CHITARRA - GUITAR

TAPPING E SWEEPING ALLA CHITARRA, Michele Merico. In italiano. TABLATURE DVD

DVD IN ITALIANO, DI MUSICA PER CHITARRA CON LIBRETTO E TABLATURE.

TECNICA TAPPING

in francese; con sottotitoli in italiano

Questo DVD si sofferma per più di due ore sulle tecniche del tapping e dello sweeping alla chitarra, indissociabili dalle nozioni di velocità e di virtuosismo. Prima di tutto il tapping: tecniche di base, tapping su una corda e su più corde, scale ed arpeggi, cambi di posizione, movimenti trasversali, tecniche arricchite il tutto con l’aiuto di numerosi lick ed esercizi! In seguito lo sweeping: tecniche di base, nuove combinazioni di dita, lavoro degli arpeggi essenziali, lavoro della regolarità, diteggiature tipiche della scala maggiore ed altre scale utili, adattamento delle diteggiature, arpeggi di settima (triadi arricchite), sweeping realistico anche qui con numerosi lick ed esercizi. In breve di che arricchire notevolmente la vostra tecnica sulla chitarra. DVD + Booklet

GUITAR JOURNALS... FLAMENCO. SHEET MUSIC BOOK WITH DVD & GUITRAR TABLATURE. 

LIBRO DI MUSICA FLAMENCA CON DVD.

SPARTITI PER CHITARRA CON:

PENTAGRAMMA E TABLATURE.  

6 PEZZI COMPLETI.

Product Description:
This 176-page book/DVD package includes six full-length contemporary Flamenco guitar compositions by Ioannis Anastassakis, MA, best-selling Mel Bay author of the Art of Rasgueado and one of the few people to have obtained a Graduate Degree in Flamenco Guitar. Selections include Veridiana (Rumba Flamenca), Angelika (Granadinas), Maestro Serrano (Tangos), as well as 3 more solos based on the Flamenco forms of the Farucca, the Soleares and the Malaguena. Presented in standard notation and tablature, with extensive performance notes for each selection. DVD duration 64 min.

Format: Book+DVD
Series: Guitar Journals

It is no secret that interest in the flamenco guitar has grown very rapidly during the last 50 years. Flamenco guitar technique has evolved to extremely high standards, the compositions have matured beyond even the most optimistic expectations and the number of artists performing solo flamenco guitar music has risen to unprecedented heights; even the number of new flamenco guitar recordings has quadrupled in the last 5 years alone! There is, however, still one problem plaguing this continuous and multi-faceted progress: lack of performance repertoire. When compared to its classical guitar counterpart, flamenco guitar repertoire is found lacking indeed. Very few editions of performance pieces exist, most of them decades-old compositions that do not take into account the progress that has taken place in both the performance techniques and the compositional forms of flamenco guitar.

My intention with this collection of pieces is to tread the fme line between traditional flamenco guitar, firmly rooted in the inherited musical elements and the contemporary influences that have brought new levels of excitement to the music. All the compositions presented in this collection are based on traditional flamenco guitar forms. All of them, however, include additional elements from other musical cultures and styles. These compositions are meant to be performed live. I have performed most of them at least 200 times during the course of my flamenco guitar recitals and in just about every performance scenario from impromptu guitar gatherings to heavily publicized recitals, when teaching flamenco masterclasses or just playing for friends. The level of difficulty is usually upper intermediate with some parts drifting purposefully into advanced territory. Do not let that discourage you! I hope you have as much fun working with the compositions in this book as I had composing and recording them. Moreover, if you do enjoy them, do not hesitate and let me know. And while you are at it, check out. Finally, if you are interested in the subjects of flamenco and classical guitar, check out my Art of Rasgueado book, as well as my upcoming Art of Tremolo, Treasures of Flamenco Guitar and Flamenco Guitar Studies books, all published by Mel Bay Publications.

