LIBRO CON 2 CD

PLAY ACOUSTIC, The Complete Guide to Mastering Acoustic Guitar Styles. 2CD TABLATURE

LIBRO PER CHITARRA CON 2 CD, TABLATURE.

Series: Book
Publisher: Backbeat Books
Softcover with CD - TAB
Author: Dave Hunter

The acoustic guitar is the instrument of the people and Play Acoustic tells the people how to play it. This detailed and beautifully illustrated book explores the history of the acoustic guitar, from the jazz age to the folk revolutions of the early 1960s and late 1990s to the current rebirth of bluegrass and the singer-songwriter boom of the past decade. Skilled professional musicians and experienced tutors coach the reader through 11 styles, using exercises suitable to novice players new to each style and working up to full pieces and advanced techniques. Entire chapters are devoted to folk, rock and pop, blues, country, bluegrass, jazz, and more, with detailed guidance through both musical notation and tablature, diagrams, and explanatory text. An accompanying CD also offers listening examples of the most crucial of these exercises, to help players master each style. 252 pages.

... few have survived in great playing condition. Gretsch flat-tops didn't fare much better in
the quality stakes, though some have become collectible fot aesthetic or historic reasons,
such as the G-btanded Rancher of the 1950s.

GYPSY JAZZ GUITARS
The continuing, even booming popularity of guitarist Django Reinhardt and the sprightly,
melodic 'Gypsy jazz' style of which he long formed the centre, has spawned a perhaps
surprising cottage industry building a type of guitar that has only really excelled at this
single style of playing. Rob Aylward, John Le Voi, Maurice Dupont and Shelly Parks all offet
instruments in the apptoximate Selmer-Maccaferri design, as pioneered more than 75 years
ago, and taken up by Reinhardt almost immediately after its arrival on the scene.
Maccaferri was an Italian-born luthier and concert (classical) guitarist, whose relatively
radical design ideas were taken up by London music store manager Ben Davis and promoted
to Henri Selmer, head of the enormous French saxophone maker, as a sound basis for a guitar
of the same brand. The Selmer factory in France began limited production of the instruments
in late 1931, and the first models arrived for sale in London in 1932. They were taken up
mostly by jazz players, although Maccaferri himself favoured the gur-stting variants, as did
a few other classical players of the day. But the steel-string models were unlike anything the
majority of jazzers were strumming at the time. They were - and remain - a different breed
of guitar entirely.
Selmer-Maccaferri instruments are large-bodied, flat-top guitars, often with aD-shaped
or round soundhole placed under the strings and a deep, 'flattened' looking cutaway. Many
models were originally built with circular wooden 'resonators' mounted under their tops,
intended to aid projection and volume. If anything, these usually damaged the tone of the
guitars to which they were fitted, and players simply removed them, or custom-ordered new
Selmers without resonators. The sreel-string Orchestre is the real classic of the early years of
the Selmer-Maccaferris, but others existed, such as the cutaway-less Hawaien, and gut-string
models such as the Concert (with the cutaway), Espagnol, and C1assique. All - both steel and
gut models - were made with laminated back and sides, not as a cost cutting exercise, but
for well-defined tonal considerations researched by Maccaferri.
In 1933, only shorrly before rhe instrumenr's mosr famous endorser took up rhe brand,
Maccaferri parted ways with Selmer after a contracr dispute. He rerurned briefly to his
playing career, which itself was cut short after he fractured his wrist in a swimming accident.
For a time he took up the manufacture of reeds for musical instruments, and dabbled in
other rypes of guitar design, before being hooked by the possibilities of injection-moulded
plastic instruments. Experiments with plastics led ro his founding of Mastro Industries,
which introduced a plastic ukulele in 1949, and the famous Maccaferri plastic guitars in the
early 1950s. Despite their appearance and rheir general perception today, instrumenrs such
as the Maccaferri G-30 flat-top and G-40 atchcop - moulded from a material called Dow
Styron - were presented as serious instruments, and were even taken up by a number of pros
in their day.
The plastic image could never quite cur it credibility-wise, however, and Maccaferri gave
up applying the process co 'serious' instruments just a few years into the effort. Mastro
continued co offer a number of downscaled plastic guitars through the 1960s, but these were
no longer intended as professional-grade players' instruments. In the 1970s and 1980s Mario
Maccaferri occasionally returned co lutherie, and even produced his Selmer-style wooden
Gypsy jazz guitars again, first as the CSL Gypsy (in parrnership with Englishman Maurice
Summerfield, and manufactured in Japan at the Hoshino faccory, where Ibanez guitars were
made), and later in collaboration with high-end New York maker John Monteleone.
Maccaferri died in 1993 at the age of 92.

