LIBRO CON CD

PROCTOR CHRIS, GUITAR COLLECTION. The bells of the harbour -the emperor's choice -henry's shuffle -hotspot -late again -morning thunder -mountaineer creek -over the pass -seven-oh-four, stormwatch -tap room -war games. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

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Acoustic Masters Series: Chris Proctor Guitar Collection

SERIES: Acoustic Masters Series
CATEGORY: Guitar Method or Supplement
VERSION: Guitar/TAB
FORMAT: Book & CD

Twelve of Chris Proctor's stunning solo guitar pieces, fully transcribed in tab and notation. Plus, Chris walks you through each arrangement on the included masterclass CD. Songs include: The Bells of the Harbor * The Emperor's Choice * Henry's Shuffle * Hotspot * Late Again * Morning Thunder * Mountaineer Creek * Over the Pass * Seven-Oh-Four * Stormwatch * Tap Room * War Games.

Includes the Following Selections:
Title Composer
BELLS OF THE HARBOR
CHRIS PROCTOR
HENRY'S SHUFFLE

HOTSPOT

LATE AGAIN

MORNING THUNDER
PROCTOR, CHRIS
MOUNTAINEER CREEK

OVER THE PASS

SEVEN-OH-FOUR

STORMWATCH
PROCTOR, CHRIS
TAP ROOM

THE EMPEROR'S CHOICE

WAR GAMES

JAZZ-ROCK FUSION, Hal Leonard Guitar method, Mark Huls. CD TABLATURE

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Series: Guitar Method
Format: Softcover with CD - TAB
Author : Mark Huls

Learn to play sophisticated lead lines and intelligent rhythm parts with step-by-step lessons and 21 great jazz fusion songs. Hal Leonard Jazz-Rock Fusion is your complete guide to mastering fusion guitar. You'll learn the many elements of this exciting music through real song examples by masters such as John McLaughlin, Mike Stern, Allan Holdsworth, Scott Henderson, John Scofield, Pat Metheny, and many more. Songs include: Birdland • Blue in Green • Freddie Freeloader • My Favorite Things • Nardis • Oye Como Va • She's a Woman • Spanish Key • and more.

INTRODUCTION: GETTING FUSED

When you listen to the pioneering sounds of Miles Davis's Bitches Brew (1969) and ask yourself, "What is fusion?", only one thing can come to mind: a total exploration of the sonic experience. This is true for most jazz-rock fusion efforts of the late sixties and early seventies, the era in which it emerged as a recognized independent form of music. The era produced many architects of the fusion sound, including Tony Williams, Herbie Hancock, Chick Corea, Joe Zawinul, and guitar greats such as John McLaughlin and Larry Coryell. This period also saw the influence of jazz in rock, with groups such as the Byrds, Hendrix, Cream, the Greatful Dead, Frank Zappa, Blood Sweat and Tears, and Chicago experimenting in free-form improvisations and jazz tonalities. Regarding fusion, rock's contributions can be heard in its straight-eighth or sixteenth-note repetitive patterns and grooves. This is in contrast to traditional jazz-swing rhythms. Rock attributes also include certain tonal characteristics, such as power chords, classic rock/blues/funk phrasing, and a greater use of "guitar" techniques such as bending. The fusion sound was also heavily influenced by the use of electronic instruments and effects in sixties rock, such as distortion, delay, wah, and phasing. With expansive, and at times haunting, plays of harmony borrowed from the wider harmonic field of jazz, the improvisational character of jazz, and the drive and emotion of rock, fusion captured the emotional expression and conscious expansion sought by its early creators. Their music traveled from dreamy soundscapes to bursts of explosive energy with the ability to find a solid foundation in the consistent drive of an underlying rock or funk groove. This formula of early fusion reflected the explorative spirit of the sixties and remains a part of fusion today. However, it has also expanded into many facets, with artists gravitating towards greater or lesser sides of jazz or rock and their counterparts of funk, fusion, blues, and pop. Modern fusion guitarists include such players as Scott Henderson, John Scofield, Pat Metheny, and Allan Holdsworth, all of which lean to the more "hard-core" end of the experimental and exploratory side of fusion. Meanwhile, players such as Larry Carlton, Earl Klugh, and Lee Ritenour have found success in the pop culture of fusion music-what is known as the "smooth-jazz" sound. The influence of jazz-rock fusion does not end solely with those artists considered to be "fusion" artists. Mainstream rock and pop guitarists and musicians of every facet have found inspiration from the jazz and jazz-rock fusion sound. Consider the works of Sting, Carlos Santana, Dave Matthews, Nora Jones, and Joni Mitchell, to name only a few. Many fusion artists, especially those of the early sixties and seventies, drew artistic and personal inspiration from a desire for music to serve as a channel to greater mental and or spiritual consciousness. This concept can also be found in Eastern philosophies in which certain sounds and or rhythms open "spiritual" centers. Such influences are evident in the group names and album titles of the early fusion era as well. These concepts, and the inherent artistic drive of the jazz-rock fusion artist to branch out into a greater musical experience, have also introduced world and ethnic music forms into the fusion sound, including Latin, African, and Eastern music influences. As a melting pot of style and artistic personality, a mere attempt to define jazz-rock fusion might sound like: a spirit of limitless harmonic and melodic potential alive with the heart of groove.  

