LIBRO CON CD

TRADITIONAL SOUTHERN ITALIAN MANDOLIN AND FIDDLE TUNES JOHN LABARBERA CD TABLATURE

TRADITIONAL SOUTHERN ITALIAN MANDOLIN AND FIDDLE TUNES JOHN LABARBERA. CD TABLATURE

LIBRO METODO DI MUSICA CON CD.

SPARTITI PER MANDOLINO.

ACCORDI, PENTAGRAMMA E TABLATURE.


Product Description:
The first and foremost Italian mandolin book dedicated to the traditional music from Southern Italy. Written in standard notation and mandolin tablature with guitar and mandolin chord accompaniment, this book introduces the reader to the various authentic folk songs from the regions of Campagnia, Calabria, Puglia, Sicily and Sardinia. With detailed descriptions of the songs and dances, historical and technical information about tarantella and pizzica music, the book will increase the knowledge and repertoire of Italian folk music for both beginners and professional musicians alike.

The book provides an excellent foundation needed to play in the style of the music. With preparatory technical studies, the student will learn the Italian style of tremolo, picking, and rhythms that accentuate the music. Together with the accompanying CD, the student will be able to play along and follow the precise nuances that distinguish the music.

- The first and foremost Italian mandolin book dedicated to the traditional music from Southern Italy.
- Written in standard notation and mandolin tablature, with guitar and mandolin chords
- The reader will learn authentic folk songs, together with historical and technical information about tarantella and pizzica music
- For beginners and professional musicians who want to expand their repertoire of Italian folk music
. The first and foremost comprehensive mandolin book focusing on traditional Southern Italian folk music
- Teaches playing techniques and historical information about the mandolin, tarantella and Italian folk music
- An important asset for beginners to professional musicians interested in expanding their knowledge and repertoire of Italian folk music.

About the Mandolin
The eapolitan Mandolin, also known as the round back or bowled back mandolin, may have descended from the tenth century when similar instruments such as the Ud were first introduced through Arabic culture in Southern Italy. Throughout medieval and renaissance Europe, these instruments evolved and developed their own unique playing styles and various terms were used to describe them such as: lute, quintern, chitarra, and pandora. An instrument referred to as the mandola first appeared in Italian documents in Florence in the late sixteenth century. Manuscripts about the Italian Commedia dell'Arte also referred to it as an instrument used by .Scappino' , one of it's stock comic characters and the most musical of the Commedia troupe. Even the great violin maker, Antonio Stradivari, was also responsible for making an instrument called the mandolino, however at that time the instrument had five courses and gut strings and could be considered a soprano lute. B the sixteenth century, Naples was the cultural capital of Southern Italy and its style of music and instruments influenced all of Europe. The use of metal strung, plectrum instruments had already been popular in Naples with instruments such as the colascione and the chitarra battente and were used to accompany popular songs and dances. It was not until the major developments in construction made by Neapolitan luthiers in the eighteenth and nineteenth century, that the mandolin continued to be successful. One of these first important luthiers was Gaetano Vinaccia whose instruments were widely in use during the 1740's. However, his son Pasquale, could be credited for redesigning a mandolin around the 1830's which used eight metal strings, or four courses, was played with a plectrum made of tortoiseshell instead of a quill and was tuned in fifths, (g,d,a,e) similar to the violin. Because the mandolin was now fitted with steel strings, an influence that might have come from new innovations on the piano and violin, Vinaccia also changed the construction of the instrument in order to fit the tension of the strings and to produce more volume. Thus, the modem mandolin was born. The instrument became known as the Neapolitan Mandolin especially because of its popularity in and around Naples and it's success as quickly influencing the rest of the world. B the late 1800's, mandolins were very much in demand and with the rise of Italian immigration to America, mandolins were being manufactured in the United States. Italian luthiers were working for larger manufacturers uch as Lyon and Healy of Chicago and the C.P. Martin company in Nazareth, Pennsylvania. Some of these lutbiers tried to work on their own and set up shops in downtown New York City where the Italian population as the greatest. One of them was Angelo Mannello, who emigrated to New York from Naples in 1885. The standard Neapolitan design had not changed much since Vinaccia until 1898 when Orville Gibson, an inentor from upstate New York, came up with a successful design of a mandolin with a flat back. The idea of a flat back had been unsuccessful before and not very popular. Gibson finally got his patent in 1902 and the flat back mandolin began to flourish and seep into the mainstream of American music. There have been many debates since that time over the preference and sound of the two instruments. Whatever your preference, you will find the music in this book to be very rewarding as you enjoy playing authentic tunes from Southern Italy.

 

