CHITARRA - GUITAR

MORSE STEVE, BEST OF BAND AND DIXIE DREGS. SHEET MUSIC BOOK with GUITAR TABLATURE. 

ARTIST APPROVED edition

LIBRO DI MUSICA ROCK.

SPARTITI PER CHITARRA:

ACCORDI, PENTAGRAMMA, TABLATURE .

Series: Play It Like It Is

Publisher: Cherry Lane Music TAB
Artist: Dixie Dregs
Artist: Steve Morse Band

I always consider the beginning of a new year a good time to think about what has worked well and what could stand some improvement. Since I've spent most of the last year seeing the world with Deep Purple, my perspective is definitely different now. Let me tell you some of the things that stick out as great foundations for new motivation. I'll put them in two categories. Things To Improve. Practicing habits. While I generally can find enough time in noisy environments to do some technical warmup and things that don't require too much concentration, I have found that my only truly quiet time is late after the gig in my hotel room. I should find a way to set aside more quiet time during the day to be with my guitar. My theory is that two small but effective sessions a day can be more productive than one longer single session. Sometimes when I'm having a problem getting ready to start a run of dates, I find that practicing twice a day provides more benefit than the total number of minutes spent might suggest. A more balanced diet. I definitely ate too much pizza in too many countries. But, on the other hand, it was the only thing I could recognize in many places. I should be more amazed at life itself instead of having to experience a nearly perfect gig to feel uplifted on the road. Many people within the group had friends or family fall ill or even die during the course of the last year. Since it eventually happens to everyone, I guess all of us get somewhat dulled to the fact that just being alive is miraculous. And often, the more you see someone and the more time you spend with them, the more you take them for granted. Sleep. I really must figure out how to get sleep like a normal person. Changing time zones as often as tempos from song to song just flips out my internal clock. On the other hand, I should look at the positive side of being a very light sleeper-I could be a great guard dog. I must remember what a reasonably priced nation the U.S. is. Everywhere else I go constantly reminds me of that fact. I will try hard to remember that this year, as I quickly adjust back to normal outrage at the prices of things today. Amazingly, the things that are available in the U.S. that come from abroad are almost always less expensive here. Our social interaction. Many other countries seem to have safe streets, where residents enjoy community events with no fear of walking or riding bikes in any part of their cities. It's up to us to say enough is enough. Writing a sentence about it won't change much, but what if everyone just suddenly knew that it didn't have to keep on getting worse? Someone once told me that we get what we settle for. Hmmrn .... Things That Were Cool. Getting to talk to my five-year-old son every day. He is at an age where he can entertain me on the phone with his unique views on the way things are. My favorite time was when he asked me to hold on while he got something to eat. I thought he was just going to grab something and come right back to the phone. But since I was paying the Moscow rate of eight dollars a minute from the hotel because of some problem with my carrier, of course he just forgot to return to the phone. After holding for ten minutes then trying back until they hung up the phone, he then requested that I make up another story to tell him. Well, I never will get tired of doing that. I have been surrounded by great, supportive people in the group. I will never again underestimate the importance of good chemistry between people. Two nights ago I had a terribly frustrating technical problem all through the show and I was not handling it very well, especially at first. Everyone was surprisingly helpful in getting me past the point of ruining the show for myself. Instead of getting upset at me for showing some frustration, vocalist Ian Gillan came over and said that he's really glad that I have that much passion for what I am doing. That made all the difference in the world. One minute life sucks, the next I'm feeling thankful. Everyone knew exactly what I was going through and naturally chose to help up one of their wounded. That's good chemistry, and I still don't know if it's luck or destiny or effort that makes it happen, but I'm glad it does. There's also plenty of stories like that from every group I've worked with. When I was a kid wanting to start a band, that was the main reason I was drawn to it. You know, the total really is greater than the sum of its parts. Foreign exchange. If you ever went to a club gig of the Dregs or my band, you could almost always talk to me afterwards. It's kind of normal to be somewhat accessible when you're playing clubs, especially if you're in a band that's doing multiple sets. I got into the habit of greeting those who stuck around after the show because of a guitarist who spent some time talking to me when I was a kid at one of my first shows. In the process of this last year, I've met and learned about a lot of people from many places, backgrounds, and professions. It has been some of the most valuable education in my whole life. Good will. I've met busloads of Croatians traveling a long way to see the show, and other hard-working people in nearly every country who travel great distances to be a part of it. People everywhere have brought gifts, good wishes, enthusiasm, and energy to those large places that our fearless crew has seen every day at setup time. I've seen opening bands bust their butts to get on and off stage on time after driving all night. I've seen people plan their vacations around the tour because they love the energy of live music. Yeah, again and again, I always have to agree that music can strike pretty deep.