THE TONE AND SOUND OF FUSION GUITAR

Technique

Voice Leading

scales

Arpeggios

Modes

Patterns

Superimposition

Re-harmonization

Amplification & Effects

Phrasing

Chords

Evolving the Vamp

Improvisation

Harmonization

Expanding the blues

Conclusion

Song List:
All The Things You Are
Birdfingers
Birdland
Blue In Green
Chromozone
500 Miles High
Follow Your Heart
Freddie Freeloader
Freedom Jazz Dance
Freeway Jam
Hymn Of The Seventh Galaxy
Kid Charlemagne
Low-Lee-Tah
My Favorite Things
Nardis
Oleo
Oye Como Va
The Red One
Samba Pa Ti
She's A Woman
Spanish Key

Inventory #HL 00697387
EAN: 9781423431978
UPC: 884088167004
Width: 9.0"
Length: 12.0"
112 pages

TOTAL FUNK BASSIST. A Fun and Comprehensive Overview of Funk Bass Playing. SHEET MUSIC METHOD BOOK WITH CD & BASS TABLATURE. 

LIBRO METODO PER BASSO DI MUSICA FUNK CON CD. 

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MANUALE, TECNICA, 

By David Overthrow
Category: Bass Guitar Method or Supplement
Format: Book & CD

The Total Funk Bassist is a unique and exciting journey through the diverse world of funk bass. At the heart of great funk playing is rhythm, and this book helps you fully understand that concept. Included are exercises and examples that will help you solidify your command of sixteenth notes, syncopation, and other funky rhythmic concepts. You'll also learn the two essential funk bass techniques -fingerstyle and slap & pop- as well as other advanced techniques. A CD demonstrating the examples in the book is included.

Welcome, fellow funksters. Funk is one of the most exciting genres of music to play on the bass. The foundation of all funk music is the groove, and the groove is laid down primarily by the bassist and the drummer. Funk is not a cerebral music, but rather, a genre that compels you to move your hips, tap your feet, bob your head, and get up and get down. There are several artists who were instrumental in the development of funk music. The "Godfather of Soul," James Brown, was a major force in soul and R&B throughout the 1950s and '60s, and those two genres would later evolve into what is now known as funk. In the early I970s, two groups were responsible for the birth of funk as its own genre: Parliament-Funkadelic and Graham Central Station. Funk music has evolved over the years and has spawned a new generation of funk bassists. Along with the music, bass technique has evolved as well. The slap & pop style introduced by Larry Graham has developed over the years, and bassists continue adding to the technique. Funk has fused with other genres, and its influence can be seen in rock, reggae, jazz, and other styles. From Larry Graham, Bootsy Collins, Flea, and Stanley Clarke to the wizardry of Marcus Miller and Victor Wooten, the slap & pop style has become an integral part of funk bass playing.

Even though slap & pop has become so essential to funk, many classic funk tunes featured the fingerstyle funk technique. Two of the funkiest bassists of all time used this technique exclusively: Jaco Pastorius and Rocco Prestia. Jaco and Rocco are responsible for some of the funkiest bass grooves ever recorded, without ever slapping or popping a note! This book discusses the various techniques used in funk bass playing, including fingerstyle funk, muting, slap & pop, hammer-ons, pull-offs, popped double stops, double thumping, and double popping. There are hundreds of funk bass grooves at a variety of playing levels. Each chapter progresses in a concise, logical manner, taking you from beginning fingerstyle and slap & pop bass all the way to advanced techniques like double popping and double thumping. To get the most out of this book, you should have some experience reading standard music notation or TAB and be comfortable with basic playing technique. However, for beginners and those of you who would like a refresher, a review of these concepts can be found starting on page 6. The goal of this book is to teach you how to lock into the funk groove (otherwise known as playing "in the pocket"). And ifyou can get people moving while playing some great funk bass grooves, that's cool too. Enjoy!

