CHITARRA - GUITAR

INTRODUCTION TO JAZZ GUITAR SOLOING, A Comprehensive Improvisation Method. Musicians Institute Press. BOOK CD & TABLATURE

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SPARTITI PER CHITARRA CON: 

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Introduction to Jazz Guitar Soloing
A Comprehensive Improvisation Method

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Author: Joe Elliott

Perfect for seasoned rockers seeking new challenges and jazz newcomers looking for a good start, this book/CD pack covers scales, chords, licks, techniques and other vital jazz improv concepts step by step. The accompanying CD features 65 full-band demo and play-along tracks.

Inventory #HL 00695406
ISBN: 9780634009709
UPC: 073999998580
Width: 9.0"
Length: 12.0"
104 pages
 

A COMPREHENSIVE IMPROVISATION METHOD
• Key Center Soloing
• Chord Tone Soloing
• The Connecting Game
• Situation Playing
• Acquiring Vocabulary and Repertoire
• Scales
• Arpeggios
• Color Notes
• Chromatics
• Harmonization
• Solo Shaping
• Writing and Using Licks
• How to Practice
• Much More!

Whether you're a seasoned rocker seeking a new challenge or a jazz newcomer looking for a good start, this book and CD pack will provide the vital concepts you need to begin your journey into jazz improvisation. Includes loads of step-by-step information, scales, licks, and techniques, plus the accompanying audio CD features 65 full-band demo and play-along tracks!

Introduction
If you're like me, your first experience playing a guitar solo was in your friend's basement or garage. You probably learned the A minor pentatonic scale in fifth position, learned a few repetitive "didlee-diddies," a couple of bends, and had a great time jammin'. When I figured out what key a song was in, I would move my minor pentatonic shape, didlee-diddles, and bends to the place on the neck that seemed to fit and-jam. The soloist in me didn't really seem to care that I didn't know too much. Well, this was how I played for quite some time. I gradually expanded my knowledge by learning more patterns of minor and major pentatonic scales. I played with this amount of scale knowledge until I got into college and was introduced to some jazz guys. Playing tunes with them, I continued this basic approach but had to adapt to the songs changing keys more often. My solo approach, however, was still basically the same: figure out the key and wander around the pattern hoping I'd get lucky and play something good. This is called key center soloing, and there is nothing wrong with it. It's a wonderful way for us to break into the world of soloing early on in our musical development. It's great that we guitarists can learn to make good music with a small amount of information. But I knew there had to be more. Most guitarists live in this stage of development for a long time with a growing sense that they are missing some important element that would make them sound better. They're right. What's missing is the knowledge of how to make your solo fit the chords the band is playing. How do the great players pick those great notes in their solos? Some people might refer to these notes as "sweet notes," but they are really just chord tones. Chord tones are simply the notes of the chord that the band is playing. This very simple concept, which is called chord tone soloing, is the basis for the technical side of playing jazz. The vehicle for playing chord tones is the arpeggio. Understanding the concept is simple; implementing it requires some special and organized efforts. This book is designed to do just that: organize and gradually build your fretboard knowledge to a level where chord tone playing becomes as natural as wandering around the minor pentatonic scale. This book is based on the jazz improvisation method I've taught at G.I.T. since 1988. It works for the seasoned rocker who is ready for a new challenge or the jazz newcomer looking for a good start. The essence of the book can be summarized by the following statement.
As a developing player, you have two simple goals:
• To acquire a vocabulary (licks you know)
• To acquire a repertoire (songs you know)
(For a song to be "in your repertoire" you must be able to play the melody, improvise a solo, and comp for another soloist-all from memory.)
This book will cover the following general topics to help you develop vocabulary:
• key center soloing
• chord tone playing
• arpeggios
• organizing arpeggios
• situation playing-the concept of extracting common chord progression fragments from tunes and learning vocabulary to play over them
• colorful note options
• writing licks (developing vocabulary)
• inserting the licks into songs
• acquiring and developing repertoire
• other melodic devices
• solo shaping

