CHITARRA - GUITAR

TOTAL SHRED GUITARIST THE, A Fun and Comprehensive Overview of Shred Guitar Playing. German Schauss. 

SHEET MUSIC BOOK WITH CD & DVD & GUITAR TABLATURE. 

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The Total Shred Guitarist
A Fun and Comprehensive Overview of Shred Guitar Playing
By German Schauss

Series: The Total Guitarist
Category: Guitar Method or Supplement
Format: Book, CD & DVD
Instrument: Guitar

The Total Shred Guitarist is an exciting journey through the world of heavy metal guitar playing. Author and master shredder German Schauss provides a step-by-step approach to shred guitar that makes it easy to understand, proving that it's not rocket science. You just need some basic tools, some basic theory, and a lot of practice! Through simple chromatic patterns and warm-up exercises, you'll develop finger independence, conditioning, and speed. Learn patterns and sequences in a variety of scales, while developing technical fluency in alternate picking, tapping, multi-finger tapping, sweep picking, string skipping, and more. This book is for guitarists of all genres who are ready to break through the limitations of their technique and start shredding like they have always imagined. The included CD features backing tracks so you can hone your soloing skills and develop your own unique sound and style. The DVD brings the book alive and features German Schauss demonstrating lessons and techniques. 

Contents
About the Author ........................................................ 
Introduction .................................................................. 
Chapter 1: Notation and
Basic Technique Review .......................................... 
Reading Tablature (TAB) .................................... 
Scale Diagrams ...................................................... 
Notation Legend ................................................... 
Chapter 2: Warming Up and Body Awareness .....
Practice Routines and Habits ..............................
Chapter 3: Basic Warm-Up Exercises .....................
Finger Independence and Conditioning ..........
Chapter 4: Diatonic Theory .....................................
The Major Scale ...................................................
Intervals .................................................................
Triads .....................................................................
7th Chords ............................................................
Diatonic Harmony ...............................................
Natural Minor Scale ............................................
More on Intervals ................................................
Interval Inversions ...............................................
Extended Intervals and Chords ........................
Circle of 5ths ........................................................
Chapter 5: Minor Pentatonic Scale .........................
Exercising with Sequences .................................
Up Close ................................................................
Licks and Backing Tracks ...................................
Chapter 6: Patterns for Alternate Picking .............
Fretboard Efficiency and Knowledge ..............
Etudes and Backing Tracks ................................
Chapter 7: Three-Note-Per-String Scales .............
Modes of the Major Scale ..................................
Intervals .................................................................
Hexatonic Scales ..................................................
Music’s Phone Number ......................................
Licks ........................................................................

Fretboard Efficiency and Knowledge
The next step, after learning all the short musical phrases
and being able to play them in a relaxed manner, is to move
them across the strings and eventually cover the entire
fretboard. This can be done in two ways: chromatically
or diatonically.
When you play the patterns chromatically, you simply take
the pattern and move it up or down one fret at a time,
maintaining the same shape. In order to practice all possible
shapes chromatically, you should consider practicing the
different variations of interval structure using the same
pattern. This means if you have an ascending three-note
phrase, the intervals could be:
Whole step–whole step
Whole step–half step
Half step–whole step
The example below illustrates the chromatic three-note
ascending pattern played on the G string. Make sure to
move it to the other strings and apply the other interval
patterns mentioned above. 

Hexatonic Scales
The hexatonic scale is a great tool for getting around the fretboard. You are probably wondering what hexatonic
scales are and how you can use them. Hexatonics are sixnote scales. The common major scale (a seven-note scale) is called a heptatonic scale. These names are derived from the Greek words for six (hexa) and seven (septa). We have already looked at another Greek-named scale: the pentatonic scale (penta means five). In the next section, we will transform the major scale modes into hexatonics.

Hexatonic Modes
If you use only the first six notes of each of your seven scale positions, or modes, you can easily create a hexatonic mode. Just repeat those six notes one octave higher on the D and G strings, and then one octave higher again on the B and E strings. The result is a hexatonic mode spanning three octaves. These modes are great for playing fast ascending or descending runs. The following diagrams show the seven hexatonic modes of C Major.

