Target it and work it out! The best piece of advice I can give you is this: Always practice what you don't know, not what you do know.

With all of that in mind, let's take a look at Figure 1, a sample schedule depicting the first hour of a practice session. It covers only a couple of subjects you should be practicing, but it should give you enough of an idea of how detailed your daily practice plan should be.

Figure 1:

SAMPLE PRACTICE SCHEDULE

Right- and left-hand synchronization (20 min.)

Wild Stringdom, March 1998 Guitar World

Figure 1 (5 min.)

Figure 2 (5 min.)

Figure 3 (5 min.)

Figure 4 (5 min.)

Scales (20 min.)

G major, third position (5 min.)

G minor pentatonic, third position (5 min.)

G Dorian, third position (5 min.)

G Mixolydian, third position (5 min.)

Arpeggios (20 min.)

Am7, second position (5 min.)

Am7, fifth position (5 min.)

Am7, seventh position (5 min.)

Am7, twelfth position (5 min.)

DEF LEPPARD, THE BEST. GUITAR SIGNATURE LICKS. CD DI BASI TABLATURE 

LIBRO DI MUSICA CON CD, SPARTITI PER CHITARRA. PENTAGRAMMA, ACCORDI E TABLATURE. 

A Step-By-Step Breakdown of the Band's Guitar Styles and Techniques
Series: Signature Licks Guitar
Medium: Softcover with CD
Artist: Def Leppard

12 songs from four of Def Leppard's best albums are covered in this book/CD pack, which breaks down their styles and techniques. Includes: Bringin' On the Heartbreak - Hysteria - Love Bites - Photograph - Pour Some Sugar on Me - Rock of Ages - Wasted , and more. The CD presents each song in a stereo split with full band backing. 90 pages

Table of contents
Another Hit And Run
Bringin' On The Heartbreak
Foolin'
Hysteria
Let It Go
Love Bites
Photograph
Pour Some Sugar On Me
Rock Brigade
Rock Of Ages
Rocks Off
Wasted