CHITARRA - GUITAR

PASS JOE ON GUITAR CD BOOK TABLATURE CHITARRA LIBRO SPARTITI METODO IMPROVVISAZIONE

PASS JOE, ON GUITAR. L'improvvisazione, il caged, le scale con gli accordi, il sol7, tecnica della mano destra e sinistra, 50 esempi, pezzi completi, -all the things you are mine -blues intro -Joe's blues -stella by starlight, con Joseph Passalaqua. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Joseph Passalaqua era nato a New Brunswick nel New Jersey (13 gennaio 1929 - 23 Maggio 1994)  figlio di Mariano Passalaqua, operaio siderurgico nato a Gualtieri Sicaminò in sicilia, crebbe a Johnstown in PennsylvaniaNato in una famiglia non musicali, Pass ha iniziato a suonare la chitarra dopo essere stato ispirato dall'attore Gene Autry, che  vestito da cow-boy suonava la chitarra in un film. Il Padre di Pass ha riconosciuto presto che suo figlio era interessato alla musica e lo ha spinto sempre a suonare brani a orecchio, a non suonare pezzi scritti appositamente per lo strumento, a studiare le scale e a non "lasciare spazi vuoti" - riempire tutto lo spazio sonoro tra le note della melodia e gli accordiDopo essersi trasferito a York City, Joe cade vittima della droga, e trascorre gran parte del 1950 in una relativa oscurità. Pass riuscito ad emergere attraverso un soggiorno al Synanon, un programma di riabilitazione. Durante quel periodo ha suonato la chitarra e affinanto le sue capacità. Poi suonerà con Frank Sinatra, Duke Ellington, Dizzy Gillespie, Ella Fitzgerald, Count Basie e molti altri.

In the music of Joe Pass we see the culmination and perfection of all that preceded him. This gentle giant of Jazz guitar defined the spirit of the music and he did it with grace and style. In this book, Joe explains his musical and guitaristic approch to the easily over - complicated process of Jazz improvisation. The book includes 50 musical examples and 3 complete transcriptions; all of which are contained on the included CD. All the music is written in standard notation and Tablature.

JAZZ IMPROVVISATION
THE 3 HARMONIC FAMILIES
50 MUSIC EXAMPLES
3 COMPLETE SONG

Includes the Following Selection:

Anno - Titolo - Compositore
1939 - ALL THE THINGS YOU ARE MINE - MUSICA: JEROME KERN / PAROLE: OSCAR HAMMERSTEIN II,
1989 - BLUES INTRO - JOE PASS
1994 - JOE'S BLUES - JOE PASS
1946 - STELLA BY STARLIGHT -  MUSICA: VICTOR YOUNG / PAROLE: NED WASHINGTON 

Example pulls together all the principles we have been working on thus far and takes a few steps further in this study on improvising over a static mai7 chord. Check out these points of importance for study:

1. Look into the use of pure diatonic lines and what makes them tick. What chord tones do they begin and end on? What is the shape and range of the line? Finally, how is scalewise movement balanced with skips?

2. Pay close attention to non-diatonic notes. Are they used as ascending/descending passing tones? Do they accent a chord-tone only? Or are they used in the context of a substitution of V7 altered over Cmai7 as discussed? Telltale signs would be the rhythmic placement of the substitution in the bar and especially how the tension is built and released (resolved) to specific chord tones. As you will notice, these lines commonly resolve to the 5th (G) of the Cmail chord.

3. The bracketed or circled notes and phrases will assist you in understanding their harmonic purpose in the line. I stands for Cmai7 while V7 stands for G7 (altered). For example, ''I 3" refers to E, the 3rd of the Cmai7 chord, while "V7:b9" refers to Ab, the b9 of the G7 chord.

Contents

 

Blues intro

Tuning Notes

"CAGED"

Exampies

 

Right-Hand Technique

Examples

 

Left-Hand Technique

Example

 

Harmonic Families: Maj7, Dom7, Min7

Diminished 7 and Augmented Subfamilies

Major 7

Examples

Example 20: Major Etude

Minor 7

Examples

Superimposing MajorTriads Over Minor Chords

Examples

Dominant7

Examples

Altered Dominant Lines

Examples

The Diminished Scale For Altered Dominant Chords

Examples

The Tri-Tone Substitution For Altered Dominant Chords

Examples

Scales For Altered Dominant Turnarounds

Exampies

 

Performance Section

All The Things You Are

Joe's Blues

Stella By Starl ight 

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MONTGOMERY WES FOR GUITAR TABLATURE LIBRO Airegin-Besame Mucho-Blue'n'boogie-Satin Doll

MONTGOMERY WES, FOR GUITAR TAB. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Eleven great songs in easy-to-read guitar tablature and standard notation. 96 pages.