13 rockin' guitar transcriptions of Steve's playing in Dixie Dregs and the Steve Morse Band. Plus a bio and notes from Steve Morse. 112 pages

Country Colors
Cruise Control
Flat Baroque
General Lee
Highland Wedding
Ice Cakes
Point Counterpoint
Punk Sandwich
Refried Funky Chicken
Road Expense
Southern Steel
Take It Off The Top
Twiggs Approved

MATTHEWS DAVE BAND Guitar Legendary Licks 1994-2001. CD TABLATURE

Dave Matthews Band Guitar Legendary Licks 1994-2001
Series: Guitar Educational
Publisher: Cherry Lane Music
Format: Softcover with CD - TAB
Artist: Dave Matthews Band
Author: Lois Dilivio

The Legendary Licks series presents the music of a band or artist in a comprehensive play-along package. Each book contains note-for-note transcriptions and detailed performance notes on how to play with a multitude of classic licks, fills, riffs, and solos – complete with recorded demonstrations on CD. Slowed-down versions are also onthe CD for the fast and tricky passages. This pack teaches 12 of DMB's best: Ants Marching - The Best of What's Around - Crash into Me - Crush - Don't Drink the Water - I Did It - Satellite - So Much to Say - Stay (Wasting Time) - Too Much - What Would You Say.

Inventory #HL 02500374
ISBN: 9781575604497
UPC: 073999185140
Width: 9.0"
Length: 12.0"
64 pages

gear setup

Ants Marching
The Best Of What's Around
Crash Into Me
Crush
Don't Drink The Water
I Did It
Satellite
So Much To Say
The Space Between
Stay (Wasting Time)
Too Much
What Would You Say

Introduction

The 12 singles represented here reveal the depth and breadth of the Dave Matthews Band's ideas and sounds from Under the Table and Dreaming to Everyday. From the philosophical "The Best of What' Around," to the pop perfection of "Too Much," to the soulful "Stay (Wasting Time)," straight on into the plugged-in and stripped-down "I Did It," the Dave Matthews Band has proved time and again the true nature and level of their artistty, as well as their personal drive to express themselves via whatever means necessary.
Dave Matthews Band has collectively walked a career path very different from many of its contemporaries.
Dave himself was born in South Africa in 1967 and grew up in not just that part of the world, but in England and Westchester, New York, as well. While the family was residing in Westchester, Dave's father John, a physicist, died; his mother Val moved the family back to South Africa not long after. Dave continued to reside there until he was called to serve in the army of the Apartheid government. Rather than join this army, he returned to the States, passing through New York before finally joining his family in Virginia.
After spending some time in a community college, Dave found himself working as a bartender at Miller's, a bar in Charlottesville. He had played some piano as a child, and had begun to play the guitar at about age nine. He was inspired by the musicians he heard and met in the community-Peter Griesar, Carter Beauford, Stefan Lessard, LeRoi Moore, and Boyd Tinsley. He also met guitar whiz Tim Reynolds, who would become a virtual "sixth" band member, contributing heavily to the first four albums as well as eventually touring with Dave as a duo. Dave wrote several songs, and with the encouragement and guidance of friends, he cut a demo with five of the local musical heavyweights. These musicians "clicked" from day one.
It soon became clear that the combination of Dave on vocals and guitar, Carter Beauford on drums, Stefan Lessard on bass, LeRoi Moore on sax, and Boyd Tinsley on violin was formidable-the Dave Matthews Band juggernaut had started to roll. The band made it dear that they allowed and even welcomed the bootlegging of their shows. In return, their fans rewarded them with devotion. At the time they were about to release their independently produced Remember Two Things in ovember of 1993, the band's reputation had grown so great that they essentially had their pick of major label deals. They signed with RCA.
The 1994 release Under the Table and Dreaming entered the Billboard charts at #34, went to #11 on the Billboard 200, and received a Grammy nomination for "What Would You Say." Two years later, Crash debuted atfr'2 and received Grammy nominations for the album itself and for the songs "So Much to ay."
"Crash into Me," and 'Too Much." Steve Lillywhite was the producer of these two releases plus the next- Before These Crowded Streets-which shipped at #1 on the Billboard charts.
In January of 2000, the band assembled to record. In June, three months behind schedule, the band and the record company listened to the material and agreed that they needed to rework their efforts. To paraphrase Dave, they were songs about dying, not songs about living. regardless of the fact that we're all going to die. Dave was subsequently introduced to Glen Ballard who had interned with Quincy Jone and produced for Alanis Morrissette, No Doubt, and Aerosmith, among many others. Dave and Glen holed themselves up for ten days and wrote the 12 new songs that became Everyday. It debuted at #1 on the Billboard charts, selling more than 700,000 copies in its first week of release.
Jot content to confine their activities to the musical area, the Dave Matthews Band established the Barna Works Foundation, an institution through which the band contributes to charities such as the American Diabetes Association, the Boys and Girls Clubs of America, the Southern Environmental Law Center. And various Charlottesville-area clinics and community centers.