Freddie Green, guitarist with Count Basie.
pictured in 1968 with his Gretsch 5ynchromatic 400.

PLASTIC GUITAR
A plastic Maccaferri Romancer from 1960 and a 1955 advertisement for the revolutionary instrument.
 

CD TRACK LISTS &. NOTES

The exercises on rhe cwo CDs packaged wich chis book are all played and recorded by che authors themselves, except for che Latin and African senions of che 'World Music' chapcer, which were performed and recorded by Rod Fogg. In all cases, che musical examples are che copyrighc of che auchocs of che respeccive chapters (excepct of course for che occasional non-copyriglued Tradicional' runes used, where che aurhors have copyrighc in the arrangements). Click cracks, count-ins and chychm cracks were nor used excepc where noced. To make che best use of che space on che CD, we have chosen co supply music cracks mainly foe che exercises chac you ceally need to hear played co undersrand fully. Each liscing begins wich che crack number, followed by che section and exercise number that the music relates to. Addicional nores for some tracks come aftec that, in italic type.

GETTING STARTED
ROCK & POP
RITCHIE BLACKMORE
4 NOTE CHORDS
JIMMY PAGE
BLUES
A SERIES OF BLUES TURNAROUNDS PLAYED IN SUCCESSION
BOTTLENECK - PETE MADSEN 
THE RIFF FROM PLAYED WITH RHYTHM GUITAR BACKING
COUNTRY - LEE HODGSON
BLUEGRASS - ERIC THOMPSON

JAZZ - CARL FILIPIAK
JAZZ, MINOR BLUES 
JAZZ, RHYTHM CHANGES
GYPSY JAZZ - MICHAEL HOROWITZ
CELTIC
PENNYWHISTLE MELODY

WORLD MUSIC

LATIN - NESTON GARCIA
SON CLAVE -
RUMBA
CASCADA TIMBALE
SPECIFIC RHYTHM
PLAYED AGAINST RHYTHM
AFRICAN
SIKYI RHYTHM ON BELL, CABASA AND CONGA
KLEZMER

ADVANCED FINGERSTYLE - TEJA GERKEN
DADGAD TUNING
MOVING BASSLINES
MOVING AROUND THE FINGERBOARD
NATURAL HARMONICS
SLAPPED HARMONICS
RIGHT-HAND FRETTING
D MINOR TUNING
BEHIND THE NUT BENDS
CLASSICAL STYLE TREMOLO
MIDLE FINGER SNAP
ACOUSTIC TAPPING

JAZZ GUITAR STANDARDS: CHORD MELODY SOLOS. SHEET MUSIC BOOK with 2 CD & GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ, CON 2 CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

Product Description:
This collection of jazz standard chord solos for guitar is compiled from Mel Bay and Warner Bros. collaborations Jazz Guitar Standards Vol. 1 and 2. What makes this work so special is that each artist has personally recorded their solo guitar arrangement. The book comes with the CDs which have all 44 tunes. This book is a wonderful anthology of solo guitar that can be used for performances as well as educational purposes.

Song Title: Composer/Source:
A Foggy Day
All of You
All the Things You Are
Alone Together
April in Paris
Arranger Index
As Time Goes By
Beautiful Love
Bluesette
Body and Soul
But Not for Me
Bye Bye Blackbird
Can't Help Lovin' Dat Man
Days of Wine and Roses
East of the Sun (and West of the Moon)
Embraceable You
Have You Met Mis Jones?
Honeysuckle Rose
How High the Moon
I Can't Get Started
I Could Write a Book
I Love You
I've Got You Under My Skin
In Your Own Sweet Way
Invitation
It Don't Mean a Thing
Just Friends
Long Ago (and Far Away)
Lover Man (Oh, Where Can You Be?)
Misty
Moonlight in Vermont
My Funny Valentine
Night and Day
Satin Doll
Smoke Gets in Your Eyes
Someone to Watch Over Me
Speak Low
Summertime
The Way You Look Tonight
Watch What Happens
What Is This Thing Called Love?
What's New?
Yesterday
You Go to My Head
You Stepped Out of a Dream

GIANTS OF ROCK. Jamie Humphries. 2CD TABLATURE.