Airegin
Besame Mucho
Blue'n'boogie
Dearly Beloved
Ecaroh
Golden Earrings
In Your Own Sweet Way
Satin Doll
The Way You Look Tonight
Whisper Not
Yesterdays

 


introduction
by andy jones
John L. 'Wes' Montgomery was born in Indianapolis, Indiana, on 6 March 1923. He started playing the guitar at the age of 19, moving quickly from a four-string guitar to the six-string model. His first influence was the great Charlie Christian.
Wes immediately set about transcribing Christian's recorded solos. One of his first gigs had him reproducing Christian's solos note for note. He wouldn't play anything else!
Wes lapped up information from colleagues and was soon working in his own right. By 1948 he was playing with Lionel Hampton's big band, but, ever the family man, he still operated around Indianapolis.
In 1959 the great alto saxophonist Julian 'Cannonball' Adderley heard Wes one night and immediately decided to introduce him to a wider public.
On Cannonball's recommendation Wes secured a deal with Riverside, beginning an extremely fruitful collaboration which was to revolutionise jazz guitar. Later on he also recorded some fantastic music for the jazz label Verve. Wes was to encounter some criticism over some later recordings with orchestra which focused on lighter pop tunes, but even on these dates there's always something worth checking out. Wes died on 15 June 1968 after a heart attack.
Wes played with his right-hand thumb. He had amazing facility and could play things that few guitarists could come close to even with a plectrum. Wes plays fast eighth-note passages so strongly that he must have used both up and down strokes with his thumb. He also popularised the use of octaves in melodic playing - with fantastic command, as ever. One of the marks of a great player is that he can make very difficult passages sound effortless. Wes always had a strong sound on the instrument where many players lose a considerable amount of tone at fast tempos.
In rhythmic innovation Wes was right up to the minute. He was probably the first guitar player to really absorb the intricacies of rhythm cooked up by the more adventurous modern jazz drummers. He has the ability to really nail a heavy jazz eighth-note feel but he also plays rhythms which use odd groupings of beats, and he could even play all over the underlying pulse. Few guitar players have ever had this hip kind of feel. It's no surprise that John Coltrane asked Wes to be in his great band with Elvin Jones (Wes said no, thinking he wasn't up to the job).
Wes was a true improviser. You can hear this quite clearly by listening to out-takes from his records
(many of the CD reissues of his albums come with out-takes as bonus tracks). His lines encompass
bebop, blues and a free-wheeling approach to melodic improvising. He also had an extremely advanced sense of chord movement, often introducing sly chord substitutions into his treatments of standard tunes. His own tunes are full of hip jazz harmony. Check out 'Twisted Blues' from 'So Much Guitar'.
Regarded as one of the finest jazz musicians on any instrument, Wes is still studied by all serious
aspiring jazz guitarists.
 

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MONTGOMERY WES EARLY YEARS LIBRO CD GUITAR TABLATURE Scrambled Eggs-Ursula-Lolita

MONTGOMERY WES, THE EARLY YEARS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD.

LIBRO DI SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE.

The artistry exhibited by Wes Montgomery ultimately led to a redefinition of jazz guitar. These transcriptions from Wes' landmark early recorded work capture him in contrasting settings and roles as a sideman, leader and with various group configurations. All solos were carefully transcribed in notation and tablature from Wes' original Riverside recordings. Selections include: Scrambled Eggs; Compulsion; Terrain; Ursula; Lolita; Tune Up; Says You; Delirium; and No Hard Feelings.

Compulsion by Harold Land
Delirium by Harold Land
Lolita by Barry Harris
No Hard Feelings by Buddy Montgomery
Says You by Sam Jones
Scrambled Eggs by Sam Jones
Terrain by Harold Land
Tune Up by Miles Davis
Ursula by Harold Land

 