A Comprehensive Improvisation Method by Joe Elliott

Contents
Introduction

Chapter 1: Getting Started
Chapter 2: Organizing Arpeggios in Major Scale Patterns
Chapter 3: Organizing Arpeggios in Minor Scale Patterns
Chapter 4: Situation Playing
Chapter 5: The Connecting Game
Chapter 6: The Connecting Game in More Patterns
Chapter 7: Expanding Note Options with Added Color Tones
Chapter 8: Introducing the Melodic Minor Scale
Chapter 9: Adding Altered Tones
Chapter 10: Referencing and Worksheets
Chapter 11: The Connecting Game with the Altered Scale
Chapter 12: The Locrian #2 Scale
Chapter 13: Writing Licks
Chapter 14: Inserting Licks
Chapter 15: Disguising Licks
Chapter 16: Harmonizing the Melodic Minor Scale for Altered Dominants
Chapter 17: Harmonizing the Melodic Minor Scale for Minor 7 (b5)Chords
Chapter 18: Turnaround Licks in Major (1I1-VI-II-V-I)
Chapter 19: Turnaround Licks in Minor (I-VI-II-V-I)
Chapter 20: The Lydian b7 Scale
Chapter 21: Harmonizing the Melodic Minor Scale for Non-Functioning Dominants
Chapter 22: Non-Resolving II-V Progressions
Chapter 23: The Bebop Bridge
Chapter 24: Chromatic Connections
Chapter 25: Other Melodic Devices
Chapter 26: Putting It Together
Chapter 27: Solo Shaping
Chapter 28: How to Budget Practice Time
Conclusion

ISBN 978-0-634-00970-9

HAL-LEONARD CORPORATION

CREEDENCE CLEARWATER REVIVAL, A Step-by-Step Breakdown of the Guitar Styles and Techniques of John and Tom Fogerty. CD TABLATURE

LIBRO DI MUSICA ROCK, CON CD.

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ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Creedence Clearwater Revival
Author: Dave Rubin

Dave Rubin teaches the trademark riffs and licks behind 12 of CCR's biggest hits, including:

Bad Moon Rising
Born On The Bayou
Down On The Corner
Fortunate Son
Green River
Keep On Chooglin'
Lodi
Lookin' Out My Back Door
Proud Mary
Run Through The Jungle
Travelin' Band
Who'll Stop The Rain

64 pages

TANGOS & MILONGAS FOR SOLO GUITAR, VOLUME 2. by Jorge Morel. CD TABLATURE

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

Masterful Argentine arranger/composer/guitarist Jorge Morel presents three more solos and a duet arrangement in the tango and milonga forms for which he is famous. The three solo selections "Boedo", "Sur", and "Los mareados" and the duet -"Correlera" are presented in both standard notation and tab. All four arrangements appear on Mr. Morel's commercial CDs.

Song Title: Composer/Source:
Boedo Julio de Caro
Correlera Anselmo Aieta
Los mareados Juan Carlos Cobian
Sur A. Troilo - H. Manzi

FRETBOARD MASTERY. Stetina, 168 pagine. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

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TECNICA, ARMONIA, 

Series: Guitar Educational
Softcover with CD - TAB
Author: Troy Stetina

Untangle the mysterious regions of the guitar fretboard and unlock your potential. Fretboard Mastery familiarizes you with all the shapes you need to know by applying them in real musical examples, thereby reinforcing and reaffirming your newfound knowledge. The result is a much higher level of comprehension and retention. 168 pages.

About the Author

Troy Stetina is an internationally recognized guitar virtuoso and music educator with more than thirty methods, books, videos, and DVDs published by Hal Leonard Corporation. He is also guitarist for the alternative rock band "Second Soul" and side project "Secret Society of Starfish" on Unicorn Records, plus columnist for GuitarOne magazine's "Return of the Shred. DVD & Video Methods:

Modern Rock Guitar Signature Licks (DVD)
Hard Rock Guitar Signature Licks (DVD)
Beginning Rock Lead Guitar (DVD & video)
Beginning Rock Rhythm Guitar (DVD & video)
Black Sabbath Signature Licks (DVD)
Books & Book/CD Methods:
Very Best of Ozzy Osbourne Signature Licks (book/CD)
Best of Black Sabbath Signature Licks (book/CD)
Deep Purple Greatest Hits Signature Licks (book/CD)
Aggro-Metal Signature Licks (book/CD)
Total Rock Guitar (book/CD)
Best of Foo Fighters Signature Licks (book/CD)
Rage Against the Machine Signature Licks (book/CD)
Barre Chords - The Ultimate Guide (pocket guide book)
The Ultimate Scale Book (pocket guide book)
Troy Stetina's Guitar Lessons: Hard Rock (book/CD)
Troy Stetina's Guitar Lessons: Funk Rock (book/CD)
Left Handed Guitar - The Complete Method (book/CD)
Beginning Rock Lead Guitar (companion book)
Beginning Rock Rhythm Guitar (companion book)
Metal Lead Guitar Volume 1 - revised (book/CD)
Metal Lead Guitar Volume 2 - revised (book/CD)
Metal Rhythm Guitar Volume 1 - revised (book/CD)
Metal Rhythm Guitar Volume 2 - revised (book/CD)
Metal Lead Guitar Primer (book/CD)
Thrash Guitar Method (book/CD)
Speed Mechanics for Lead Guitar (book/CD)
Heavy Metal Guitar Tricks (book/CD)

Music CDs:
Exottica
Set the World on Fire

Fretboard Mastery is the natural companion to my advanced technique book, Speed Mechanics for Lead Guitar. Both are the result of my personal search as a guitarist. Years ago my goals on the guitar were essentially two-fold. First, I wanted to eliminate any physical restrictions. That is, I wanted to be able to play anything, including any sequence of notes, at any speed. My experience in developing that kind of technique was then organized into Speed Mechanics for Lead Guitar to help others accomplish the same thing. Second, I wanted to understand the fretboard inside and out. I wanted to make it completely transparent, so my ideas could flow instantly from imagination to the guitar without any need to "translate" (i.e., hunt for the right notes). When I heard something, whether from inside or outside my own head, I would know instantly how it appeared. So I could just "think" the fretboard and compose songs and solos entirely in my head. Nice and practical. However, my pursuit to understand the fretboard didn't stop with the fretboard. How could it? After all, what is the fretboard but the guitarist's gateway into the musical labyrinth? So in order to truly understand and make full use of the fretboard, one must understand music itself. And that brings up my third goal. Did I say I only had two? Never believe that. From early on, I was curious about how music worked in a larger sense. How did my chosen style relate to other styles? What were the common elements and the differences? I sought a unifying view. I wanted to see the big picture as well as my own specialized niche to, I suppose, properly "place" my experience. The good news is that gradually I achieved this fretboard "transparency" as well as the wider knowledge of music that went with it. As a result, music seems simple. And it is, when you look deeply enough and separate the decorative elements from the meat of it. But make no mistake, it is a simplicity born from a myriad of details and ingrained skills. So it only feels simple after you know it! Not much consolation, I suppose. Nonetheless, this book is my attempt to make it "simple" for you, too. Fretboard Mastery is a comprehensive ear-training, theory, chord, scale, melody, and soloing book. It builds a powerful yet flexible framework for understanding music and guitar-my view essentially. We start with the very bedrock of sound and build up the structure right to the top, which will allow you to quickly absorb anything you choose and take your music further. I know that music lives in your untapped imagination, and this book will help you unlock it. Yes, it's advanced. It may at times seem difficult, but persevere. The rewards are more than satisfying and will last a lifetime. Good luck with your playing!