VENTURES the, Guitar Play-Along Volume 116. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

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The Ventures

Guitar Play-Along Volume 116
Series: Guitar Play-Along
Format: Softcover with CD - TAB
Artist: The Ventures

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player, and also enhanced so PC & Mac users can adjust the recording to any tempo without changing pitch!

8 songs: Diamond Head • Hawaii Five-O Theme • James Bond Theme • Perfidia • Pipeline • Secret Agent Man • Walk Don't Run • Wipe Out.

Diamond Head

Hawaii Five-O Theme

James Bond Theme

Perfidia

Pipeline

Secret Agent Man

Walk Don't Run

Wipe Out

Width: 9.0"
Length: 12.0"
32 pages

The Stratocaster Guitar Book

A Complete History of Fender Stratocaster Guitars

Libro 

volume totalmente dedicato alla chitarra elettrica Fender Stratocaster .  

Series: Guitar Reference
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon

Leo Fender's company changed the course of popular music in 1954 when they introduced the Stratocaster. Since then, the Strat has been played by countless guitarists, from Jimi Hendrix to Buddy Guy and Jeff Beck. In this book, interviews with important Strat players from every decade illustrate the instrument's versatility, playability, and continuing importance. This is the complete story of the Stratocaster and the Fender company, from the struggles of the 1950s to the new models, retro reissues, and luscious collectibles of the 21st century. The Stratocaster Guitar Book is a glorious compendium of beautiful pictures, a gripping history, and a detailed guide to all Strat models. A must for all guitar lovers.

Width: 8.5"
Length: 11.0"
160 pages

CONTENTS:
THE STRATOCASTER STORY
THE PRE-STRAT ERA
THE FIFTIES
THE SIXTIES
THE SEVENTIES
THE EIGHTIES
THE NINETIES
RECENT YEARS
ENDNOTES
THE REFERENCE LISTING
US-MADE STRATOCASTERS
MEXICO-MADE STRATOCASTERS
JAPAN-MADE STRATOCASTERS
KOREA-MADE STRATOCASTERS
DATING & SERIAL NUMBERS
MODEL CHRONOLOGY
INDEX
ACKNOWLEDGEMENTS

Leo began work as an accountant, at first in the accounts section of the state highway department and then at a tyre distribution company, but his hobby was always electronics. In his twenties, he built amplifiers and PA systems for public events: sports gatherings, dances, and so on. He took a few piano lessons before trying the saxophone, but he was never serious, and he never learned to play the guitar.
When he lost his accounts job in the Depression, Leo took a bold step and opened his own radio and record store in Fullerton, around 1938. He called the new retail and repair shop Fender Radio Service, and it seemed a natural move for the ambitious and newlymarried 30-year-old. He advertised his wares and services on his business card: "Electrical appliances, phonograph records, musical instruments & repairs, public address systems, sheet music."
His new store on South Spadra meant that Leo met many local musicians and characters in the music and electronics businesses. During the first few years he hooked up with several people who would prove important to his future success. First among these was a professional violinist and lap-steel guitarist, Clayton Orr Kauffman, known to all simply as Doc.
The story goes that some time around 1940, Doc brought an amplifier into Leo's shop for repair and the two got chatting. Doc had amplified his own guitars and made designs for an electric guitar and a vibrato system. By this time, Leo had started looking into the potential for electric guitars and was playing around with pickup designs. A crude solidbody guitar that Fender and Kauffman built in 1943 purely to test these early pickups - one design for which was patented in '44 - is today in the Roy Acuff Museum at Opryland, ashville.
Doc went to work for an aircraft company during World War II, but the two incorrigible tinkerers still found time to get together and come up with a design for a record-changer good enough to net them $5,000. They used some of this money to bolster their shortlived company, K&F (for Kauffman & Fender), and began production of electric lap-steel guitars and small amplifiers in November 1945.
In the 20s, many people in America had taken up the little lap-steel guitar, often called the Hawaiian guitar, and the instrument was still tremendously popular. The steel had been the first type of guitar to go electric in the 30s. Several innovative companies, with Rickenbacker in the lead, experimented with electro-magnetic pickups, fixing them to guitars and feeding their signal out to small amplifiers. The attraction of the steel was that it was an easy-to-play instrument, and thus one suitable for beginners, but the electric version also proved appealing to professional musicians, especially in Hawaiian music and among country-and-western bands.
The musician would play the steel guitar on his lap or would step up to an instrument mounted on legs. The name came not from its construction - Fender's steels were all wooden - but from the metal bar that the player held in his left hand to stop the raised strings, which were generally tuned to an open chord. During the 30s and later the term the stratocaster guitar book...