Wes Montgomery
Born in Indianapolis, Indiana March 6, 1925
Died June 15, 1968
Wes Montgomery was a guitarist who developed an incredibly personal style.
He was influenced greatly in his early years by the driving single line jazz guitar solos
of Charlie Christian. Later, tenor saxophonist John Coltrane had tremendous influence
on him. Wes Montgomery possessed a great ear and got one of his first" gigs" playing
Charlie Christian solos by ear with a jazz combo. It was later said that his ear was good
enough to allow him to remember and embellish any piece, no matter how intricate,
after hearing it only once.
Wes Montgomery's style was so unique it can still be recognized by listening to
only a measure or two of one of his solos. Tobegin with, he played with his right hand
thumb. The story goes that he developed this technique trying to practice softly so as
not to disturb his neighbors. His thumb technique was unbelievably adept, amazing in
the words of some observers. This thumb technique gave his playing a warm, gentle
timbre. Thus, when listening to Wes, you would hear wonderfully bluesy, "be-bop"
phrases laid out in a warm, lyrically intimate manner.
Perhaps the most identifiable aspect of his style, however, was his "funky",
virtuosic use of octaves. Many great jazz guitarists have since emulated this stylistic
technique but it was pioneered by Wes Montgomery. He proved that rapid and extended
solos in octaves could be executed technically and musically. While many
others have copied this technique, few seem to obtain Wes' warm, earthy, tone.
Wes' career took a big jump when famed alto saxophonist ,Cannonball Adderly
heard him at an after-hours jazz club in Indianapolis called the Missile Room. A phone
call from Adderly set things in motion and not long after, Wes was signed to a record
contract with Riverside. He later recorded on the Verve and A & M labels. His was the
dominant voice in jazz guitar in the 1960s. His plaudits included winning the Downbeat,
Billboard and Playboy jazz guitar polls. He was awarded a Grammy for his solo
rendition of the song, "Gain' Out Of My Head." Time and Newsweek ran stories on him.
He played with many if not most of the great jazz sidemen of his era.
We are honored to present this collection of some of Wes Montgomery's early
recorded solos from the Riverside collection. We highly recommend the companion
cassette. Also available is an additional printed collection of some of his finest recorded
solos titled Wes Montgomery/Jazz Guitar Artistry.


Notes From the Transcriber
This collection of transcribed performances is a sampling from the early recorded
work of Wes Montgomery on the Riverside label. Wes signed on with Riverside in the
autumn of 1959and remained with the label through 1963.
These transcriptions capture Wes in contrasting settings and roles; as sideman,
leader and with various group configurations. As a sideman, Wes improvised concisely,
offering exactly suitable, to-the-point solos. On his own recordings, he was more
expansive, developing his solos over a number of choruses with utmost craft.
The artistry exhibited by Wes was ultimately to lead to the redefinition of jazz
guitar. His influence has, and continues to reach the oncoming generations of guitarists
within, and outside the jazz world. Being on the faculty of Berklee College of Music for
several years, I have seen first hand how the music of Wes Montgomery continues to
inspire guitarists in pursuit of excellence. Even those not versed in jazz get excited
about Wes' playing because it simply feels so good.
When working with these transcriptions, keep the recordings close at hand and
refer to them continually. What can be communicated on the printed page is limited,
but your listening to the recordings will help to make the written notes come to life.
A word about the tablature fingerings. When deciding fingerings I considered
the following factors:
1. Playability - Where does the particular phrase lie well on the fingerboard?
2. Harmonic relation - What chord shape or shapes does this phrase imply?
3. Timbre - Does the timbre clearly indicate which string a note was played on?
I have not presumed, nor do I intend to imply, where every note was originally
played by these fingerings. My intention is to provide fingerings that work well with
this music. Due to the nature of the guitar, I also recommend practicing phrases in at
least one other area of the fingerboard.

 

Here is a brief summary of the transcribed music.
Wes Montgomery - guitar
All tracks
Scrambled Eggs
Nat Adderly - cornet (leader)
Sam Jones - bass
Bobby Timmons - piano
Louis Hayes - drums
recorded January 27, 1960

Scrambled Eggs is from Nat Adderley's highly successful Work
Song album. The Bobby Timmons composition is a bass feature for
Sam Jones who solos during the head breaks. 1have included these
bass breaks in the transcription as a matter of interest. For the
Scrambled Eggs melody, Wes plays octave unison with the cornet.
Taking the last solo for one chorus, Wes appears to be drawing from
the melody by using a great deal of chromaticism in his solo lines.
This technique, that is associated with the bebop jazz style, is characterized
by the resolution of single or double chromatics to chord
tones from above and/ or below.
Compulsion
Joe Gordon - trumpet
Harold Land - tenor sax (leader)
Barry Harris - piano
Sam Jones - bass
Louis Hayes - drums
recorded May 17, 1960

From Harold Land's West Coast Blues LP,Compulsion begins
with trademark octaves from Wes. On the head and solos of his
band mates, Wes shares comping duties with Barry Harris. The A
section of Compulsion has a 1mto IVm chord change that leads to
descending lydian chord structures. Wes takes the second solo and
on his two choruses, skillfully plays through the most active harmonic
segments, melodically weaving through the changes. On the
lydian segments, Wes transposes short musical fragments in parallel
motion with the chord structures. His use of thirds on the final
bridge should also be noted.