LIBRO DI MUSICA ROCK CON 2 CD, SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE.

Jimmy Hendrix, Eddie Van Halen, Kurt Cobain - all pioneers in the world of rock guitar, creating individual yet highly influential styles seemingly effortlessly and crafting some of the best rock music ever written. But how did they get their sounds, and what can you do to recreate them?
Giants Of Rock gives the lowdown on 20 of the world's biggest rock acts, from the Red Hot Chili Peppers to U2, breaking down their technique, equipment and playing style so that the budding guitarist can sound like their axe-wielding hero. Complete with two CDs containing 22 backing tracks and 20 lead tracks in the styles of the artists featured inside, as well as full tab and notation for each song, Giants Of Rock is all you need to become a Strat-wielding, distortion-soaked, windmilling maniac!

A regular Guitar Techniques contributor and demonstrator, Jamie Humphries has written and transcribed several books and CDs in Totatl Accuracy's Jam With... series, while by day he teaches at the UK's Academy of Contemporary Music. He has written and contributed to a number of publications, including Giants Of Metal, also published by Sanctuary. 174 pages
Aerosmith
The Black Crowes
Bon Jovi
Creed
The Eagles
Extreme
Jimi Hendrix
Incubus
Lenny Kravitz
Nirvana
Pearl Jam
Pink Floyd
Puddle Of Mud
Queen
Red Hot Chilli Peppers
Santana
The Rolling Stones
Thin Lizzy
U2
Van Halen
All levels.

PATITUCCI JOHN, ULTIMATE PLAY-ALONG FOR BASS LEVEL 1, VOL.2. 2CD. SHEET MUSIC BOOK METHOD WITH 2 CD. 

LIBRO METODO DI MUSICA FUSION, CON 2 CD.

SPARTITI PER BASSO CON:

ACCORDI, PENTAGRAMMA.

The best way to practice is to have fun while you learn; and that is exactly what the ULTIMATE PLAY-ALONG series is all about. Every musician has learned by playing along with records, and now with Ultimate Play-Along you can practice with great recorded music as if you were a member of the band. That's because you get eaach track mixed without your instrument. You also get to hear the music with the featured instrument as well, for reference.
ULTIMATE PLAY-ALONG FOR BASS, LEVEL TWO has been developed so that the beginner to intermediate bassist can practice in different styles along with all-star musicians including Mike Stern on guitar and Dave Weckl on drums.
This book/CD package contains two CDs; the first disc contains the full rhythm tracks and the second CD includes teh rhythm tracks minus the bass. The seven CD tracks cover a wide range of syles including: Straight Eighths, Shuffle (Blues), Sixteenth-Note Feel, Hip-Hop (Jazz Funk), Pop Ballad, Reggae (Shuffle), and Rock.
The book features roadmap charts for each tune, as well as a step-by-step discussion of each section. John also gives you a variety of options you can use for both groove and fill ideas. Each section concludes with a 'talk down' of the chart, similar to what you'd encounter on a session or at a rehearsal. Each chart comes perforated so it can be easily removed for use on a music stand. The play-along charts will help improve your reading, time, feel and confidence.
So, put on some headphones, turn up the music and work out with the ULTIMATE PLAY-ALONG!

La parte per chitarra è nel libro chitarra Lampo.com 2075 Mike Stern ULTIMATE PLAY-ALONG, 

MASTERS OF THE TELECASTER, ARLEN ROTH'S. SHEET MUSIC BOOK WITH 2 CD & GUITAR TABLATURE .

LIBRO METODO DI MUSICA BLUES, COUNTRY, ROCK. CON 2 CD. 

SPARTITI PER CHITARRA CON : 

ACCORDI, NOTE PENTAGRAMMA E TABLATURE. 

STUDIO, METODO, MANUALE, 

185 Pagine, quasi 2 ore con 143 esempi di Blues, R&B, country, rockabilly, soul, R&R, rock, tutti dedicati a una delle chitarre più impiegate. Muddy Waters, Cornell Dupree, Albert collins, Elvis, Albert Lee, Steve Cropper, Roy Buchanan, Clarence White, James Burton, Danny Gatton, Jerry Donahue, Scotty Anderson, Keith Richards, Pete Townshend, Jeff Beck, Jimmy Page, Summers. I fondamentali: ritmi shuffle, piano-style blues, damping, pick and finger technique, costant bass, banjo rolls, double-stops, Memphis soul stew, chicken pickin', pedal steel-style e hawaiian stile, dissonanza country, tecnica telecasteriana. Falso armonico controllo del tono e del volume, B. bender, country bending, bending alla paletta, bending blues e doppio bending! Con fotografie a colori di alcuni modelli. 

CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs
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Perhaps no other instrument in history has had such a profound effect on the history, style and development of popular music as the Fender Telecaster. This beautiful coffee table-style book includes color and black and white photos of vintage and custom shop models and the great "tele" artists. Plus, deep insights into the history and uses of this fantastic instrument, including licks, solos and techniques of all the great "Telemasters" and influences on blues, country, R&B, and rock. Also includes over 140 music examples--all demonstrated by Arlen Roth on the included CD. All examples are in standard notation, tablature.

La marcia in più delle Telecaster.
Il B-Bender è stato inventato nel 1967 da Gene Parsons dei Nashville West e Clarence White dei The Byrds. Originariamente chiamato Parsons White Pull-String, in seguito ribattezzato String Bender, oggi é meglio conosciuto come il B-Bender. I primi prototipi sviluppati da Parsons avevano incluso più dispositivi di bending per le corde E, B, G e D, ma White ha deciso che preferiva una bending per la singola corda B. La corda Si è alzata di un tono pieno tirando la cinghia della tracolla verso l'alto. Questa è attaccata ad una leva e a una molla alla base della corda. Il braccio della leva passa attraverso il corpo della chitarra ed è collegato alla corda B dietro il ponte. Il B bender è un marchingegno che ti permette di fare i bending, spingendo senza fatica verso il basso il manico della Telecaster. Albert Lee, il chitarrista Bernie Leadon degli Eagles, Jimmy Page dei Led Zeppelin hanno hatto fare installazioni personalizzate di B bender sulla loro Telecaster.

TELECASTER HISTORY

OVER 140 MUSIC EXAMPLES

Blues, Country, Rhythm Blues, Rock

8 PAGES OF COLOR PHOTOS

Possibly no other instrument has had such a profound effect on the history, style and development of popular music as the Telecaster ... From its impact on early Rock and Roll to its exclusive use by Keith Richards of The Rolling Stones, one of the most influential bands in rock history ... From the early electric country of Jimmy Bryant and James Burton to superpickers such as Albert Lee, Danny Gatton, author Arlen Roth and Jerry Donahue (of The Hellecasters, the triumvirate of Tele superstars named for their instrument of choice) ... From the pioneer electric blues of Muddy Waters to the "Iceman" himself, Albert Collins ... Masters of the Telecaster details the sounds, techniques, licks and solos of the artists, and the instrument, that helped shape the sound of popular music. Includes chapters on Telecaster History, Techniques, Blues, Country, R&B, and Rock. Techniques, licks and solos of all the great "Telemasters" are profiled throughout in standard notation and tablature and each example is contained on the included recordings.

I always felt that this book was a necessity, because no one had ever written a guitar book strictly on the direct effect that one instrument can have on its player. I think we can all agree that as guitar players, we certainly understand, or at least recognize this phenomenon. How many times do we refer to a certain guitarist as a "Strat" or "Les Paul" type of player? Well, Tele players are perhaps the most unique of the bunch, and certainly this "inner group" of players has really started to expand. This is probably due in most part to the rise in popularity of country music as of late. The Telecaster has always been a mainstay of country music since it was fust released, and today it's hard to imagine country without it. What a pleasure to be sitting here writing a book (now my eighth) about a subject and musical form that is so near and dear to my heart! I've been a Telecastef® fanatic since about 1965 when I first laid eyes on one, and I've been playing almost strictly "Tele"® since my tour with John Prine in 1975, when I purchased my 1953 Telecaster for a whopping $400! Shame I didn't have any money then-the guy had a car full of them, all about the same price. Telecasters are special. They seem to bring out something in guitarists that other guitars just don't. Not only that, but there seems to be an ever-growing affinity that we Tele players seem to have with each other that makes us a special brotherhood; a "club" of sorts. We know omething about our relationship to our Telecasters is special, and that we more than likely, all have similar feelings. One incredible fact to us all is how right Leo Fender got it the first time! After all, we are talking about the very first production solidbody guitar in the world here (introduced as the Broadcaster in 1948 by Fender), and an instrument of incredible simplicity and purity of design. Now, after almost 48 years and literally hundreds of new guitar experiments, the pure essence of the Telecaster shines through, and the original three: the Telecaster, the Stratocastef® and the Les Paul®,all still remain the "three wise men" of the guitar, and that by which all other guitars are measured. My feeling is that because these guitars were literally designed out of necessity, and were direct descendants of hollow-bodied instruments, their purity of design for both beauty and function was inevitable.