... As Lomax discovered in the 1950's, traces of every period in Italian history could still be heard in the folk music. The songs that have survived clearly have passed the test of time. Some of the songs such as the "Antidotum Tarantulae" and the Neapolitan villanelle we know are from the 1600's and have the characteristics of renaissance music. I was very fortunate to have learned many of these songs while living in Italy during the early 1970's, when there was a resurgence of interest in traditional music. At that time, the Neapolitan composer and director Roberto De Simone and his group, La Nuova Compagnia di Canto Popolare, had led the way by performing and recording songs from the region of Naples. With new arrangements he brought forward many unknown traditional songs based on his research. Many of the tunes in this book were taught to me as I sat down with my guitar and mandolin in an apartment in Florence with the street musicians who later formed the musical group Pupi e Fresedde. They were all from the south of Italy and began singing their traditional songs on the streets and piazzas of Florence, just as it might have been in the sixteenth century. Joining their original troupe and performing and touring with them all over Europe and on the east coast of the United States for several years, I began to realize the vast repertoire of songs that existed and how much of it had been past down by oral tradition. It also gave me an excellent opportunity to be part of the tradition itself and inspired me to continue researching more about this music as well as understanding how it was to be played with the right feeling and gusto. Upon my arrival back to the United States in 1979, I had felt so enriched by the experiences I had in Italy performing and recording with Pupi e Fresedde on the album La Terra Del Rimorso (Divergo-Polygram, DVAP 029), that I wanted to bring to American audiences these beautiful melodies and rhythms. (I was sure that my Italian grandparents would have been proud of
me). Also for the Italian-American community, I felt it was important to re-connect this music that many had forgotten upon their arrival in the new world. That year, I formed the group I Giullari di Piazza in New York City, (my home town) together with the Italian actor Claudio Saponi, from RIMINI, who was a highly trained actor in Italian theater especially the Commedia del'Arte, and with Alessandra Belloni from Rome, Italy. With all of the music I had learned in Italy, I began to teach musicians this repertoire while making my own arrangements as well as writing new compositions inspired on the traditional forms. At first the American audiences were not accustomed to this kind of Italian music and most people wanted us to play the standard Italian music that had already been absorbed into the I mainstream. The Tarantella was only known as an Italian wedding dance and no one had ever heard of a Pizzica or Tammurriata. However, the musicians that I photo: Colita, Barcellona (Spagna) first started to teach this music to were very supportive and eager to learn all about the music and traditions connected to it. During the early 1980's the group I Giullari di Piazza were beginning to make these songs heard to new audiences in New York and throughout the States, presented in theatrical productions which included music, theater and dance. In 1986, I had the great opportunity to work together and tour with one of the most famous singers of traditional Sardinian music, Maria Carta. Known throughout the world for her haunting and heart felt interpretation of Sardinian music she had often been described as Italy's Joan Baez. I had already been familiar with the unique guitar playing style while living in Italy, however working with her on a tour of just voice and guitar forced me to pay close attention to the fine articulation necessary for Sardinian music. She had also taught me so many beautiful songs during our rehearsals, that I cherish them like precious little jewels.

 

Product Number: 21488BCD
Format: Book/CD Set
ISBN: 078667783X
UPC: 796279106283
ISBN13: 9780786677832
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 4/27/2009

Format: Book/CD Set


Contents:
Song Title: Composer/Source:
Abballati, Abballati
Alla Carpinese
Alziti Bbella
Angelare
Antidotum Tarantulae (part 1)
Antidotum Tarantulae (part 2)
Bo e la ri-bo
Cu Ti Lu Dissi
Danza Siciliana
Fasola Siciliana
Figghia di'n Massaru
Fischiettando
Fronni d'Alia
II Ritornello delle Lavandaie del Vomero
La Ndrezzata
La Palumella
La Procidana
La Sant Allegrezza
La Zita Passa
Marenaresca
Matajola
Motivo di Cantastorie
Pizzica-Pizzica
Pizzicarella
Pizzicarella Mia
Ricciulina
Serenata Amalfitana
Sonos E Memoria
Tammurriata
Tarantella dell 600
Tarantella di Ogliastro
Tarantella Nfuocata
Tarantella Paesana
Villanella Ch all Aqua Vai
Volumbrella
Vurria Addeventare

92 PAGES

Prezzo: €26,99
€26,99

A MODERN METHOD FOR GUITAR JAZZ SONGBOOK, VOLUME 1. CD

A MODERN METHOD FOR GUITAR JAZZ SONGBOOK, VOLUME 1. CD

Based on the best-selling method by William Leavitt

SERIE: GUITAR METHOD
EDITORE: BERKLEE PRESS
SUPPORTO: LIBRO CON CD


Play great jazz while you learn from the most revered guitar method of all time. These solos and duets map directly to the lessons of William Leavitt's Modern Method for Guitar Vol. 1, the basic guitar text at Berklee College of Music. Since the 1960s, the Modern Method for Guitar series has been one of world's most popular guitar methods, translated into Spanish, French, and Japanese, and selling over half a million copies.

 

Carefully overseen and recorded by Larry Baione, chair of Berklee's Guitar Department (and a former student of William Leavitt), these arrangements are crafted to Leavitt's time-proven approach, giving you the chance to apply what you learn to music by Miles Davis, Duke Ellington, Sonny Rollins, Django Reinhardt, and other jazz greats. The accompanying CD demonstrates all tunes and offers play-along tracks for practicing the duets.

At Berklee, we constantly encourage our students to apply what they are learning to real music. Over the years, we have found that certain tunes map well to the curriculum in terms of the techniques required to perform them. Bill Leavitt was among the greatest guitar teachers in the history of Berklee College of Music, and his Modern Method/or Guitar books have been central to Berklee's guitar curriculum for many decades. This songbook includes some of my favorite jazz standards to give to students working through the Modern Method/or Guitar Volume 1. In addition to reading these tunes from the jazz repertoire, I encourage you to spend some time with classic recordings and practice transcribing them by ear. Some of these arrangements are for solo guitar, and some are duets. This is similar to the method itself, and it underscores Bill's insistence that guitarists learn to be well-rounded and explore a variety of playing situations. The accompanying recording will let you practice all parts. The solos and duets are of varying levels. Practice them slowly at first, always working on playing them as legato as possible. If the solo pieces are too difficult, start by practicing just the melodies (the single notes and the top notes of the chords). I hope you enjoy this music, and that it inspires you towards further explorations. Larry Baione, Guitar Department Chair, Berklee College of Music

 

TITOLI INCLUSE:
 