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MASTERS OF JAZZ GUITAR, THE STORY OF THE PLAYERS AND THEIR MUSIC. CD Christian-Herb Ellis-Tal Farlow

MASTERS OF JAZZ GUITAR, THE STORY OF THE PLAYERS AND THEIR MUSIC. Non ha pagine di musica, 192 pagine. CD

Masters of Jazz Guitar
The Story of the Players and Their Music Softcover with CD
Series: Book
Publisher: Backbeat Books
Format: Softcover with CD
Author: Charles Alexander

The jazz guitar and its master players have had vast influence in a genre of uniquely provocative 20th century music. Written by some of the world's foremost jazz authorities and illustrated with more than 200 gorgeous photographs, this book spotlights remarkable musicians whose artistry has made the guitar fundamental to jazz. From 1930s electric pioneer Charlie Christian, to 1960s fusion visionary Larry Coryell and beyond, Masters of Jazz Guitar celebrates the achievements of players who changed the sound of jazz. Features deluxe paper stock, full-color throughout the book, and a bonus CD with 14 classic tracks by Howard Alden, Tal Farlow, Danny Barker, Al Casey, George Barnes, Herb Ellis, Bucky Pizzarelli, Phil Upchurch and Jack Wilkins.

Inventory #HL 00330985
ISBN: 9780879307288
UPC: 073999309850
Publisher Code: 0879307285
Width: 9.75"
Length: 12.5"
192 pages

Prezzo: €32,00
€32,00

MASTERS OF THE PLECTRUM GUITAR TABLATURE Eddie Lang-Bucky Pizzarelli-Frank Victor-Satin Doll-Dark Eyes

MASTERS OF THE PLECTRUM GUITAR. 280 pagine, con Tony Mottola, Joe Venuti, Bucky Pizzarelli, Al Valenti, e altri, anche stranieri. 180 pagine in TABLATURE

Product Description:
This landmark book of music for the plectrum style jazz guitar took years to compile, write and edit. It contains some of the greatest solos and duets ever written and performed on the plectrum or flatpicked guitar, including works by Carl Kress, Dick McDonough, George Van Eps, Bucky Pizzarelli, George Barnes, Eddie Lang, George M Smith, Al Valenti, Mel Bay, Frank Victor, Harry Volpe, Carmen Mastren, Oscar Moore, Mundell Lowe, Tony Mottola, Al Hendrickson, and Cal Collins. All solos are in notation and tablature while the duets are shown in standard notation only.

Product Number: 95293
Format: Book
ISBN: 0786602678
UPC: 796279021722
ISBN13: 9780786602674
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 3/6/1995
280 PAGES

Contents:

Song Title: Composer/Source:
A Handful Of Riffs Eddie Lang
After Thoughts Part I Carl Kress
After Thoughts Part Ii Carl Kress
After Thoughts Part Iii Carl Kress
Andante Cantabile Harry Volpe
April Kisses Eddie Lang
Bang! Bang! George M. Smith
Chicken A La Swing Dick Mcdonough And Carl Kress
Danzon Dick Mcdonough And Carl Kress
Dark Eyes Medley George M. Smith
Easy Listenin' Blues Nadine Robinson
Eighth-Note Triplet Boogie George Barnes
Estrelita, Little Star Arr George M. Smith
Etude I Frank Victor
Etude I Harry Volpe
Feelin' My Way Eddie Lang
For Two In Love Tony Mottola
Gee Baby, Ain't I Good To You Words And Music By Don Redman, Andy Razaf
Helena Carl Kress
I Had Picked You Bucky Pizzarelli
I Think You Always Knew Music By Mundell Lowe
Lament In E Carmen Mastren, Albert Harris
Love Song Carl Kress
Love You Madly Al Hendrickson
Maple Leaf Rag Joplin-Mel Bay
Midnight Clear Harry Volpe
Mighty Lak'a Rose Nevin-Mel Bay
Modern Etude Harry Volpe
My Cherished Prelude Harry Volpe
My Gal Sal Cal Collins
Narcissus Nevin-Mel Bay
None But The Lonely Heart Peter Ilyich Tchaikovsky Arr. By Al Valenti
Over And Over Blues Bucky Pizzarelli
Peg-Leg Shuffle Carl Kress
Pick It And Play It Frank Victor
Pickin' My Way Eddie Lang
Poor Butterfly Cal Collins
Rainbow's End Eddie Lang
Rhythm A La Carte Harry Volpe
Romantic Harry Volpe
Satin Doll Duke Ellington, Johnny Mercer, Billy Strayhorn Arr
Serenade Riccardo Drigo, Arr. By Al Valenti
Slow Burning George M. Smith
Smoke Eyes Bucky Pizzarelli
Snowfall In April Harry Volpe, Jack Donahue
Squattin' At The Grotto John Van Eps And George Van Eps
St. Louis Blues Arr George Barnes
Stage Fright Dick Mcdonough And Carl Kress
Stringin' Along With Annabelle Frank Victor
Stringin' The Blues Joe Venuti, Eddie Lang
Strolling Thru Manhattan George M. Smith
Sunshine Joe Venuti, Eddie Lang
Sutton Mutton (Taking It On The Lamb) Carl Kress
Sweet Lorraine Clif Burwell, Mitchell Parish Arr Mel Bay
Sweet Strings Frank Victor, Harry Volpe
Swingin' The Scale Harry Volpe, Frank Victor
Tango George Van Eps
Test Pilot George M. Smith
To A Wild Rose Edward Macdowell, Arr Mel Bay
Tony's Tune Tony Mottola
Tranquilo Al Hendrickson
Traumerei Schumann-Mel Bay
Two Guitars Harry Volpe
Warm Feelings Tony Mottola
You Tell Me Your Dream Arr Mel Bay