... quantity, naturally, is limited," announced Fender, and during 1979 and 1980 the firm proceeded to make thousands of 25th Anniversary Stratocasters ($800 including case, virtually the same price as a standard model). "They went fast in '54. They'll go fast now," ran the insistent ad. An official estimate of production mentioned 10,000 units.
Most people tend to refer to a Stratocaster as a Strat, and in 1980 Fender finally used the abbreviation officially on a new model. It was designed by Gregg Wilson, who had come up with the budget-price Fender Lead models introduced the previous year. The new Strat combined regular Stratocaster looks with updated circuitry, a 'hot' bridge pickup, and fashionable heavy-duty brass hardware. Fender also offered the hardware separately as an after-market accessory line, called Original Brass Works, following the lead of various companies that popularised a craze for retrofit replacement parts. Larry DiMarzio was a leader in this new business, introducing his Super Distortion replacement pickup in 1975, with Mighty Mite, Seymour Duncan, and others soon following.
Fender intended with the Strat to re-introduce the old-style narrow headstock of the original Stratocasters. The broader type of the time had been in use since 1965. However, Fender used old worn-out tooling, and the result was not an entirely accurate re-creation. Smaller, certainly; accurate, no. A reversion to the four-bolt neck fixing and body-end truss-rod adjustment and the removal of the neck-tilt for the new Strat model implied that CBS were already aware of criticisms of 70s Stratocasters. A few brighter colours were offered for the Strat, too, reviving Lake Placid Blue, Candy Apple Red, and Olympic White.
The model was significant as the first attempt at a modernised Strat. It retailed at $995, compared to $745 for the regular Stratocaster.
One further attempt in 1980 to provide something different for Strat fans was the Hendrix Stratocaster. It was something like a 25th Anniversary Strat in overall spec, but it had an inverted headstock and additional body contouring, and was only offered in white.
It's another significant guitar, as it was the first Fender marketed to highlight an association with a musician, a sales technique that would become very important to the company from the late 80s. Only 25 or so were produced, and most if not all were marked as prototypes.
Colour schemes were brightened and expanded a little during the 80s, with the shortlived International Colors in 1981 and then the Custom Colors and Stratobursts of '82. Some of the new hues were distinctly lurid - such as Capri Orange, Aztec Gold, or Bronze Stratoburst - and they were not much liked at the time. In 1983, there was a short run of Marble or 'bowling ball' finishes, designed by Darren Johansen, in swirling Red, Blue, or Gold.
With generally trimmed model lines and a massive output from the factories at Fender, it was hard to resist the feeling as the 80s dawned that the newly-important calculations of the balance sheet were firmly established and took precedence over the company's former creativity. At the start of the decade, CBSmanagement decided that they needed some new blood to help reverse a decline in Fender's image and finances. Income had the stratocaster guitar book ...

