MUSIC SALES

THE GIG BAG BOOK OF SCALES FOR ALL GUITARISTS. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA. ACCORDI, DISEGNO DELLA TASTIERA, PENTAGRAMMA E TABLATURE. 

Scales for Guitarists
The Gig Bag Series
Series: Music Sales America
Publisher: Music Sales America
TAB
Author: Mark Bridges, Joe Dineen

Covers 180 scales in all 12 keys in standard notation and tab, with fingering suggestions plus the different scale positions that cover the entire fretboard. Includes fretboard diagram.

Inventory #HL 14028884
ISBN: 9780825636936
UPC: 752187941378
Publisher Code: AM941370
Width: 5.0"
Length: 12.0"
178 pages

Introduction
This book is a reference guide for guitarists. It is
not intended as a method book, but rather as a reference
book of scales that are easily accessible to
the beginner or advanced guitarist. Regardless of
your musical interest, this book contains the
majority of scales you will encounter in most
styles of music (rock, jazz, country, or blues).
Strong scale knowledge will help build familiarity
with the fretboard and help develop technical ability.
The fifteen scales covered in this book are:
• major (Ionian)
• natural minor (Aeolian)
• Dorian
• Phrygian
• Lydian
• Mixolydian
• Locrian
• harmonic minor
• jazz melodic minor
• Lydian flat-seven
• whole tone
• diminished (whole-half)
• pentatonic (major)
• pentatonic (minor)
• blues scale (with major third and flatted fifth)
Although there are many more scales available,
these scales types were chosen for their popularity
as well as their usefulness.
The Gig Bag Book of Scales for all Guitarists has been
designed with the player in mind. You don't have
to go to your bookshelf to find that bulky chord
encyclopedia that your music stand can't even
hold up, you don't have to break the spine of the
book to get it to stay open, and it doesn't take up
all the space on your music stand. It is easy-tocarry
and easy-to-use. We hope that this book will
serve as a valuable reference source during your
ears as a developing guitarist.

How to Use this Book
It is strongly recommended that you develop a
practice regimen in which you devote some time
to scale study. If you practice one hour each session,
then devote fifteen or twenty minutes to scale
study. Another approach would be to practice
your warm-up exercises with a different scale each
day.
Here are some helpful tips:

• Use the handy thumb index to find the key
you're looking for.
• At the top of each page you will find the scale
type and to the right you'll find the scale formula
(W= whole-step and H = half-step).
• otice that there are five suggested scale types
along with their fingerings. (The scale types and ,
fingerings are only suggested guidelines; you are
encouraged to develop your own scale types and
fingerings.)
• The scales are written in both standard notation
and tablature. You will find a fretboard diagram
at the bottom of the page displaying the scale
pattern (the root of the scale appears as a circle
while the other scale tones appear as black dots).
• In addition, the five fingering types are bracketed
at the top of the fretboard diagram to help you
visualize the scale pattern all over the neck.

whether you are looking to develop chops (technique)
or broaden your scale vocabulary, The Gig
Bag Book of Scales for all Guitarists is for you.

THE GIG BAG BOOK OF PRACTICAL PENTATONICS BY MATT SCHARFGLASS. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE. 

542 esempi di frasi pentatoniche. TABLATURE

he Gig Bag Book of Practical Pentatonics for All Guitarists

Series: Music Sales America
Publisher: Music Sales America
Format: Softcover - TAB
Author: Matt Scharfglass

The ultimate compact reference book of pentatonic scales (five-note minor and major scales) and how to use them. Packed with over 400 riffs and examples. Also includes theory, solos, and more.

Inventory #HL 14012666
ISBN: 9780825617003
UPC: 752187948803
Publisher Code: AM948805
Width: 5.0"
Length: 12.0"
160 pages

FAST FORWARD, ROCK GUITAR IMPROVISATION. CD TABLATURE

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

Description :

So you want to play rock solos improvise like a real pro? This book will show you how, fast! First learn a few basics: which scales and chord patterns to use, the importance of correct phrasing, chord changes, string-bending and slides. Discover how open strings can create a much fuller sound, then experiment with hammer-ons, pull-offs and different chordal/arpeggio ideas. Riffs and licks are included to suit every musical situation, with tips and techniques and playing lead guitar in band.
On the CD you'll find a matching audio track to every music example in the book. Each track is recorded twice: first with the guitar, the with backing track only so you can play the guitar part.