AFTERNOON IN PARIS - John Lewis - 1955 - Per due chitarre
BASIN STREET BLUES - Spencer Williams - 1928 - Per due chitarre
A CHILD IS BORN - Thad Jones - 1969
DAPHNE - Django Reinhardt - 1938
HERE'S THAT RAINY DAY - Parole di Burke. Musica di Jimmi Van Heusen - 1949
IN A SENTIMENTAL MOOD - Duke Ellington - 1935
MY LITTLE SUEDE SHOES - Charlie Parker - 1956
ST. THOMAS - Sonny Rollins - 1963 - Per due chitarre
SAMBA DE ORFEU - Luis Bonfa - 1959
SO WHAT - Miles Davis - 1959
SWING 42 - Django Reinhardt - 1941
VALSE HOT - Sonny Rollins - 1965 - Per due chitarre
THE VERY THOUGHT OF YOU - Ray Noble - 1934
WHEN I FALL IN LOVE - Musica di Victor Young. Parole di Edward Heyman - 1952
WILLOW WEEP FOR ME - Ann Ronell - 1932 - Per due chitarre

Prezzo: €15,99
€15,99

150 COOL BLUES LICKS IN TABLATURE TOBY WINE. CD TABLATURE

150 COOL BLUES LICKS IN TAB presents a wide selection of riffs in a variety of styles, just waiting to be used in your solos!

The riffs are organized by blues style and by placement within the standard 12-bar format (first, second, and final four measures) so you can assemble your solos easily, section by section.

This is the ultimate resource for beginning and intermediate blues guitarists seeking a straighforward route to solo-building, as well as for seasoned professionals who want to further stock their arsenals.

 

The ultimate resouce for constructing blues solos!

Includes licks from Delta, Chicago, Texas, Jump, Rock, and Funk styles.

CD features recorded demostrations of every lick.

 

Series: Guitar Educational

Publisher: Cherry Lane Music
Softcover with CD - TAB
Author: Toby Wine
Artist: Various

This cool book/CD pack presents a wide selection of riffs in a variety of styles, just waiting to be used in your solos! The riffs are organized by blues style and by placement within the standard 12-bar format (first, second and final four measures) so you can assemble your solos easily, section by section. This is the ultimate resource for beginning and intermediate blues guitarists seeking a straightforward route to solo-building, as well as for seasoned pros who want to further stock their arsensals. Includes a CD with recorded demos of every lick! 56 pages

 

Introduction

About the Author

Acknowledgements

The Licks:

 

Delta Blues Licks

First Four Measures

Second Four Measures

Final Four Measures

 

Chicago Blues Licks

 

First Four Measures

Second Four Measures

Final Four Measures

 

Texas Blues Licks

 

First Four Measures

Second Four Measures

Final Four Measures

 

Jump Blues Licks

 

First Four Measures

Second Four Measures

Final Four Measures

 

Rock and Funk Blues Licks

 

First Four Measures

Second Four Measures

Final Four Measures

Prezzo: €15,95
€15,95

PETTY TOM GUITAR SIGNATURE LICKS BOOK & CD TABLATURE SPARTITI CHITARRA LIBRO ACCORDI

PETTY TOM, GUITAR SIGNATURE LICKS. CD TABLATURE

LIBRO METODO DI MUSICA ROCK, CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE. 

A Step-by-Step Breakdown of the Guitar Styles of Tom Petty and Mike Campbell
Serie: Signature Licks Guitar
Medium: Softcover with CD
Author: Dave Rubin
Artist: Mike Campbell
Artist: Tom Petty

INTRODUZIONE

Venduto più di cinquanta milloni di dischi in tutto il mondo di musica dura e ti musica tenera, Tom Petty ha ontrattato con sucesso ogni decennio della sua carriera che parte a meta degli anni settanta quando lui dormiva sotto punk radar e finoad oggi. Al inizio Petty veniva percepito come un'artista nell'avanguardia della "new wave" quando lui in realtà era uno tradizionalista con le profonde radici nel classic-rock. Lui ha preso questi elementi e ha aggiunto la sua  impronta unica, conferendo alla sua musica un suono fortemente personale. Con il chitarrista solista Mike Campbell al suo fianco che era come Keith Richards per Mick Jagger, Petty ha creato il rock "fuori" dal tempo come erano i suoi illustri predecessori: The Rolling Stones, the Byrds, e Bob Dylan. Thomas Earl Petty era nato a Gainesville, Florida il 20 Ottobre del 1950. Non pensava di suonare la chitarra fino il 1961 quando nella vicina città di Ocala iniziarono le riprese del film "Follow that Dream" con Elvis. Lo zio di Petty aveva una impresa di produzione cinematografica e ha organizzato per il ragazzo grazie ai suoi contatti un breve incontro sul set con the "King". Come raccontava Petty, quell' incontro da vicino con Elvis, che ha appena ricevuto gli applausi della folla gremita, intero spettacolo e il suo entourage: capelli corvini di Elvise, i fans strillanti, di punto in bianco cambiato la  sua vita. Questo suo pensiero "che essere una rock star è un bel lavoro", Petty commercializzò una vera "catapulta " per molti single di Elvis ed è emerso nello studio di musica del leggendario cantante. In più,come moltissimi altri, l'aver visto i Beatles" all' Ed Sullivan Show al inizio del 1964 ha deciso il suo futuro: doveva proprio fare qualcosa anche lui. Al età di 14 anni, Petty suonava la chitarra nelle band come Sundowners ed Epics. Grazie ad Epics incontra Tom Leadon. Interessante che il fratello di Tom - Berni era il membro fondatore del mega stars The Eagles. A dicciasette anni Petty lascia lo studio e crea insieme ad Leadon e il tastierista Benmont Tench Mudcrutch. Mike Campbell viene aggiunto come secondo chitarrista e Petty all'inizio suonava il basso fino quando il Leadon è partito per California nel 1972. Mudcrutch faceva i tour nei stati del Sud -Est per qualche anno arrivando ad avere la grande popolarità e condividendo le locandine con Lynyrd Skynyrd.