 

Danzon
Performed by Dick Mcdonough And Carl Kress
Rhythm A La Carte
Performed by Harry Volpe
Snowfall In April
Performed by Harry Volpe, Jack Donahue
You Tell Me Your Dream
Performed by Arr Mel Bay
After Thoughts Part I
Performed by Carl Kress
April Kisses
Performed by Eddie Lang
Estrelita, Little Star
Performed by Arr George M. Smith
Etude I
Performed by Harry Volpe
Serenade
Performed by Riccardo Drigo, Arr. By Al Valenti
Eighth-Note Triplet Boogie
Performed by George Barnes
Modern Etude
Performed by Harry Volpe
Stringin' Along With Annabelle
Performed by Frank Victor
Tranquilo
Performed by Al Hendrickson
Traumerei
Performed by Schumann-Mel Bay
Two Guitars
Performed by Harry Volpe
For Two In Love
Performed by Tony Mottola
Maple Leaf Rag
Performed by Joplin-Mel Bay
TO a Wild Rose
Performed by Edward Macdowell, Arr Mel Bay
Andante cantabile
Performed by Harry Volpe
Over And Over Blues
Performed by Bucky Pizzarelli
Peg-Leg Shuffle
Performed by Carl Kress
Sweet Strings
Performed by Frank Victor, Harry Volpe
Easy Listenin' Blues
Performed by Nadine Robinson
Lament In E
Performed by Carmen Mastren, Albert Harris
Mighty Lak'a Rose
Performed by Nevin-Mel Bay
Test Pilot
Performed by George M. Smith
Warm Feelings
Performed by Tony Mottola
Bang! Bang!
Performed by George M. Smith
Helena
Performed by Carl Kress
Pick It And Play It
Performed by Frank Victor
St. Louis Blues
Performed by Arr George Barnes
Strolling Thru Manhattan
Performed by George M. Smith
Sunshine
Performed by Joe Venuti, Eddie Lang
Sutton Mutton (Taking It On The Lamb)
Performed by Carl Kress
Chicken A La Swing
Performed by Dick Mcdonough And Carl Kress
Love Song
Performed by Carl Kress
My Cherished Prelude
Performed by Harry Volpe
A Handful Of Riffs
Performed by Eddie Lang
After Thoughts Part Iii
Performed by Carl Kress
I Had Picked You
Performed by Bucky Pizzarelli

Midnight Clear
Performed by Harry Volpe
Romantic
Performed by Harry Volpe
Sweet Lorraine
Performed by Clif Burwell, Mitchell Parish Arr Mel Bay
Stage Fright
Performed by Dick Mcdonough And Carl Kress
Gee Baby, Ain't I Good To You
Performed by Words And Music By Don Redman, Andy Razaf
None But the Lonely Heart
Performed by Peter Ilyich Tchaikovsky Arr. By Al Valenti
Tango
Performed by George Van Eps
After Thoughts Part Ii
Performed by Carl Kress
I Think You Always Knew
Performed by Music By Mundell Lowe
Love You Madly
Performed by Al Hendrickson
Slow Burning
Performed by George M. Smith
Narcissus
Performed by Nevin-Mel Bay
Rainbow's End
Performed by Eddie Lang
Smoke Eyes
Performed by Bucky Pizzarelli
Squattin' At The Grotto
Performed by John Van Eps And George Van Eps
Dark Eyes Medley
Performed by George M. Smith
Feelin' My Way
Performed by Eddie Lang
Pickin' My Way
Performed by Eddie Lang
Poor Butterfly
Performed by Cal Collins
Satin Doll
Performed by Duke Ellington, Johnny Mercer, Billy Strayhorn Arr
Stringin' The Blues
Performed by Joe Venuti, Eddie Lang
Tony's Tune
Performed by Tony Mottola
My Gal Sal
Performed by Cal Collins
Swingin' The Scale
Performed by Harry Volpe, Frank Victor 