Companion CD Recording: All of the compositions in the book are recorded on the companion CD at performance speed. In addition, several of the key parts in each composition are recorded again at slow speed, in order to offer a more complete understanding of each phrase. Finally, I have included video files on the companion DVD that demonstrate the most difficult parts, as well as flamenco-specific techniques within these compositions. Fingering Notes: In order to simplify the visual complexity of the music, I have opted to avoid repeating obvious left-hand fingerings, especially in the case of basic major and minor chords played in open position and/or phrases repeated many times throughout the composition (eg. The basic rasgueado pattern in Soleares). This was done intentionally in an effort to give the music an uncluttered look, since there is a fair amount of rhythmic complexity as well as a large assortment of right hand techniques that need to be meticulously transcribed in the notation and tablature. As a personal fingering choice, I tend to use my left hand 4th finger (little finger) for a lot of phrases where most guitarists would use their 3rd (ring) fmger instead. I have found that with proper training, the little finger becomes even stronger than the ring finger, so I tend to use it a lot, sometimes to the point of favoring it. Still, this is a personal fingering choice. Feel free to substitute the 3rd finger in these instances. Keep in mind that a lot of flamenco falsetas (music phrases) are based on chord shapes that are held for either the complete duration or a significant segment of the phrase. This is especially prevalent in tremolo-based and arpeggio-based phrases. Try to identify these phrase segments and keep the maximum number of chord notes ringing while performing them. Depending on their specific context, trills are sometimes notated as appogiaturas and are sometimes given appropriate rhythmic value. The most basic, as well as the most usual, golpe is played with the ring finger hitting the golpeador of the flamenco guitar, right below the 1st string close to the bridge. However, there are two other special golpes used in the following compositions, which are explained in each piece's performance notes. The most distinctive techniques of the flamenco guitar are the various Rasgueados. These characteristic strumming techniques playa key part in creating the unique sound of the flamenco guitar. I have intentionally decided to use a very large variety of rasgueados, more than you would probably find in the actual playing of even an advanced flamenco guitar performer, in order to demonstrate a representative sample of the variety of flamenco rasgueado technique. If you are interested in learning more about the various rasgueado techniques used in flamenco, their history proper performance and context, I suggest you check out my instructional book The Art of Rasgueado, published by Mel Bay Publications.

Born on the Greek island of Crete, Ioannis Anastassakis studied at the Greek National
Conservatory and the Nakas Conservatory in Athens. He completed his bachelor's degree at the
American College of Greece, and subsequently studied at the distinguished Musicians Institute
in Las Angeles (GIT), where he was hired as an instructor after graduating in the top 1% of his
class. He continued his studies, specializing in solo flamenco guitar under the tutelage of Juan
Serrano at California State University, completing an MA in Guitar Performance and graduating
Magna cum Laude. Currently (2005), he is working towards a Doctorate in Education, with an
emphasis in Music in the UK.
Ioannis studied for several years with Juan Serrano. In addition, he has studied with Flamenco
guitar legends Manolo Sanlucar, Juan Martin, Paco Serrano, Jose Antonio Rodriguez and Manolo Franco.
Ioannis' list of teachers of electric guitar are no less impressive; the list reads like a "Who's
Who" of contemporary electric guitar legends including: Steve Vai (Whitesnake), Vinnie Moore (UFO), Marty Friedman (Megadeth), John Petrucci (Dream Theater), Frank Gambale (Chick Corea), Paul Gilbert (Mr. Big), Brett Garsed, Joey Tafolla, Scott Henderson, Mike Stern, Jean Marc Belkadi, Darren Householder, Tommy Tedesco, Ted Greene, Ron Echete, Sid Jacobs and Joe Diorio.
Ioannis has also performed and/or recorded in various settings with band members from
Whitesnake, Dio, Deep Purple, Ozzy Osbourne Band, Elton John Band, Santana, Celine Dion, Sara Vaughan, Tito Puente, Julio Iglesias, Tower of Power, Chick Corea Electric Band, Jeff Beck, Steve Vai Band, Badlands, Tribal Tech, Natalie Cole, Joe Cocker, Cher, Blood Sweat & Tears, Nina Hagen and others.
Ioannis has presented over 300 solo recitals in Europe and the United States and has been a
guest lecturer at several American colleges and universities including: The University of Southern
California, California State University Northridge, California State University Fresno, California
State University Fullerton, Musicians Institute, Fresno City College, and the American College of
Greece. In addition, he has won classical and flamenco guitar competitions and has been featured
a dozen times on American television programs.
In December 2000, he was the first guitarist ever to present a solo guitar recital at the Greek
National Opera House.
Ioannis' first solo flamenco guitar CD, Flamenco Live at Ioannina, was released by MP3.com
in August 2000 and immediately entered the company's flamenco category Top 10 chart, eventually
reaching the #1 spot worldwide in October 2002. The CD was re-mastered and re-released by
Wild Rose Angel Productions in 2003.
Ioannis' second and third solo flamenco guitar CDs, Traditional Flamenco Guitar Selections,
Vol.J & Vol.2 are scheduled for release by Wild Rose Angel Productions in 2006 and 2007
respectively.
Ioannis' instructional materials are published and distributed worldwide by Mel Bay
Publications. His first instructional book The Art of Rasgueado, achieved best-seller status within
months of its initial publication date. He is also a regular columnist in Mel Bay's Guitar
Sessions® magazine.