 

Selling more than fifty million records worldwide of music both tough and tender, Tom Petty has successfully negotiated every decade in his career-beginning in the mid-seventies, when he slipped in under the punk radar, up to the present. Petty was originally perceived as being in the avanguard of the "new wave," when he was, in fact, a traditionalist with deep classic-rock roots. He took these elements and added his unique stamp, giving his music a highly personal sound. With lead guitarist Mike Campbell at his side, akin to the role of Keith Richards to Mick Jagger, Petty has created rock as timeless as his illustrious predecessors the Rolling Stones, the Byrds, and Bob Dylan. Thomas Earl Petty was born in Gainesville, Florida on October 20, 1950. He had not thought about playing music until 1961, when Elvis was in nearby Ocala shooting on location for Follow that Dream. Petty's uncle had a film-developing business and, through his contacts, arranged for the youngster to briefly meet the "King" on the set. Elvis just "grunted" a greeting, according to Petty, but this close encounter, and the entire spectacle with the entourage-Presley's jet-black hair and screaming fans-changed his life on the spot. Thinking that being a rock star "looked like a great job," Petty traded a slingshot for a stack of Elvis singles and immersed himself in learning the music of the legendary singer. In addition, like countless others, seeing the Beatles on the Ed Sullivan Show in early 1964 sealed his fate; he had to go out and rock. By age fourteen, Petty was playing guitar in bands such as the Sundowners, and later, the Epics. It was through the Epics that Petty met guitarist Tom Leadon. Interestingly, Tom's brother, Bernie Leadon, was a founding member of rock mega-stars, the Eagles. At seventeen, Petty quit high school and joined Leadon and keyboardist Benmont Tench in Mudcrutch. Mike Campbell was added as a second guitarist, and Petty initially played bass until Leadon left for California in 1972. Mudcrutch ran around the Southeast circuit for a few years, reaching a significant level of local stardom and often sharing bills with Lynyrd Skynyrd. The band made a trip to Capricorn Records in Georgia only to be told they were "too British" for a label pushing Southern blues-rock with the likes of the Allman Brothers Band and the Marshall Tucker Band. Ironically, Petty has stated that his bands were always into the blues, could play the style authentically, and even recorded some blues numbers, but it was these tracks that were always the first to be excised from their albums by the label. Using borrowed money, the band recorded two tracks-"Up in Mississippi Tonight" and "Cause Is Understood"-and released them independently. Discouraged by the Capricorn Records experience, but encouraged by Tom Leadon's success in the West, Petty took a copy of Mudcrutch's home demo, On the Street, to Shelter Records, in Hollywood-a label that was recently formed by Leon Russell and Denny Cordell. Petty eventually moved Mudcrutch to Los Angeles in 1974, and the band signed a contract with Shelter Records and released one single, "Depot." Purportedly, Petty took some guitar lessons from Eagles guitarist Don Felder while in Southern California. After a long and fruitless year trying to record an album, Petty quit the band and tried to make a go of it as a solo act, recording with a group of top LA session cats. As good as they were, Petty tired of working with hired guns and hooked back up with Campbell and Tench in 1975. Along with bassist Ron Blair and drummer Steve Lynch, the Heartbreakers were formed. Petty assumed control of the band, renaming it Tom Petty & the Heartbreakers, and took them back to Shelter Records, where he was still under contract. The band went into the studio again as a group and recorded Tom Petty & the Heartbreakers, which was released in 1976. This LP languished stateside until the Heartbreakers toured England, opening for Nils Lofgren, and created a buzz that  

Examine the masterful axe work that supports the songs of this classic rock legend! Dave Rubin provides detailed analysis of Tom & Mike's on:

l'autore insieme Tom, Jeff Lynne è il "capoccione" della Electric Light Orchestra E.L.O. 

anno  -  titolo  -  Album  -  Parole e musica di:

1976  -  American Girl  -  Tom Petty & the Heartbreakers  -  parole e musica di Tom Petty 
1976  -  Breakdown  -  Tom Petty & the Heartbreakers  -  parole e musica di Tom Petty 
1979  -  Don't Do Me Like That  -  Damn the Torpedoes-  parole e musica di Tom Petty 
1989   -  Free Fallin'  -  Full Moon Fever  -  parole e musica di Tom Petty e Jeff Lynne
1989   -  I Won't Back Down  -  Full Moon Fever  -  parole e musica di Tom Petty e Jeff Lynne
1991  -  Into The Great Wide Open  -  Into the Great Wide Open  -  parole e musica di Tom Petty e Jeff Lynne
1991  -  Learning To Fly  -  Into the Great Wide Open  -  parole e musica di Tom Petty e Jeff Lynne
1993  -  Mary Jane's Last Dance  -  Greatest Hits  -  parole e musica di Tom Petty
1979  -  Refugee  -  Damn the Torpedoes  -  parole e musica di Tom Petty e Mike Campbell
1989  -  Runnin' Down A Dream  -  Full Moon Fever  -  parole e musica di Tom Petty e Jeff Lynne, Mike Campbell
1994  -  You Don't Know How It Feels  -  Wildflowers  -  parole e musica di Tom Petty

Prezzo: €29,99
€29,99

PROGRESSIVE ROCK GUITAR GLENN RILEY CD TABLATURE CHITARRA METODO LIBRO BOOK SPARTITI

PROGRESSIVE ROCK GUITAR. By GLENN RILEY. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO METODO PER CHITARRA, DI MUSICA ROCK CON CD . 

SPARTITI, PENTAGRAMMA, TABLATURE . 