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METHENY PAT BRIGHT SIZE LIFE GUITAR RECORDED VERSIONS TABLATURE CHITARRA LIBRO SPARTITI

METHENY PAT, BRIGHT SIZE LIFE. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA PER CHITARRA ROCK JAZZ FUSION. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 


Note-for-note guitar transcriptions (carefully reviewed and approved by Metheny himself!) for all 8 songs from his highly acclaimed 1975 studio debut - which also features one of the earliest recordings of bass legend Jaco Pastorius. Contains jazz-style handwritten notation and tablature, a full-page photo of Metheny, and a Guitar Notation Legend. 214 Pages.

Bright Size Life
Midwestern Nights Dream
Missouri Uncompromised
Omaha Celebration
Round Trip/Broadway Blues
Sirabhorn
Uniquity Road
Unity Village

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METHENY PAT GUITARIST BOOK TABLATURE phase dance LiVE LIBRO CHITARRA SPARTITI

METHENY PAT, GUITARIST. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

 

LIBRO DI MUSICA FUSION .

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

TiTOLi :

-Bright size life

-american garage

-80/81

-James

-phase dance (live)

-the first circle

-minuano (six eight)

-have you heard

-question and answer

-here to stay

-stranger in town.

 

GUITAR TABLATURE

Prezzo: €139,99
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METHENY PAT QUESTION AND ANSWER Guitar Recorded Version TABLATURE LIBRO CHITARRA

METHENY PAT, QUESTION AND ANSWER. TABLATURE

LIBRO DI MUSICA, SPERTITI PER CHITARRA CON TABLATURE. 


Series: Guitar Recorded Version TABLATURE
Note-for-note transcriptions with tab, in a handwritten jazz-style font and supervised by Metheny himself. Includes all the songs from this 1989 album that the All Music Guide describes as "nine tracks of sheer jazz joy," calling Pat's playing "modernistic, highly fluid, almost liquid lightning." 144 pages

Songlist:

All The Things You Are
Change Of Heart
H & H
Law Years
Never Too Far Away
Old Folks
Question & Answer
Solar
Three Flights Up

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MONTGOMERY WES-BEST Signature Licks Guitar CD TABLATURE besame mucho-Missile blues-SPARTITI

MONTGOMERY WES, THE BEST. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA JAZZ, CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE. 

Performance notes, equipment, le tecnica del pollice, biografia. Invece di utilizzare il plettro, opta suonare con il polpastrello del pollice. Questa tecnica non ortodossa, affascina i chitarristi di oggi e stupisce per l'efficacia del suono caldo delle single-note. Missile blues -yesterdays -west coast blues -cariba -I¹ve grown accustomed to her face -bésame mucho (Kiss me much) -fried pies -mi cosa -four on six -misty -sundown -O.G.D. 

Guitar
Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Wes Montgomery
Author: Wolf Marshall

Explore the music of one of the greatest jazz guitarists of all time! This in-depth book/CD pack will guide you through 12 of the best-known tracks from the legendary Wes Montgomery, Features a foreword and introduction by Wolf Marshall, a discography and more.

Inventory # HAL LEONARD 00695387
ISBN: 0634009028
UPC: 73999953879
Width: 9
Length: 12
104 pages

Besame Mucho (Kiss Me Much)
Cariba
Four On Six
Fried Pies
I've Grown Accustomed To Her Face
Mi Cosa
Missile Blues
Misty
O.G.D.
Sundown
West Coast Blues
Yesterdays

Prezzo: €31,99
€31,99

MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.2 BOOK & CD TABLATURE CHITARRA SPARTITI LIBRO

MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.2. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ CON CD .

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .  


Product Description:
Mel Bay's Master Anthology of Jazz Guitar Solos Volume Two presents 11 challenging tunes, improvised solos and solo guitar arrangements designed to enhance the repertoire of the intermediate to advanced jazz guitarist. Some of the world's finest jazz guitarists are represented, including Chris Buzzelli, Corey Christiansen, Mark Elf, Jim Farquar, Dave Frackenpohl, Barry Greene, Randy Johnston, Bill Purse, Dave Stryker, Frank Vignola, and Craig Wagner. All of the pieces are in both standard notation and tablature with a biographical sketch of each performer. A companion stereo CD is included, making this an ideal sourcebook for serious students and professionals alike.