Dave Matthews Band 1994-2001

The Legendary Licks series presents the music of a band or artist in a comprehensive play-along package. Each book contains note-for-note transcriptions and detailed performance notes on how- to playa multitude of classic licks. fills. riffs. And solos-complete with recorded demonstrations. Slowed-down versions are also on the CD for the fast and tricky passages.

- NOTE-FOR-NoTE TRANSCRIPTIONS
- CD WITH RECORDEDDEMONSTRATIONS
- PERFORMANCE NOTES
- GEAR SETUPS

CHERRY LANE MUSIC COMPANY
 

THE MARTIN BOOK. 160 pagine. Walter Carter

A COMPLETE HISTORY OF MARTIN GUITARS, 
UPDATED EDITION WITH NEW PICTURES AND REVISED TEXT
MARTIN & CO. ET 1833

Series: Book
Publisher: Backbeat Books
Medium: Softcover
Author: Walter Carter
The Martin Book

For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s.

Inventory #HL 00331417
ISBN: 9780879308872
UPC: 884088064082
Publisher Code: 0879308877
Width: 8.5"
Length: 11.0"
160 pages

For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s. 160 pages

Martin is the oldest and most respected name among American instrument makers - not just guitar makers but makers of all instruments. The guitar world, Martin had been established for over 50 years when Orville Gibson started carving the tops and backs of mandolins in the 1890s, over 100 years when Leo Fender started putting pickups on solid guitar bodies in the 1940s. Martin carried on steadily as such important names as Washburn, Epiphone, Gretsch, National, Vega, Kay, and Harmony arose, flourished, and perished. Unlike most of the great names in the guitar world, Martin never became a big company. From a one-man shop, it grew into a small-town factory; even at its all-time height of production in the 1960s, Martin turned out less than 20 percent of the guitars that Gibson was producing at the time. Martin's quality fell off with the increased production of the late 1960s and 1970s, but the company learned its lesson well in the lean years of the late 1970s and early 1980s. In the 1990s, with respect and demand for Martins once again exceeding production capabilities, the company planned only a small, cautious expansion, refusing to sacrifice quality for quantity. At the summer 1993 National Association of Music Merchants (NAMM) trade show, dealers were told that Martin was back-ordered for one year. They still ordered Martins - a testament to the quality signified by the Martin name. Martin's longevity is not hard to explain. CF. Martin, who founded the company in 1833, transformed the European guitar into a new, uniquely American instrument. The flat-top guitar we know today is larger, and it has steel rather than gut strings, but otherwise it is not much different from the instruments Martin was making by 1850. All the company had to do was to keep on making guitars the same way that CF. did. Martin was enticed at times into unfamiliar markets by the surging popularity of mandolins, banjos, and electric guitars - but flat-top guitars remain the backbone of the company's fortunes. Unlike Gibson's mandolins and acoustic archtop guitars, unlike Fender's electric solidbody guitars, Martin's guitars did not effect any revolutionary changes in popular music. CF. Martin's X-braced flat-tops of 1850 were well accepted but they did not start everyone playing guitar (everyone was playing banjo at that time). Martin instruments played an important role in the