 

CATEGORY: GUITAR METHOD OR SUPPLEMENT
FORMAT: BOOK & CD

FROM THE SECOND HALF OF THE 20TH CENTURY INTO THE NEW MILLENIUM, SOME BANDS HAVE STRETCHED THE LIMITS OF ROCK. THE GREAT PROGRESSIVE ROCK ARTISTS OF THE WORLD SUCH AS YES, KIM CRIMSON, QUEENSRYCHE, DREAM THEATER, AND SYMPHONY X HAVE EXPANDED THE POSSIBILITIES, EXPLORING ELEMENTS OF CLASSICAL, JAZZ AND OTHER STYLES WHILE MAINTAINING THE EXCITEMENT AND EDGE OF ROCK. THIS BOOK PROVIDES A LOOK AT THE INNER WORKINGS OF THIS MUSIC, PROVIDING THE TOOLS AND INSPIRATION YOU NEED TO CREATE YOUR OWN PROGRESSIVE ROCK SOUND. YOU'LL LEARN FASCINATING CHORDS, ODD TIME SIGNATURES, METRIC AND HARMONIC MODULATIONS, EXOTIC SCALES AND ADVANCED GUITAR SOLOING CONCEPTS.
FINALLY, HERE IS GUIDANCE FOR THE GUITARIST WHO'S READY TO RISE ABOVE AND BEYOND THE CONFINES OF SIMPLE ROCK 'N' ROLL AND PUSH THE BOUNDARIES WHERE FEW DARE TO GO. THE CD DEMONSTRATES THE EXAMPLES IN THE BOOK. 96 PAGES.

 

Welcome to Progressive Rock Guitar. This book is designed to open up a world of music and guitar technique that goes beyond the normal boundaries of rock. It covers a variety of areas in progressive rock guitar playing including chords and chord progressions, odd meter and syncopated rhythm, scales and soloing strategies and how to put it all together. This book assumes you have a solid knowledge of music notation and! or tablature, major and minor pentatonic scales, modes of the major scale, basic theory such as diatonic harmony and chord construction, lead guitar techniques such as sweep picking, legato and so on. Books such as The Guitar Technique Encyclopedia and Theory for the Contemporary Guitarist would be good companions to this one. Many prog rock guitarists use an assortment of guitar tones. To perform many of the examples in this book, either (or both) a clean or a distorted guitar tone is required. Use an amplifier that can provide both clean and distorted tones with a footswitch, or set your amp to a clean sound and use a distortion effect pedal. Most of the etudes require you switch from one sound to the other while playing. Having the right amp set-up will help you do so. Most progressive rock music is composed, then memorized and performed by the artists. While being able to read the examples is important, you will need to memorize most of the etudes to play them fluently. The CD that accompanies this book has all the examples along with backing tracks for jamming. Progressive rock (often called "art rock") is based on experimentation. It borrows heavily from other styles of music-such as classical, jazz, blues and fusion-to make a "musical goulash." Progressive rock emerged in the late 1960s with acts such as King Crimson, Yes, Iron Butterfly and Jethro Tull, who paved the way for many prog rockers to come. These groups composed epic-length pieces of music with themed lyrical concepts and extended solos, while experimenting (and breaking rules) in the areas of harmony and rhythm. These extensive, artistic musical sculptures found little radio play, but developed a cult-like following. Prog rock groups such as Rush, Kansas and Genesis moved forward in the 1970s and '80s and found more commercial success than their predecessors. The music of many heavy metal bands, such as Queensryche and Fates Warning, had a progressive edge. Progressive solo artists such as Joe Satriani and Yngwie Malmsteen, all with unique voices, also emerged in the 1980s. The 1990s and the new millennium found bands such as Dream Theater and Spock's Beard spearheading a "neo progressive" movement. These bands go about finding new ways to go beyond the old limits and progress along musical pathways that have no boundaries. I hope you do the same.

 

 

TABLE OF CONTENTS

 

About the Author .

Introduction 

 

Chapter 1-Prog Chords 

Inverted Power Chords 

Power Chords with Open Strings 

Power Chords with Extensions 

Triads 

Suspended Chords 

Add9 Chords 

Add #11 Chords 

Add 11 Chords 

7sus4 Chords 

 

Chapter 2- 4/4 Rhythms 

Eighth-Note Rhythms 

Sixteenth-Note Rhythms 

Eighth-Note Triplet Rhythms 

Combining Rhythms 

The 4/4 Etude 

 

Chapter 3-0dd Time Signatures

3/4 Rhythms 

5/4 Rhythms 

7/4 Rhythms 

7/8 Rhythms

5/4 Rhythms 

11/8 Rhythms 

 

Chapter 4-Metric Modulation 

Unstructured Chaos in Arpeggio Land

Math Metal Etude 

 

Chapter 5-Chord Progressions .

Progressions Over Static Bass Lines .

Progressions With Moving Bass Lines 

Single-Note Riffing 

Single-Note Riffing Etude 

Other Harmonic Concepts 

The Chord Prog Etude 

 

Chapter 6-Exploring Scales

The Harmonic Minor Scale

Te Phyrgian Dominant Mode

The Jazz Minor Scale

The Lydian b7Mode

The Whole-Tone Scale

The Diminished Whole/Half Scale

The Diminished Half/Whole Scale

The Chromatic Scale

 

Chapter 7-Prog Rock Soloing

Phrasing Concepts

Phrase Daze Etude

Octave Displacement

Gotta Get Outta Dis Place Blues

Soloing Over Odd Time Signatures

Lucky 7

Five on the Half Shell

Odd Time For a Solo

Soloing Over Static Chords and Bass Notes

Static Groove

Soloing Over Non-Diatonic Chords

See the Light

Out to Lunch

New Horizon

Painting an Invisible Picture

Progressive Pentatonic Concepts

ii-iii-vi Etude

Colors and Resolving/Outside and Inside

A Spectrum of Color

 

Chapter 8-Monster Etude

The Prog Monster Etude

 

Final Thoughts/ Suggested Listening

A compact disc is included with this book. The symbol shown at the left appears next to every example that is on the CD. Use the CD to help ensure that you're capturing the feel of the examples and interpreting the rhythms correctly. The numeral below the symbol corresponds directly to the CD track number. Track 1 will help ou tune our guitar to the CD.