Mark Elfhas been on the Jazz scene for over 30 years. He was born in Queens, New York in 1949 and started playing the Guitar at the age of 11. He has played and or recorded with the Jazz Giants: Dizzy Gillespie, Clark Terry, Jimmy Heath & the Heath Bros., Wynton Marsalis & Jon Hendricks just to name a few. His first professional Jazz performance occurred around 1971 as a sideman at the Club Barron in Harlem, New York with Gloria Coleman and Etta Jones. This performance was a double bill with the George Benson Quintet. During the 1970's he toured with Lou Donaldson, Jimmy McGriff, Groove Holmes & Charles Earland and recorded a number of albums with them. He recorded his flrst album as a sideman with Jimmy McGriff & Groove Holmes in 1973 on the Groove Merchant Record label called "Giants of the Organ Come Together". In the late 1970's Mark worked with Junior Cook and Bill Hardman in New York City and also recorded with them on the Muse Label. In the 1980' s he toured Europe with Dizzy Gillespie, Clark Terry and other Jazz Luminaries and also recorded his flrst album as a leader in 1986 called the Mark Elf Trio Volume 1. In 1988 he recorded his second album as a leader ''The Eternal Triangle with Hank Jones, Jimmy Heath, Ray Drummond and Ben Riley. This album would be released in 1996 on Mark's Jen Bay Record Label. In 1993, Mark landed his fIrst overseas record deal with The Alerce Record Label and ''The Mark Elf Trio" was recorded in Santiago, Chile. This recording was marketed to radio in 1996 and went to #7 on The Gavin Jazz Chart. In 1995, Mark recorded for Telarc on the Jon Hendricks CD, Boppin' at The Blue Note with, Wynton Marsalis, Benny Golson, Al Grey & Red Holloway. This recording went to # 1 and opened up some radio doors just before the Alerce recording released in 1996. After forming his own record company in 1995, Jen Bay Records, he stunned the record industry with hit recordings on Jazz Radio. From 1996 to 2000 all seven of his recordings had flnished in the top ten on National Jazz Radio with flve of them going to #1 consecutively from 1997 to 2000! In 1996 he joined the Jimmy Heath band and also worked with the Heath Bros. During this time The Eternal Triangle was released and it went to #4 on The Gavin Jazz Chart. He recorded As We Were Saying with the Heath Bros. for Concord in 1997. This same year Mark's third recording as a leader, A Minor Scramble was released. This was the second for his own company and it hit #1 on The Gavin Jazz Chart. This was the flrst of 5 consecutive Chart Toppers! The other four were 1998 - Trickynometry (#1), 1999 - New York Cats (# 1) and 2000 - Over The Airwaves & Live At Smalls (# I)! From 1970 to the present, Mark has taught guitar and theory at independent studios, colleges and universities in the USA and abroad. His clinics are recognized as some of the fmest in the world as attested to by Clark Terry who hired Mark to teach at several of his jazz camps in the 1980' s and 1990's. Clark says, "The students love his no nonsense practical approach. He's a great clinician." Beside owning his own successful record label he also owns his own publishing company. He is sought after for his lectures on How To Succeed As An INDIE.

Frank Vignola is considered to be among the top rank of guitarists on the music scene today. Born on December 30, 1965, in Long Island, New York, he began playing guitar at the age of five. As his proficiency grew, he spent many hours listening to the music of legendary guitarists; Django Reinhardt, Joe Pass, and Johnny Smith. Frank not only gained a spiritual sort of inspiration from these guitarist's recordings, he also made an intricate study of the complexities of these guitar masters styles, slowing down his records to analyze many a solo. Frank's first teacher was his father, a semiprofessional banjo player. Later, Frank became the star pupil of guitarist Jimmy George, who was one of the original Dion and the Belmonts. At age 12, Frank took up the tenor banjo and swiftly burst upon the music scene in a way that would portend many of the accolades and milestones to come in his career as a jazz guitarist. Though obviously steeped in the traditional schools ofjazz, especially in the formative years, Frank would ultimately take inspiration from a wide arc of the musical spectrum. Guitarists such as Django, Charlie Christian, Wes Montgomery and Lonnie Johnson are obvious influences, but one might be surprised to learn that rocker Jimi Hendrix has also received the close scrutiny of Frank' s ear. Louis Armstrong, Lester Young, Thelonius Monk, Charlie Parker, Sonny Stitt, Antonio Carlos Jobim, Thad Jones and Duke Ellington have all had inspirational impact on the music of Frank Vignola. While still in his teens, Frank experienced the most effective music education possible-right on the bandstand as a working musician. Soon named among the top ranked musicians in New York, Frank performed and toured with such headliners as Max Morath and Leon Redbone. At age 23, he decided to lead his own group and formed his version of the famed Quintet of the Hot Club of France. Their debut at the New York cabaret, Michael's Pub, was a smash success and launched his career as a guitarist 'in the spotlight.' Tours of Europe, recording sessions, and an exclusive recording contract with the Concord Jazz label would all follow in short succession in a few short years. Frank would perform and/or record with such varied artists as Chet Atkins, Madonna, Jon Faddis, Woody Allen, Ringo Starr, Manhattan Transfer, Frank Wess, Elvin Jones, Lionel Hampton and countless legends from the golden age of jazz. Currently, Frank Vignola is the guitarist with the Mark O'Conner Trio' s tribute to Stephane Grappelli and also performs every Monday night with the Les Paul Trio at the Iridium in New York City. Frank is also the new guitarist in John Lewis' new group "Evolution".