The Goal of Fretboard.
Fretboard Mastery is a set of tools designed to make the entire fretboard your playground. Yes, it is challenging. It is intended for intermediate to advanced players who want to see further and take their musicianship to the highest levels. It's not for everyone. We begin with a long series of ear-training exercises to build the connection between your inner ear and the fretboard. Then we cover a number of the larger musical structures in the primary positions and continue ear-training to recognize them instantly by their sound and associated fretboard shapes. Next we look at how music actually works with regard to tonality, chord progressions, melody, etc. Finally we extend our knowledge over the entire fretboard in a series of superimposed patterns. Through this whole procedure, you learn more than a bunch of scale dot patterns-you learn how to true use these various sets of notes to make music. All keys, all scales, all notes, all options. How is my approach different? Well, let's examine the more common approach. Usually you find such things as scales, chords, arpeggios, and ear training presented as separate concepts. First you memorize a bunch of scale dot patterns. Then you memorize a bunch of chords-some with fancy names-and you wonder how many of these you'll actually use. You may learn some music theory. You hear about tricks: take this scale and use the same notes, but move three steps this way, cross your fingers and play backwards and this mode becomes another mode, etc. But there doesn't seem to be any rhyme or reason, or if there is, you give up because it seems too complicated. Furthermore, each area-scales, chords, theory, and songs-remains separate. And a lot of it seems downright irrelevant. Faced with this, most guitarists eventually give up and reconcile themselves to the idea that they just "aren't strong on theory." Of those that continue to wade through a sea of details, many recognize that there is a deeper understanding that yet eludes them.
The missing secret is the knowledge that all these different things are really just different aspects of the same thing. This fundamental thing is the structure of music, seen through the guitar, and this is what Fretboard Mastery is really about. Attaining full competence with this information moves you beyond simply being a guitarist and into the realm of "pure" musician, since your knowledge of musical structure actually extends to any instrument. Here, we build up the entire picture the right way from ground level. Then everything falls into place as part of the interconnected whole. That sounds good of course. But if you are like me, you may be wondering what this really means in practical terms. Here are some of the benefits you will gain:
• Learning music becomes easier. As you hear music, you can instantly envision the correct fret board shapes and patterns in your mind's eye. You just pick up your guitar and play it right the first time.
• Creating music becomes easier. You won't need to hunt for notes you hear in your imagination, either. As a result, songwriting becomes easier and faster. Instead of noodling through tired old patterns hoping to stumble across a new idea, you simply listen to your imagination and create from there. You are no longer tethered to the guitar-you can "write" music while you drive, take a shower, serve burgers, entertain the in-laws, etc.
• Your musical ideas become more defined. The musical ideas that you "hear" in your imagination become more clearly defined. Instead of vague impressions, they begin to arise more and more with specific pitch and rhythm.

CONTENTS:

About the Author
Preface
The Goal of Fretboard Mastery
What Style Is This?
How to Use This Book
The Musical Staff
Introduction
Let There Be Sound
Building on Solid Ground
Tuning Notes
Notes on the Fretboard
Part I: A Foundation for Music
Simple Intervals
Relativity
Presentation
...And Justice for All?
Major and Minor Scales
The Root of All Evil
Triads and Arpeggios
Melodic Tendency
Melodic Fragments
Chromatic Melody
ScaleNoice Integration
Part II: Positional Scales and Chords
Crossing the Great Divide
Two-Octave Major and Minor Shapes
Seventh Chords
Pentatonic and Blues Scales
Modes
Harmonic Minor & Phrygian-Dominant
Jazz Melodic Minor
Parallel Scale Exercises

Part III: The Structure of Music
From Scales to Keys
Chords in a Key
Basic Chord Resolution
Chord Progression Ear Training
Inversion
Riffs, Drones and Pedal Tones
Parallel, Modal and Blended Tonalities
Advanced Resolution
Resolution Strategies
Melody Over Progressions
Melody Over Riffs and Drones
Harmony
Part IV: Fusing the Fretboard
The Pentatonic Boxes
Anchors and Pentatonic Tones
Major Pentatonics
Arpeggios
Natural Minor Positional Patterns
Diatonic Major and the Modes
Natural Minor in Three-Notes-Per-String
Other Scales in Three-Notes-Per-String
Scale "Chunking"
Part V: Advanced Concepts
Diminished Scales and Arpeggios
Whole Tone and Chromatic Scales
Hybrid Scales
Modes of Jazz Melodic Minor
Extended Chord Voicing
Fretboard Mapping
Altered Tunings
Exotic and Ethnic Scales
Soloing Over Riffs & Progressions
Outside Playing
"Sunrise" (Exottica, 2000)
Appendix
Example Transcriptions
"Sunrise" Transcription
Answers
 

CONCERT SPANISH MASTERPIECES FOR GUITAR. Paul Henry. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA CLASSICA CON CD.