Prezzo: €32,99
€32,99

ACOUSTIC GUITAR MAGAZINE ACOUSTIC GUITAR SLIDE BASICS David Hamburger CD TABLATURE METODO

ACOUSTIC GUITAR MAGAZINE PRESENTS SLIDE BASICS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA SLIDE CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA CHITARRISTICA, 

Le tecniche principali per lo slide blues, e per scivolare in altri generi. 9 Lezioni, 15 canzoni complete. Single string melodies, working in the thumb, open g tuning and closed position, pull-offs hammer-ons and blue notes, turnarounds and moving basslines.

Series: Guitar Educational
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: David Hamburger


David Hamburger, leading sideman, solo performer and teacher, guides players through this complete introduction to bottleneck slide guitar playing with progressive lessons in open tunings and fingerstyle technique, tips on slide guitars and gear, technical exercises, and full songs. The accompanying CD features all of the music played slowly, then up to tempo. In standard notation with tablature and chord diagrams.
Bitten by the blues bug? If you have always wanted to explore the haunting sounds of acoustic slide guitar, or are looking to brush up on your bottleneck basics, this easy-to-follow, step-by-step CD lesson book will have you well on your way to mastering one of the great styles of American roots music. David Hamburger, a master teacher, sideman, and solo performer specializing in slide and Dobro, is uniquely qualified to offer you these nine progressive lessons on the fundamentals of acoustic slide guitar. 72 pages.

Contents
Lessons

GETTING STARTED :

Guitars, Slides, and Tunings,

le diverse accordature, i tipi di bottleneck, messa a punto per lo slide

Single-String Melodies

l'angolatura del bottleneck, muting, terzine,  


Working in the Thumb

OFFBEAT

MOVING AROUND THE NECK :

Open-G Tuning and Closed Position

Vibrato

Spicing Up Your Melodies

Shuffling in D

MORE TOOLS AND TECHNIQUES :

Travis Picking

Tampa Red


Pull-offs, Hammer-ons, and Blue Notes

lo slide di un quarto di tono, le "BLUE NOTES"

Turnarounds and Moving Bass Lines

SONGS:

Cucina Blues
Steady Now
Offbeat Blues
From Twelve to Seven
Transposin' and Tumblin'
Three-Note Jump
Two-Chord Draw
The Cover-up
Better Late Than Never
Slidin' and Frettin'
Since I've Laid My Burden Down
Blue Note Special
Muddy's Blues
Muddy's Blues #2
Goin' Back to Clarksdale

Your pull-offs will be only as clean as your technique is in general. That is, if you're
still hearing lots of other strings sound as you slide up on a particular string, you're
going to hear all those strings ringing open along with the one string you want to hear
when you lift the slide. So keep paying attention to your damping and muting. Also,
make sure you've really reached the fret you were aiming for before you actually lift
the slide from the strings. Unless you're going for a quarter-tone slide ...
 
 
QUARTER-TONE SLIDES
This concept is a little more tricky to communicate in print, and even if you listen to
the examples on the CD, you may find it difficult at first to hear the difference
between a quarter-tone slide and a half-tone slide. Still, it's an important sound, and
I wouldn't want you to come away from this book thinking, "Hamburger, that slacker,
he never even tried to explain quarter-tone slides." So here goes.
To begin with, remember that a one-fret distance on the guitar is called a half-step
or a half tone. So a quarter tone is just going to be half of that. "Dave," I hear you say,
"how am I supposed to play half a fret?" Well, say, what's that on your little finger? A
slide? Try this. On the third string, slide from the third fret completely up to the
fourth fret (Example 4a). That's a half-step (one-fret) slide, and if you play that over
a G bass, the B you're landing on will sound really bright and perfect as the major
third of a G chord.
Now slide from the third fret only halfway up to the fourth fret-to an imaginary
three-and-a-half fret (Example 4b). Over a G bass, that note won't quite sound major,
and it won't quite sound minor. Ifyou just stop right there in the middle, it won't quite
sound right, either. There's a blue note you're trying to find, and I can really only
describe it as being the note on the way to the major third. If you haven't lost your
patience with this project yet, try this last step: Start at the third fret again and slide
toward the fourth fret, but this time lift the slide from the strings somewhere between
your start at the third fret and your conclusion at the fourth, killing the note midflight.
You need to be damping behind the slide with your index finger so that lifting
the slide actually stops the note; otherwise you'll get a pull-off to the open G.
 
It's a tangy, ambiguous sound, and it does work as a pull-off to the open G string,
too. Let's try a few licks with this sound. In Example 5, almost all the action is in the
pickup before the downbeat. Example 6 also has a long pickup, this time with a pulloff:
make the two quick slides into the seventh fret, and on the second one, lift the
slide from the string to get the open G. This open note gives you time to jump down
with the slide to the third fret for the last move of the measure.
Prezzo: €22,99
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EXCITING CONCEPTS FOR BLUES GUITAR SOLOING LIBRO CD TABLATURE CHITARRA Canned Heat

Levenson Barry, EXCITING CONCEPTS FOR BLUES GUITAR SOLOING. CD TABLATURE

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

 

Esempi di blues nello stile di Buddy Guy, B.B. King, Stevie Ray Vaughan, e relative basi. 