TABLE OF CONTENTS
Introduction
Acknowledgements
General Performance Notes
Notation Legend
A mi madre (Soleares) - About the Composition
A mi madre (Soleares) - Performance Notes
A mi madre (Soleares)
Recuerdos de Cordoba (Farruca) - About the Composition
Recuerdos de Cordoba (Farruca) - Performance Notes
Recuerdos de Cordoba (Farruca)
Angelika (Granadinas) - About the Composition
Angelika (Granadinas) - Performance Notes
Angelika (Granadinas)
Veridiana (Rumba) - About the Composition
Veridiana (Rumba) - Performance Notes
Veridian (Rumba)
Maestro Serrano (Tangos) - About the Composition
Maestro Serrano (Tangos) - Performance Notes
Maestro Serrano (Tangos)
Variations on Malaguefia (Malaguena) - About the Composition
Variations on Malaguefia (Malaguena) - Performance Notes
Variations on Malaguefia (Malaguena)
About the Author

DVD CONTENTS
This DVD contains specific sections from the songs chosen by the author to teach in greater detail. Each section is played at speed and then played again at a slower pace to offer greater instruction and insight into each piece. The audio tracks are located on the DVD. You can access them by selecting "Audio Only selections" from the main menu of the DVD. 

Song Title: Composer/Source:

Introduction
Acknowledgements
Performance notes
Notation legend

A Mi Madre - Ioannis Anastassakis
Angelika - Ioannis Anastassakis
Flamenco Variations on Malaguena - Ioannis Anastassakis
Maestro Serrano - Ioannis Anastassakis
Recuerdos De Cordoba - Ioannis Anastassakis
Veridiana - Ioannis Anastassakis

SHRED BOOT CAMP, The First Comic Book to Teach You the Secrets of Shred Guitar By Hurwitz. CD TABLATURE

LIBRO METODO DI MUSICA HEAVYMETAL, CON CD. 

SPARTITI PER CHITARRA,

ACCORDI, GRAFICO DELLA TASTIERA, PENTAGRAMMA E TABLATURE

By Tobias Hurwitz, illustrated by Jesse Smolover 

MICHAEL ANGELO BATIO
Item: 00-30283
Category: Guitar Method or Supplement
Format: Book & CD

Shred Boot Camp is the first comic book of its kind: a complete book and CD package that guides you through the adventurous journey of saving the human race by performing heavy metal pyrotechnics on your guitar -all while teaching you to shred like a pro! As you conquer your way through this five-week workout, you'll be exposed to the most challenging licks from The Shred Squadron. CAUTION: Shred at your own risk- the world is depending on you!

"The fastest guitar I ever played in my life was on Shred Boot camp. It’s a great product! "-Michael Angelo Batio, Guitar World Magazine

" Shred Boot Camp has to be one of the coolest new shred books out to date!! Plus it contains some of my fastest playing EVER!!!! "- Dave Martone

CHINA, GUITAR ATLAS. CD TABLATURE

Your passport to a new world of music
By Jeff Roberts

Series: National Guitar Workshop: Guitar Atlas
Category: Guitar Method or Supplement
Format: Book & CD
This book introduces the rich cultural and musical heritage of China. You'll learn innovative techniques and tunings designed for adapting the music of traditional instruments (guzheng, pipa, and dizi) to the guitar. You'll also gain knowledge about the different instrument classifications (metal, stone, clay, silk, bamboo, wood, gourd, and skin). Guitar Atlas: China features traditional pieces like "Wan Nian Huan" ("Ten Thousand Years of Happiness") and "Chu Shui Lian" ("Lotus in Water"), and also includes excerpts from various Chinese operas.