A compact disc is available with this book. Using the disc will help make learning more enjoyable and the information more meaningful. Listening to the CD will help you correctly interpret the rhythms and feel of each example. The symbol to the left appears next to each song or example that is performed on the CD. Example numbers are above the symbol. The track number corresponds directly to the song or example you want to hear. In some cases, there is more than one example per track; this is reflected in the track numbers (for example: Track 2.1, Track 2.2, Track 2.3, etc.). Track I will help you tune to this CD. 

Contents:

About the Author

Introduction

Chapter I: Getting Started

Strings on the Bass

Tuning

Standard Music Notation

Bass Tablature (TAB) II

Chord Symbols I I

Basic Technique

Chapter 2: Funk

What Is Funk?

Sixteenth-Note Rhythm Studies

Syncopation

Muting

More Syncopation

A Note About Articulation

Chapter 3: Scales, Intervals, and Modes

The Major Scale

Intervals

Modes of the Major Scale

The Natural Minor Scale

The Harmonic Minor Scale

The Melodic Minor Scale

The Major Pentatonic Scale

The Minor Pentatonic Scale

The Blues Scale

Chapter 4: Chords

Triads

7th Chords

Chord Symbols

Major Scale Diatonic Harmony

Minor Scale Diatonic Harmony

Chapter 5: Starter Fingerstyle Funk Grooves .

Using the Root

Back to My Roots

Using Roots and Octaves

Funk with Roots and Octaves

Using Roots, 5ths. and Octaves

One-Five-Eight-Go

Adding 3rds and 7ths

Funky Chord Tones

Chapter 6: Intermediate Fingerstyle

Funk Grooves

Using the Mixolydian Mode

Funky Mix

Using the Dorian Mode

Dorian Funk

Using the Minor Pentatonic Scale

Funk in A Minor Way

Using the Major Pentatonic Scale

Chapter 7: Advanced Fingerstyle

Funk Grooves

Using Chromatic Tones

Chromatic Funk

Funky Two-Chord

Chapter 8: The Slap & Pop Style

The Slap Technique

The Pop Technique

Slapping the 3rd String

The Hammer-On

The Pull-Off

Popped Double Stops

Double Popping

Double Thumping

Muted Hammer-Ons

Chapter 9: Starter Slap & Pop Funk Grooves

Using the Root

Dominant 7th Grooves

Minor 7th Grooves

Mixolydian and Dorian Grooves

Chapter 10: Intermediate Slap & Pop

Funk Grooves

Using Chord Tones

Using the Dorian Mode

Using Chromatic Tones

Using Hammer-Ons and Pull-Offs

Hammer It Home

Chapter 11: Advanced Slap & Pop

Funk Grooves

Double Thumping Grooves

Double Thumping Grooves with

Popped Double Stops

More Advanced Grooves

Light Touch, Heavy Groove

Chapter 12: Classic (and Soon to Be Classic)

Funk Bass Grooves

In the Style of "Brick House" by The Commodores

In the Style of "Shakey Ground" by The Temptations I

In the Style of "Superstition" by Stevie Wonder I

In the Style of "Higher Ground" by Stevie Wonder I

In the Style of "I Wish" by Stevie Wonder I

In the Style of "Super Freak" by Rick james

In the Style of "Cold Sweat" by james Brown

In the Style of "The Chicken" by jaco Pastorius

In the Style of "Pick Up the Pieces" by The Average White Band

In the Style of "Chameleon" by Herbie Hancock

In the Style of "Cissy Strut" by The Meters

In the Style of "Sing a Simple Song" by The Meters

In the Style of "It's Your Thing" by The Isley Brothers

In the Style of "Express Yourself" by Charles Wright & The Watts 103rd Street Rhythm Band

In the Style of "Play That Funky Music" by Wild Cherry

In the Style of "Low Rider" by War

In the Style of "Thank You (Falettinme Be Mice Elf Agin)" by Sly & the Family Stone

In the Style of "Slide" by Slave

In the Style of "Doing It to Death" by James Brown

In the Style of "Fire" by The Ohio Players

In the Style of "What Is Hip?" by Tower of Power

In the Style of "For the Love of Money" by The O'Jays

In the Style of "Aeroplane" by The Red Hot Chili Peppers

In the Style of "Come On, Come Over" by jaco Pastorius

In the Style of "Power of Soul" by Marcus Miller

In the Style of "Lopsy Lu" by Stanley Clarke

In the Style of "Sex in a Pan" by Bela Fleck and The Flecktones

In the Style of "Sinister Minister" by Bela Fleck and The Flecktones

Conclusion 

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 :
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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.