Exciting Concepts for Blues Guitar Soloing by Barry Levenson, is an exciting Blues guitar method (with both music notation and tablature) that explores the techniques found in great Blues soloing. The 14 solos contained in this book comprise some of the greatest "licks" in blues guitar playing. The solos include the playing styles of B.B. King, Buddy Guy, T-Bone Walker, Stevie Ray Vaughan & Hubert Sumlin. The book also comes with a detailed text that analyzes each solo in depth and provides today's Blues guitar improviser with all the tools needed for creating their own melodic and harmonic solos. The book gives insight into such concepts as: phrasing, outlining chord structure, target notes, bending techniques, advanced position playing and motific development. The CD is recorded with rhythm backing tracks with and without the solo. Barry has released his own CD called "Heart To Hand". So many people seem to take a lot of time to nurture their chops carefully to bring themselves to the precipice of being able to really blow and have fun, but then for whatever reason can't get past the blues box thing, and end up constantly repeating themselves, bored with their playing, and don't continue to grow as improvisers.

Barry Levenson is the lead guitarist for the world famous blues/rock/boogie band Canned Heat.

Prezzo: €26,99
€26,99

TAYLOR JAMES, ACOUSTIC GUITAR MAGAZINE. CD TABLATURE

TAYLOR JAMES, ACOUSTIC GUITAR MAGAZINE. CD TABLATURE

14 Titoli.

Prezzo: €74,99
€74,99

SOLOING STRATEGIES FOR GUITAR Licks Tricks Tips Lead Guitarist Tom Kolb LIBRO CD TABLATURE

SOLOING STRATEGIES FOR GUITAR, Licks, Tricks, Tones, and Tips for the Aspiring Lead Guitarist, Tom Kolb. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Author: Tom Kolb

Expand your improvisational horizons with this incredible resource for all guitarists! Soloing Strategies for Guitar explores a variety of improvisational concepts and techniques, backed up with fingering patterns, exercises, and lick examples galore. In addition, each chapter includes several extended solos (in the styles of rock, blues, funk, jazz, and country) based entirely on the techniques brought forth in each lesson. Furthermore, each chapter features Quick Theory Tutorials that you can refer to if you need to brush up on your music theory. You'll also find a section called Tone Tips that precedes each solo. Here you get suggestions for guitar, amp, and effects settings. To top it all off, there's a variety of play-along tracks on the accompanying audio CD that you can jam along with, complete with chord charts and soloing suggestions. 112 pages.

Prezzo: €26,99
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WINTER JOHNNY, Guitar Styles Techniques of a Blues Legend, Signature Licks CD TABLATURE Rock Me Baby

WINTER JOHNNY, Guitar Styles and Techniques of a Blues Legend, Signature Licks. CD TABLATURE

Johnny Winter 
A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Blues Legend
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Author: Dave Rubin
Artist: Johnny Winter

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including: Bad Luck Situation - Be Careful with a Fool - Bladie Mae - Highway 61 Revisited - It Was Raining - Leland Mississippi - Mean Town Blues - Rock and Roll Hoochie Koo - Rock Me Baby - Still Alive and Well - Sweet Love & Evil Women - TV Mama. 96 pages

Inventory #HL 00695951
ISBN: 9781423416418
UPC: 884088096311
Width: 9.0"
Length: 12.0"
96 pages