CONTENTS

INTRODUCTION

Intro Music CD 1

Tuning Notes

ABOUT THE AUTHOR

ABOUT THE TELECASTER

CHAPTER 1:

FOUNDATION TECHNIQUES

Shuffle Rhythms

Examples 1, 1A & 2

The Harmony Shuffle II

Examples 3 & 4

Piano Style Rhythm Grooves

Examples 5 & 6

Single-Note Rhythm Licks

Example 7

Heel Damping

Example 8

PICK AND FINGER TECHNIQUE

Example 9

The Constant Bass

Examples 10 & 11

Pick and Finger "Roll" Patterns"

Open G "Banjo" Rolls

Examples 12, 13 & 14

CHAPTER 2:

RHYTHM AND BLUES TELECASTER

Partial Chords in R&B Guitar

Examples 15 - 21

STEVE CROPPER

Example 22: The "Soul Man" Lick

CORNELL DUPREE

Examples 23 - 30

Example 31:

The "Memphis Soul Stew" Lick

CHAPTER 3:

TELECASTER BLUES

The Basic Blues Scales

Examples 32 & 33

Blues Passing Tones

Examples 34 & 35

First Position Licks

Examples 36 & 37

Adding The Major Third

Examples 38 - 41

BLUES STRING BENDING

Whole Step and Half Step Bends

VIBRATO

The "Bend and Release" Vibrato

Example 42

BLUES SOLOING

Examples 43 & 44

FALSE HARMONIC AND VOLUME CONTROL SWELL TECHNIQUES

Examples 45 - 47

Volume and Tone Control "Swells"

Examples 48 & 49

Tone Control Tricks

Examples 50 & 51

ROY BUCHANAN 66

Example 52: The "Haunted House" Lick

Examples 53 & 54: "Lonesome Fugitive"

Example 55: Soloing Buchanan Style

ALBERT COLLINS

Example 56

MUDDY WATERS

Example 57

CHAPTER 4:

COUNTRY AND ROCKABILLY TELECASTER

Basic Country Scales and Positions

Examples 58 - 60

Some Hot Country Licks

Examples 61 & 62

The Extended Country Pentatonic Scale

Examples 63 - 74

CD 2

COUNTRY STRING BENDING TECHNIQUES

String Bending as Substitution

Examples 75 - 83

Pedal Steel-Style "Banjo" Roll

Example 84

Advanced "Pedal Steel" Bend Positions

Example 85

Examples 86 - 88

CLARENCE WHITE

Examples 89 - 93

Example 94: Advanced String Bending Solo

Two-String Bends

Examples 95 - 98

JAMES BURTON: A TELE MAN FOR ALL SEASONS

Examples 99 - 103

Examples 104 & 105: The "Mystery Train" Lick

Chicken Pickin'

Example 106

DANNY GATTON: TELEMASTER

Examples 107 - 109

ALBERT LEE

Examples 110 & 111

BENDING BEHIND THE NUT

Examples 112 - 117

JERRY DONAHUE

Examples 118 & 119

HOT COUNTRY DOUBLE STOPS

Examples 120 & 121

Combining Double Stops with String Bending

Example 122 & 123

SCOTTY ANDERSON: KING OF THE DOUBLE-STOP.

Example 124

MARTY STUART: KEEPER OF THE FLAME

Example 125

VINCE GILL: FROM THE STUDIO TO SUPERSTAR

Example 126

PEDAL STEEL-STYLE "CARRY" LICKS

Examples 127 & 128

USING DISSONANCE IN COUNTRY PLAYING

Examples 129 - 132

HAWAIIAN LAP STEEL-STYLE

Example 133

JIMMY BRYANT: TELE PIONEER

Example 134

CHAPTERS:

THE TELECASTER IN ROCK

KEITH RICHARDS

Examples 135 - 137

PETE TOWNSHEND

Example 138

ANDY SUMMERS

Example 139

JEFF BECK

Example 140

JIMMY PAGE

Example 141

CLASSIC TELE ROCK LICKS

Example 142

Example 143: The Final Solo

CONCLUSION