Dave Stryker (3/30/57) grew up in Omaha, Nebraska and moved to New York City in 1980. After establishing himself in the local music scene, he joined organist Jack McDuffs group for two years 1984-85. When McDuff wasn't on the road (literally traveling by van all over the country) they worked a steady four-night a week gig at Dude's Lounge in Harlem. His fIrst break, this turned out to be an invaluable experience, paying his dues night after night with the soulful jazz organist. It was at Dude's Lounge that Stryker met tenor saxophonist Stanley Turrentine, who would occasionally sit in. Mter leaving McDuff, Turrentine asked Stryker to join his quintet. From 1986-1995 he played with the legendary saxophonist at all the major festivals, concert halls, and clubs throughout the world. He is featured on two Turrentine CD's (Stanley recorded Stryker's tune Sidesteppin). With Turrentine, Stryker was able to play with such jazz greats as Dizzy Gillespie and Freddie Hubbard. The ten years playing alongside the tenor legend helped Stryker realize the importance of having his own sound. (He continues to play with Stanley on occasion.) Stryker recorded his fIrst CD, First Strike (featuring Billy Hart) in 1988. Guitar on Top (featuring Mulgrew Miller and Victor Lewis) reached #13 on the Gavin Radio Chart and received 4 stars in Downbeat magazine. There have been articles in Downbeat, Guitar Player, Jazz Times, Swing Journal, and Jazz Life on Dave, and he has been awarded three jazz grants from The National Endowment For The Arts. In 1990 Dave began his association with SteepleChase Music. He has released twelve CDs on the label, including: Shades of Miles, Blue to the Bone II, All The Way, Big Room, Blue to the Bone, The Greeting, Nomad, Stardust, Full Moon, Blue Degrees, Passage, and Strikezone. Early on Stryker realized that as much as he loved playing standards and the jazz repertoire he had to have something of his own to give to the music. He feels that his writing combined with his playing is what shapes his musical expression. He has recorded and published over flfty of his own compositions. Eighteen of those compositions (from the flrst flve SteepleChase CD's) are compiled in the book: The Music of Dave Stryker (SteepleChase Music). Some of the other artists who have recorded his music are: Stanley Turrentine, Kevin Mahogany, Victor Lewis, and Steve Slagle. He is currently a featured member of vocalist Kevin Mahogany's working band, having written and arranged music for his Warner Bros. release Another Time, Another Place. Recent gigs have included Europe, Japan, Brazil, Poland and Carnegie Hall. He also works with Blue Note saxophonist Javon Jackson and pianist Eliane Elias. He has appeared on over twenty CD's as a sideman. As a producer, Stryker compiled the CD The Guitar Artistry of Billy Rogers which is the only existing record of the brilliant jazz playing of the late underground legend who was his friend, former teacher and member of the Crusaders. He also co-produced with partner Jim Eigo A Tribute to Grant Green on Evidence Music and is currently involved in producing some new releases. 

Product Number: 99554BCD
Format: Book/CD Set
ISBN: 0786660716
UPC: 796279076661
ISBN13: 9780786660711
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 5/15/2001

Format: Book/CD Set


Song Title: Composer/Source:
Eso Si Que Es - Chris Buzzelli
Got Milk? - Corey Christiansen
Guitar On Top - Dave Stryker
It Happened To Me - Barry Greene
Lenny's Song - Jim Farquar
Pat + Wes - Randy Johnston
Rain Forest - Bill Purse
Spiders - Craig Wagner
Tide Pool - Dave Frackenpohl
Trickynometry - Mark Elf
Vignette #1 - Frank Vignola

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