MODAL SOLOING STRATEGIES FOR GUITAR, Modern Ideas for All Styles. BOOK WITH CD & TABLATURE

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SOLISTA, ARMONIA, STUDIO, MANUALE, 

By Jody Fisher
Item: 00-35461
UPC: 038081396576
ISBN 10: 0739071629
ISBN 13: 9780739071625

Series: The Improv Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Modal Soloing Strategies for Guitar is a comprehensive, multi-faceted study of the seven major-scale modes. Start applying and understanding the modes through sample licks, extended solos, and play-along tracks. In addition, you'll play each mode in all 12 keys, learn different types of fingerings, and even learn the formula for each mode and its relationship to the diatonic chord. Soon, you'll be harmonizing the modes and deriving them by altering other scales. A CD with play-along tracks and demonstrations of all the examples in the book is included. 

FEATURES
• Each mode of the major scale in all 12 keys, examined from five different perspectives
• Harmonized modes with suggested voicings
• Open, closed, and single-string fingerings
• Licks and play-along tracks for every mode
• Extended solos showcasing the modes in various combinations
• Examples in TAB and standard music notation

ALSO AVAILABLE
Pentatonic Soloing Strategies for Guitar (35302)

The Improv Series
MODAL SOLOING STRATEGIES FOR GUITAR
Modern Ideas for All Styles
JODY FISHER

ISBN-10: 0-7390-7162-9 (Book & CD)
ISBN-13: 978-0-7390-7162-5 (Book & CD)
Alfred Music Publishing Co., Inc.

This book was acquired, edited, and produced by Workshop Arts, Inc., the publishing arm of the National Guitar Workshop.
Nathaniel Gunod, acquisitions, managing editor Burgess Speed, acquisitions, senior editor
Timothy Phelps, interior design Ante Gelo, .music typesetter

CD tracks 1, 4, 7, 10, 13, 16, 19, and 22 recorded by Robert Brown at Workshop
Sounds Studio, Cranford, NJ; tracks 2,3,5,6,11, 12, 14, 15, 17, and 18 recorded at
Studio Blue, Derry Hill, TX; tracks 8 and 9 recorded by Glenn Riley; tracks 20 and 21
recorded by Steve Robertson at Standing Room Only Studios, Fontana, CA

Alfred, the leader in educational publishing,
and the National Guitar Workshop,
one of America's finest guitar schools, have joined
forces to bring you the best, most progressive
educational toolspossible. We hope you will enjoy
this book and encourageyou to lookfor
other fine products from Alfred and the
National Guitar Workshop.

Cares. Contents printed on recycled paper.

INTRODUCTION

Welcome to Modal Soloing Strategies for Guitar, the only book about the modes
you may ever need. This book is for intermediate to advanced guitarists desiring
a thorough understanding of modes and their applications for improvising. For
those unfamiliar with the basics of notation and music theory, there is a review
starting on the next page. If you are already familiar with these basics, you can
skip the review and jump ahead to page 20.
The modes have been in existence for centuries as compositional tools for classical,
folk, and ethnic musicians, as improvisational devices for jazz musicians, and a
source of "new" sounds for rock, pop, and country artists. But, unfortunately,
the subject has been shrouded in mystery, causing many guitar students a lot of
confusion. The confusion may be due to an incomplete overview of the subject.
There are many ways of looking at modes and each one has an important place
in understanding and applying the modes to improvising, composition, or both.
Although modes can be derived from both major and minor scales, this book deals
only with the modes of the major scale. Each chapter is devoted to a particular
mode and will include:
• A notated list of the mode in twelve keys
• Perspective #1: The modal formula, a look at where the half steps occur in
the scale and how it relates horizontally to the fretboard
• Perspective #2: The mode's relationship to the diatonic harmony
• Perspective #3: The mode created by altering another scale
• Perspective #4: The mode's intervallic distance from the "parent" key,
measuring from the root of a chord
• Perspective #5: Deducing a mode's key signature
• Six closed-position fingerings
• Open-position fingerings in every key
• The harmonized mode, with sample chord voicings
• Mode usage
• Practice suggestions
• Licks
• Melodic patterns
• Backing track to practice soloing
Also, sample solos utilizing most of the modes in various combinations have been
included at the end of the book.
One way this book is different from many others is that three fingering options are
covered. The first is the horizontal approach along the single string. The second
is the use of "locked" fingerings or scales that are played in a fixed position. The
third fingering option is the "open" position. When any musical concept is explored
on the guitar, a more complete understanding is accomplished by examining all
three fingering options.
It should be noted here that, while a clear understanding of the modes is important,
it represents only a part of what is needed to become an accomplished improviser.
Modes, in conjunction with other scales, arpeggios, and licks, are only part of the
picture. Improvisation is a lifetime study. Try to keep this in mind.
Each chapter of this book is complete so it's all right to skip around. You can also
move straight through from beginning to end for a very comprehensive study. To
get the most out of this book, you need to transpose all exercises and fingerings in
all twelve keys. At first this may seem like a hassle, but in time it will get easier
and payoff in the form of greater fluency.
 