JOHNNY WINTER: WHITE LIGHT

As if to mock the very notion of whether or not a "white man can play the blues,"
Johnny Winter, with his nearly translucent albino skin and blindingly white hair, blasted
down the doors starting in the late 1960s for everyone who loved the music. He once said,
perhaps ironically, "In my own mind, I was the best white blues player around," but clearly
that qualification no longer applies. The legendary Lonnie Mack and the British contingent
of Eric Clapton, Peter Green, Mick Taylor, and Jimmy Page before him had shown
the possibilities of rocking the blues, but no one was adequately prepared for Winter.
Notes flew from his fingers like blazing blue diamonds, creating shock and awe for everyone
within sight and earshot. It was the perfect culmination to the blues revival with Winter
carrying the torch while throwing gasoline on the fire. He would go on to not only influence
fellow Texans like Billy Gibbons and Stevie Ray Vaughan, but also the stone
Chicago blues cat Bernard Allison. Most significantly, for more than forty years he has
played and contributed to the musical language of the blues in ways that were only
strengthened by his numerous forays into rock.
John Dawson Winter III was born in Leland, Mississippi on February 23, 1944 to John
and Edwina, but was raised in Beaumont, Texas. The senior Winter, a career Army officer
who sang, played saxophone and banjo, and was a fan of the big bands, encouraged
Johnny and his younger brother Edgar to pursue music. John's father had been a cotton
broker in Leland and after WWII attempted to take over the business, becoming the boss
at the storied Stovall Plantation, an important figure in early blues history.
Johnny was singing and playing the clarinet by five, but eventually quit clarinet when
an orthodontist advised against it due to his overbite. Three years later he added the
ukulele to his repertoire and then was given the baritone variety by his grandfather. By
1954 he and Edgar were appearing as a duo, singing barbershop quartet songs like "Ain't
She Sweet" and "Bye Bye Blackbird," and even auditioning for the nationally broadcasted
Ted Mack's Original Amateur Hour. It was about this time that Winter's father offered
the opinion that there were only two people, Ukulele Ike and Arthur Godfrey, who had ever
amounted to anything on the diminutive stringed instrument, and that the guitar might
prove to be a better choice. The advice was heeded, especially after Winter realized that
the emerging rock 'n' roll music at the time was played on the guitar. Within the year, he
was learning note-for-note guitar solos off the records he bought by mowing lawns, hauling
garbage, and saving his lunch money. T-Bone Walker, Howlin' Wolf, Muddy Waters,
Chuck Berry, and Carl Perkins were favorites with The Best of Muddy Waters being an
early purchase and the records of Robert Johnson inspiring him to play slide guitar. He
recalls shopping regularly at a record shop owned by Keith Ferguson's father years
before Ferguson became the bassist for the Fabulous Thunderbirds. Winter's first guitar
was his great-grandmother's "hundred-year old classical guitar." Later, his great-grandfather
bought him his first electric guitar, a Gibson ES-125, non-cutaway, with a single P-90 pickup.
There were not many white people in Beaumont in the 1950s as seriously into playing
and listening to the blues as Winter. One of the few was Joey Long (nee Longoria)
who was a little older, and the first white man Winter heard play the music. Like almost
all electric blues guitarists from Texas, he was profoundly influenced by T-Bone Walker.
Winter, on the other hand, while acknowledging his debt to the legendary electric blues
pioneer, also had a strong love for Chicago blues not always shared by his fellow musicians.
When Winter would hear blues guitar idols like Otis Rush push and vibrato their
strings, he would marvel at how it was done, not realizing at the time that it was as much
an expression of their inner soulfulness as the lighter gauge strings they were using. For
a while he accomplished the technique with a whammy bar. Ever open to whatever blues
caught his fancy, it was the expert string articulation of Clapton that would eventually
convince Winter around 1967 to become an acknowledged master of finger vibrato and bending.
In 1959, with Johnny on guitar and Edgar accompanying on piano, Johnny & The
Jammers promptly won a local talent contest sponsored by radio station KTRM. Their
prize consisted of a recording session, and they cut the single "School Day Blues" b/w
"You Know I Love You," ultimately released by Dart Records. It became a regional hit,
resulting in Winter being called to provide guitar on record dates supervised by local promoters
and producers. As was the custom in those days, the music he was playing was
what people wanted to hear-rock 'n' roll, R&B, and then soul music-not blues. All the
while he was compulsively woodshedding his chops and voraciously listening to all the
blues recordings he could find. A treasure trove resided at radio station KJET where DJ
and bluesman Clarence Garlow of the Bon Ton show befriended him, took his requests
on air, and let him hang at the station while also showing him guitar techniques. "I first
saw him at Jefferson Music Company where I worked as a guitar teacher," Winter
explains. "He walked in and I recognized his voice. His style was similar to T-Bone Walker.
On his show he also played a lot of his own records" laughs Winter. "I was about twelve
years old, and he was one of the first guitar players to use light gauge strings, and he
taught me how to use an unwound third. We jammed together a few times, too, including
once at my house that was great."
Winter cites Chet Atkins and Merle Travis as guitarists who really made him want to
play (and his impetus for using a thumbpick). He learned the rudiments of country fingerstyle
from Jefferson Music coworker Luther Naley and some jazz from Seymour Drugan,
the father of Dennis Drugan (the bass player for the Jammers). He briefly attended Lamar
University in Beaumont after high school, sneaking down to Louisiana on the weekends
to jam in the blues clubs. There and in Texas he was often the only white person in the
club, but felt welcome for the most part due to his obvious and sincere love for the music.
His perseverance and total immersion in the blues gained him access to the local
scene by 1963 where he got to jam with B.B. King in a momentous occasion. The following
year he took a pilgrimage to Chicago to join Dennis Drugan in the Gents where he
hoped to play blues, but instead ended up once again performing the popular music of
the day. While in the Windy City he met Michael Bloomfield at his club, the Fickle Pickle,
for what would become a solid friendship based on mutual admiration. Winter was back
in Texas a year later, however, and cut "Eternally" for the KRCO label, which leased it to
Atlantic Records, scoring a regional hit that allowed him to advance to the next leveltouring
and opening for rock acts like Jerry Lee Lewis and the Everly Brothers. In 1967
he made a fortuitous move to Houston, a hot bed for blues in the Lone Star State, and
convened a trio with bassist Tommy Shannon and drummer Uncle John "Red" Turner,
who in turn encouraged Winter to concentrate on performing the blues, knowing he was
mastering the style at a rapid pace. The band became a fixture at the Vulcan Gas
Company ballroom, later dubbed Armadillo World Headquarters, and Winter's reputation
soared on the wings of his impossibly fast, furious, and fluid solos. While in residency he
got to play with Freddie King and met Muddy Waters for the first time, with whom he would
form a lifelong friendship. In addition, responding to the creative rock experimentation
going on in the late 1960s, he also tried his hand at the psychedelic experience musically
and sartorially.

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including:

TITLE - AUTHOR - ALBUM - YEAR

Bad Luck Situation - Johnny Winter - SAINTS & SINNERS - 1974
Be Careful With A Fool - Words & Music: B.B. King, Joe Bihari - 1957 - JOHNNY WINTER - 1969 
Bladie Mae - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Highway 61 Revisited - Words and Music: Bob Dylan - 1965 - SECOND WINTER - 1969
It Was Raining - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Leland Mississippi  - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Mean Town Blues - Words and Music: Johnny Winter - THE PROGRESSIVE BLUES EXPERIMENT - 1969
Rock And Roll Hoochie Koo - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Rock Me Baby - Words and Music: B.B. King, Joe Bihan - 1964 - STILL ALIVE AND WELL - 1973
Still Alive And Well - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Sweet Love & Evil Women - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
TV Mama -  Johnny Winter - NOTHIN' BUT THE BLUES - 1977

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