THE CAGED SYSTEM FOR GUITAR, A Clear-Cut Guide to Learning the Entire Guitar Fretboard . SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

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

 
Series: Guitar Educational
Format: Softcover with CD - TAB
Author : Pete Madsen

The CAGED system, applicable to all playing styles, will help you clearly map out the fretboard with recognizable forms and shapes that intertwine sensibly. The result is equal comfort with all areas, and the confidence to play what you want, where you want! Break free from the prison of unfamiliarity - get CAGED! Covers major, minor and 7th chords, song structures, shortcuts, and info on studying theory. 48 pages

With the CAGED System for Guitar, you'll no longer look at the guitar neck as a mysterious landscape of lighness or darkness. This powerful concept, applicable to all playing styles, will clearly map out the fretboard with recognizable forms and shapes that intertwine sensibly. The result is equal comfort with all areas and the confidence to play WHAT you want, WHERE you want. Break free from the prison of unfamiliarity! Get GAGED!

LESSONS INCLUDE:

GAGED Major Chords

GAGED Minor Chords

GAGED Seventh Chords

Song Structures

Shortcuts

Riffs

How to study Theory

Those of you familiar with the first position chords C, A, G, E, and D may not know it, but you have a powerful tool at your disposal for navigating the entire fretboard. These simple chord shapes can be repeated all over the neck, allowing you to play several different "voicings" of the same chord and create chord inversions (same chord but with the notes arranged in a different order). Why is this valuable? Well, let's say we are playing a simple three-chord song with C, F,and G chords. You're playing the third verse, and say to yourself, "I need to make this more interesting .. .increase the drama." If you can move the same three chords up the neck, the sound automatically becomes more interesting because the higher pitched notes give the impression of "movement" within the piece without overcomplicating things.

There are several books and internet sites that describe the CAGED system in significant detail. However, few (if any) give the student concrete examples of how to apply the system. In this book, we will examine the basic system as it applies to major chords, minor chords, and seventh chords, then apply that knowledge with chord progressions, songs, and riffs. Whether you realize it or not, every scale, riff, or lick that you play or hear can be related to one or more of these five CAGED chord shapes. It is my hope that, after reading through and playing the examples in this book, you will gain the knowledge to take this system and apply it to any playing situation-whether that be as a composer, improviser, or just somebody who wants a better appreciation of how the guitar fretboard is laid out. I playa fair amount of fingerpicking blues and have found the CAGEDsystem invaluable as a resource for coming up with interesting variations on the standard three-chord, 12-bar blues form. Indeed, I feel the true strength of the CAGED system lies in exploring the possibilities of simpler song structures, such as those found in blues, rock, and popular music; I also believe that it can provide insight for the guitarist in any playing situation, whether that be in blues, rock, jazz, or classical styles. Part of the beauty of CAGED is that, at its core, it reduces the guitar down to five simple visual components: a C chord, an A chord, a G chord, an E chord, and a D chord. From there, we can expand outward to grasp as much of the complexity of the instrument as we wish. Most people are visually inclined and can lock into this system of chord shapes easier than, say, having a teacher explain a lot of theory, which assumes a level of abstraction that mayor may not be useful to the student. Of course, having some theoretical knowledge is useful, so at the end of the book, you will find an appendix devoted to explaining how chords are built. It's placed at the end so that you can use it as a reference or tackle it at a time when it suits you. Keep in mind: the CAGED system is a VISUALsystem, but music is heard and not seen. The chord shapes are consistent in their relationship to each other, but the notes-the actual pitches we hear-will be different depending on where the shapes are played on the neck. This concept is crucial to developing a thorough command of the fretboard.