ABOUT THE AUTHOR
Jody Fisher has worked professionally in virtually all
styles of music during his career, from straight-ahead
and contemporary jazz to rock 'n' roll, country, and
pop. For several years, he was a director of the National
Guitar Workshop. He also taught guitar and jazz studies
at both the University of Redlands and Idyllwild School
of Music and the Arts (ISOMA TA). He is an active
performer in the Southern California area, where he
maintains a busy private teaching practice as well.

Acknowledgements
One does not survive in the music business without
help and support from a large network of family and
friends. I would like to thank my wife, Julie; my son,
Josh; Shauna Perry; and my parents, Howard and Edith
Fisher. Also, thanks to my brother, Rich; my uncle, Sid;
David Smolover, Nat Gunod, Ted Greene, Joe Diorio,
George Stanley, Bob Scarano; and the entire gang at
Caleb's Guitar.

Other Instructional Materials by Jody Fisher
3D-Day Guitar Workout (AlfredlNational Guitar Workshop-Book #17867)
Ear Trainingfor the Contemporary Guitarist (AlfredlNational Guitar Workshop-Book & CD #19370)
Jazz Skills (National Guitar Workshop-Book & CD #07-1012)
Rhythm Guitar Encyclopedia (AlfredlNational Guitar Workshop-Book & 2 CDs #14838)
Stand Alone Tracks: Smooth Jazz (AlfredlNational Guitar Workshop-Book & CD #17808)
The Complete Jazz Method:
Beginning Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14120)
Intermediate Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14123)
Mastering Jazz Guitar: Chord/Melody (AlfredlNational Guitar Workshop-Book & CD #14126)
Mastering Jazz Guitar: Improvisation (AlfredlNational Guitar Workshop-Book & CD #14129)
Jazz Guitar Harmony (AlfredlNational Guitar Workshop-Book & CD #20440)
Teaching Guitar (AlfredlNational Guitar Workshop-Book & CD #22916)
Jazz Licks Encyclopedia (AlfredlNational Guitar Workshop-Book & CD #19420)

A compact disc is included with this book. Use the CD to help ensure you're capturing the feel
of the examples and interpreting the rhythms correctly. The symbol shown at the left appears
next to every example that is on the CD. The track number below the symbol corresponds
directly to the example you want to hear. Track 1 provides tuning notes for your guitar.
0001 Soloing Strategies for Guitar

CONTENTS
About the Author
Introduction
otation and Theory Review 5
Tablature (TAB)
Scale Diagrams
Chord Diagrams
Reading Roman Numerals
Left-Hand Techniques
The Chromatic Scale
The Major Scale
Key Signatures
Intervals
Minor Scales

The Ionian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
C Ionian Backing Track

The Dorian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
D Dorian Backing Track

The Phrygian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings ; .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
E Phrygian Backing Track .

The Lydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
F Lydian Backing Track .

The Mixolydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale ,
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
G Mixolydian Backing Track .

The Aeolian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position fingerings: in every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
A Aeolian Backing Track .

The Locrian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
B Locrian Backing Track .