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20 Spanish standards arranged in notes and TAB. for the advanced classical guitarist. 88 pages.

REPERTOIRE NOTES

Preludio-Asturias
"Preludio-Asturias" (also known as "Leyenda") originally was written for piano as part of a collection called Chants d' Espagne, Gp. 23. It was later published in a collection titled Suite Espanola, op. 47. While its title refers to the northern region of Spain, the music reflects the flamenco flavor of the Andalusia region. Of all the piano works by Albeniz, "Asturias" is the most idiomatic to the guitar.

Mallorca (barcarolla) Op. 202
"Mallorca (barcarolla), Gp. 202" is from a collection of works called Sereneta Espanola. The title is in reference to the enchanting island off the east coast of Spain. The first and last sections of "Mallorca" are written in the manner of an expressive lament, with the rocking barcarolle motion always underneath the melody. This is contrasted by a lively, rhythmic middle section.

Sevilla
"Sevilla" from Suite Espanola is a Sevillanas, which is believed to be an old Castilian folk dance. This triple-meter dance can be heard in southern Spain, mainly in fairs and festivals, including the famous Seville fair, La Feria de Sevilla. It was first transcribed from the piano to the guitar by Francisco Tarrega and Miguel Llobet. While a challenging piece, its original character translates nicely to the guitar. Guitarists can maintain the original key of G major by tuning the lower two strings to D and G.

El Noi de la Mare
"El Noi de la Mare" (The Mother's Son) is an old Catalan folk song. This popular and haunting melody from northeastern Spain has been arranged for a wealth of musical settings, most notably by Frederico Mompou and Miguel Llobett.

The Dance of the Miller
Manuel de Falla is a major composer in the Spanish nationalistic movement. "The Dance of the Miller" is from his ballet The Three Cornered Hat. Rich with guitaristic gypsy rhythms and color from the south of Spain, it is a natural addition to the guitarists' repertoire.

The Dance of the Sorcerer
"The Dance of the Sorcerer" is a wild, colorful dance from Manuel de Falla's ballet El amor brujo (Love, the Magician), which depicts a gypsy possessed by the ghost of her faithless former lover. The piece has become an orchestral favorite.

Danza Espanola #5
"Danza Espanola #5" is from a group of 12 Spanish dances originally for piano. Enrique Granados, along with Isaac Albeniz and Manuel de Falla, was prominent in the Spanish nationalistic style that used Spanish themes and rhythms and often imitated the color and style of the guitar.

 - ADELITA - TARREGA, FRANCISCO
 - CANARIOS - SANZ, GASPER
 - CANCION DEL EMPERADOR - NARVAEZ, LUYS DE
 - CAPRICHO ARABE - TARREGA, FRANCISCO
 - DANZA ESPANOLA #5 - GRANADOS, ENRIQUE
 - DEDICATORIA  - GRANADOS, ENRIQUE
 - EL NOI DE LA MARE - ANONIMOUS
 - FANTASIA - MUDARRA, ALONSO
 - FOLIAS - SANZ, GASPER
 - LA ALBORADA - TARREGA, FRANCISCO
 - LA MAJA DE GOYA - GRANADOS, ENRIQUE
 - LA MINONA DE CATALUNA - SANZ, GASPER
 - LAGRIMA - TARREGA, FRANCISCO
 - MALAGUENA - TARREGA, FRANCISCO
 - MALLORCA OP.202 - ALBENIZ, ISAAC
 - NIGHT IN SPAIN - MASSENET, JULES
 - PRELUDIO-ASTURIAS - ALBENIZ, ISAAC
 - SEVILLA  - ALBENIZ, ISAAC
 - THE DANCE OF THE MILLER - DE FALLA, MANUEL
 - THE DANCE OF THE SORCERER - DE FALLA, MANUEL