guitar'S rise to prominence in the 1930s, but the innovations that sparked the movement should for the most part be credited to other makers. Martin guitars certainly epitomized the folk boom of the 1960s, but the guitars themselves had been developed decades earl ier. Rather than leading any musical movements, Martin guitars have provided a foundation for popular music - a consistent, solid base that has always been there, regardless of what style of music was the current rage. Consistency goes a long way in explaining Martin's success, but there is more. You don't have to walk into the factory to see that Martin is a different kind of company. From the outside it looks more like an elementary school from the 1960s than an industrial facility - an image underscored by its location in a residential area. Perhaps the key is a sense of humanness that comes from family. In 1833 the company was founded by a man named CF. Martin; in the twenty-first century the chairman is still a man named CF. Martin. In the context of family ownership, there is today no company quite like Martin. Neither Orville Gibson nor Leo ...

JAZZ GREATS, Guitar Play-Along Volume 44. I Remember You (Tal Farlow) -I'll Remember April (Grant Green) - Impressions (Pat Martino) -In a Mellow Tone (Joe Pass) -Moonlight in Vermont (Johnny Smith) -On a Slow Boat to China (Barney Kessel) -Things Ain't What They Used to Be (Jim Hall) -Yesterdays (Wes Montgomery). SHEET MUSIC BOOK WITH CD JAM & GUITAR TABLATURE.

LIBRO DI MUSICA JAZZ CON CD.

CD DI BASI CON PREASCOLTO.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Play-Along
Softcover with CD - TAB
Artist: Various

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 and Mac users can adjust the recordings to any tempo without changing pitch!

Songs:

- I Remember You (Tal Farlow) - Parole: Johnny Mercer, musica: Victor Schertzinger (Paramount Picture THE FLEET'S IN) - 1942

- I'll Remember April (Grant Green) - Parole: Pat Johnson, musica: Don Raye e Gene De Paul - 1941

- Impressions (Pat Martino) - John Coltrane - 1974 

- In a Mellow Tone (Joe Pass) - Duke Ellington - 1940

- Moonlight in Vermont (Johnny Smith) - Parole e musica: John Blackburn e Karl Suessdorf - 1944

- On a Slow Boat to China (Barney Kessel) - Frank Loesser - 1948

- Things Ain't What They Used to Be (Jim Hall) -  Mercer Ellington - 1942

- Yesterdays (Wes Montgomery) - Parole: Otto Harbach, musica: Jerom Kern - 1933 

88 pages

GIBSON INTERACTIVE BIBLE, Carl Verheyen, 108 pagine. DVD

LIBRO CON DVD.

Series: Book
Publisher: Jawbone Press
Medium: Hardcover with Carl Verheyen DVD
Author: Dave Hunter
DVD by Carl Verheyen

This package provides an audio visual guide to Gibson's classic guitars, combining a detailed book listing all important products in Gibson's history with a DVD. In the DVD's main feature, author Dave Hunter and guitar legend Carl Verheyen tell the story of Gibson electric guitars while demonstrating original, classic examples of well-known models through classic amps of the period and modern high end boutique combos. They trade licks on a number of classic Les Pauls, the definitive Gibson model, explore the semi-acoustic range including the 335, and shine a light on some more exotic beasts - Firebirds, Explorers, Flying Vs and the like. The complementary Gibson reference book is packed with information and pictures covering the complete Gibson range. 108 pages