Concluding Solos .
Ionian/Dorian .
Ionian/Dorian/Phrygian .
Lydian/Dorian .
Mixolydian .
Aeolian/Mixolydian .
Locrian/Mixolydian/ Aeolian .

Modal Soloing Strategies for Guitar 

NOTATION AND THEORY REVIEW

Tablature (TAB)
Tablature (TAB) is a system of notation that graphically represents the strings and frets of the guitar fingerboard. Each note is indicated by placing a number, which indicates the fret to play, on the appropriate string.

Scale Diagrams
This book is loaded with scale diagrams. The top line represents the first string of the guitar, and the bottom line the sixth. The vertical lines represent frets, which are numbered with Roman numerals.

The root Scale tones First string
Frets Fret numbers

Chord Diagrams
Chord diagrams are similar to scale diagrams, except they are oriented vertically instead of horizontally. Vertical lines represent strings, and horizontal lines represent frets. Roman numerals are used to number the frets.

Chord Name First String -C7
Barre + Fret number
Frets Sixth String

Reading Roman Numerals
Roman Numeral Review
Here is a review of Roman numerals and their Arabic equivalents.
I or 1
II or 2
III or 3
IV or 4
V or 5
VI or 6
VII or 7

Left-Hand Techniques
SL= Slide
H = Hammer-on
P= Pull-off
Bend and Release
Whole-Step Bend
Half-Step Bend
Left-hand fingering
 

25 GREAT CLASSIC ROCK GUITAR SOLOS. Dave Rubin. BOOK WITH CD & TABLATURE

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Featuring legends of lead guitar, including Jimmy Page, Eric Clapton, Eddie Van Halen, Jeff Beck, Carlos Santana, Duane Allman, Tony Iommi, David Gilmour, and many mire.

Transcriptions · Lessons · Bios · Photos
Series: Guitar Book
Format: Softcover with CD - TAB
Author : Dave Rubin

From Eric Clapton and George Harrison to Brian May and Eddie Van Halen, take an inside look at the genesis of classic rock guitar. This book/CD pack provides solo transcriptions in standard notation and tab, lessons on how to play them, guitarist bios, equipment, photos, history, and much more. The accompanying CD contains full-band demonstrations of every guitar solo in the book. It's playable on any CD player, and is also enhanced so Mac and PC users can adjust the recording to any tempo without changing the pitch! Songs include: Louie, Louie - Mississippi Queen - Money - Paranoid - Radar Love - Reeling in the Years - Smoke on the Water - Sweet Home Alabama - Tush - We Will Rock You - White Room , and more.

Rock guitar solos have evolved significantly over time. In the "stone age" of the fifties, they often served merely as an "instrumental break" from the vocals; by the "stoned age" of the sixties, however, they sometimes seemed the whole point of the exercise. Even back then, however, the difference was always in the songs with the closest lineage to the blues. Beginning with Chuck Berry and the raucous, howling highway sound of his grinding solo on "Maybellene" in 1955, a freedom to improvise and express joy, anger, lust, menace, or just sheer rebellion for the hell of it became the province of those players willing to test their mettle (metal?) and chops. It's a fairly straight shot from Chuck to the Kingsmen in the Northwest in the early sixties and their primal, iconic garage rock version of "Louie Louie" (1963) featuring lead guitarist Mike Mitchell. In England, Jeff Beck was helping to create psychedelic music in the Yardbirds by filtering the blues through Les Paul and rockabilly music, and his wildly creative chops produced the swinging and humorous "Jeff's Boogie" in 1966. His predecessor in the 'birds, Eric Clapton, would advance the cause of heavy blues rock in Cream during the late sixties with dramatic blues rock like the monolithic "White Room" in 1968. A year later in the U.S., a band from northern California led by the exceptionally talented singer/songwriter/guitarist John Fogerty combined country blues with country, folk, and rockabilly music to create a dazzling string of hit singles. "Born on the Bayou," the flips ide of the future wedding band staple "Proud Mary," captured a Southern ambience not present in British blues rock. Also in 1969, Mexico-born Carlos Santana in the San Francisco area found yet another way to combine the blues with a new genre in the celebratory Latin rock of "Soul Sacrifice" that he had performed that summer at the landmark Woodstock festival in upstate New York. John Lennon likely thought himself the "bluesiest" of the Beatles, that most eclectic and imaginative of sixties bands, but George Harrison and Paul McCartney joined him in trading funky blues rock solos during their crunching jam on 'The End" in 1969 that actually marked the "end" for the Beatles with Abbey Road. Led Zeppelin, their polar opposites led by the brilliant tone king Jimmy Page, gave a nod to a passel of blues classics with their original composition "The Lemon Song" on their second release in 1969. That same watershed year, an authentic American blues group from the South, the Allman Brothers Band featuring Duane Allman and Dicky Betts, included the ultimate encore tune of "Whipping Post" on their debut album. The seventies started off showing no let up in creativity regarding blues influenced rock. Mountain, with the physically "mountainous" lead guitarist Leslie West, paid props to the "Mississippi Queen" in 1970. Across the "big pond," heavy metal avatars Black Sabbath with guitarist Tony Iommi were feeling rather "Paranoid" in 1971, while Deep Purple with the "Dark Knight" Richie Blackmore smoldered with "Smoke on the Water" in 1972. At the same time stateside, the jazz-bopping Steely Dan, with a rotating cast of top session guitarists, recorded the fast shuffling "Reeling in the Years" with studio cat Elliot Randall spinning fluid lines. David Gilmour and the second incarnation of Pink Floyd used "Money" in 1973 to make a major musical statement in England, while the pride of Ohio,

Song List:

YEAR - TITOLO - CHITARRISTA - BAND - ALBUM

1977 - Black Betty - Bill Bartlett - RAM JAM - Ram Jam
1969 - Born On The Bayou - John Fogerty - CREEDENCE CLEARWATER REVIVAL - Bayou Country
1969 - The End - Paul McCartney, George Harrison, John Lennon - The BEATLES - Abbey Road
1966 - Jeff's Boogie - Jeff Beck - YARDBIRDS - Over under sideways Down  
1969 - The Lemon Song - Jimmy Page - LED ZEPPELIN II
1977 - Lights Out - Michael Schenker - UFO - lights out 
1976 - Long Time - Tom Scholz - BOSTON - Long time
1963 - Louie, Louie - Mike Mitchell - The KINGSMEN - The Kingsmen in person
1970 - Mississippi Queen - Leslie West - MOUNTAIN - Climbing!
1973 - Money - David Gilmour - PINK FLOYD - dark side of the moon
1971 - Paranoid - Tony Iommi - BLACK SABBATH - Paranoid
1973 - Radar Love - George Kooymans - GOLDEN EARRING - Moontan
1972 - Reeling In The Years - Elliot Randall - STEELY DAN - Can't buy a thrill
1973 - Rock And Roll Hoochie Koo - Rick Derringer - all american boy
1973 - Rocky Mountain Way - Joe Walsh - the smoker you drink, the player you get
1972 - Smoke On The Water - Ritchie Blackmore - DEEP PURPLE - Machine Head 
1980 - Snortin' Whiskey - Pat Travers e Pat Thrall - PAT TRAVERS BAND - crash and burn
1969 - Soul Sacrifice - Carlos Santana - SANTANA 
1974 - Sweet Home Alabama - Ed King - LYNYRD SKYNYRD - Second helping
1974 - Train Kept A-Rollin' - Steve "the deacon" Hunter - AEROSMITH - Get your wings
1975 - Tush - Billy Gibbons - ZZ TOP - Fandango
1977 - We Will Rock You - QUEEN - news of the world
1969 - Whipping Post - Duane Allman - The ALLMAN BROTHERS BAND 
1968 - White Room - Eric Clapton - CREAM - Wheels of fire
1978 - You Really Got Me - Eddie Van Halen - VAN HALEN - Van Halen

106 pagine