Introduction
Hello, and welcome to FastForward.
Congratulations on purchasing a product that
will improve your playing and provide you with
hours of pleasure. All the music in this book has
been specially created by professional musicians
to give you maximum value and enjoyment.
If you already know how to 'drive' your
instrument, but you'd like to do a little
customising, you've pulled in at the right place.
We'll put you on the fast track to playing the
kinds of riffs and patterns that today's
professionals rely on.
We'll provide you with a vocabulary of riffs and
licks that you can apply in a wide variety of
musical situations, with a special emphasis on
giving you the techniques that will help you in a
band situation.

FastForward Rock Guitar Improvisation
looks at everything from scales, bends, arpeggios
and dynamics, to how to begin and end a solo,
how to use intervals and phrasing, and gives you
a host of other tips for effective rock lead. If
you've been playing for about 6 months to a year,
can change chords reasonably well, and have tried
a few scales, this is the book that will take you
further. If you are a beginner or new to lead
playing, I recommend that you get a copy of
Lead Guitar Licks in the FastForward
senes.

All the music examples in this book come with
full-band audio tracks so that you get your
chance to join in. Practise and learn the examples
and then take off on your own over the backing
tracks!

All players and bands get their sounds and styles
by drawing on the same basic building blocks.
With FastForward you'll quickly learn
these, and then be ready to use them to create
your own style.

Playing A Solo
Imagine you're in a recording studio. The red
light is on, there's a session in progress. You can
just about make out the faces of the engineer and
the other band members behind the glass. You're
holding a guitar, and through your headphones
you're listening to the tracks for a newly-recorded
song. Verses and choruses pass by, and soon ...
very soon ... it will be time to record a solo. How
confident would you feel about playing the
session?

FastForward Rock Guitar Improvisation
will help you to create fantastic lead guitar breaks
and fills. No-one can teach you how to play an
inspired solo - however, you can learn a lot about
technique and musical sense to give you a better
chance of playing one.
The book is divided into five sections. Each
section represents a different recording session
and a different rock number. Before each solo,
you get to playa few simple phrases at a slow
tempo, practise some scale-type patterns and try
some other ideas that you could use in a solo of
your own. Then it's your chance to learn a solo
(usually 24 bars) that fits the chord sequence.
Later, you can use the backing tracks to
improvise your own lead breaks. Each solo is
accompanied by a 'Spotlight on Technique',
which focuses on the lead ideas featured in the
solo.
Along the way this book will answer some of the
common questions players have about lead guitar:
What scales should I be using?
Do I have to change the scale when the chord
changes?
Which scales go with rock? Are these the same
as for other styles of music?
When should I use string-bending?
Which scales go with which key?
How do I make the scales I know sound more
like a solo?
Each example is given in musical score and in
guitar tablature. With the latter each number
indicates the fret at which the note is played,
each line is a string. If you find it hard to
remember which way up they go, think always of
pitch: high notes are above low notes, therefore
the highest sounding string (1st E) is at the top.
Each musical example is played once with the
lead guitar, and once without. The first is for you
to learn by listening, the second 'play-along' track
is for you to practise with. The examples have a
one-bar count-in on the CD.

Guitar Tablature Explained
Introduction

Playing A Solo
Into The Great Wide Yonder
Pentatonic Scale Shapes
Pentatonic Scale Patterns
Slides And Bends
Spotlight On Techniques
Into The Great Wide Yonder (solo)

Interstate Highway
Major Scale Phrases
Major Scale Patterns
Major Pentatonic Patterns
Spotlight On Techniques
Interstate Highway (solo)

The Outsider
Major Scale Shapes
The Mixolydian Mode
Using Open Strings
Spotlight On Techniques
The Outsider (solo)

Summer Girl
Minor Key Phrases
The Natural Minor Scale
Hammer-Ons And Pull-Offs
Spotlight On Techniques
Summer Girl (solo)

Trucker's Delight
Alternating Key Phrases
Pentatonic Major And Minor Patterns
Arpeggio Shapes
Spotlight On Techniques
Trucker's Delight (solo)  

GUITAR INSTRUMENTAL HITS. Passo per passo, 14 passeggiate soli con lei, la vostra chitarra.

GUITAR BOOGIE SHUFFLE
(As Performed by The Virtues featuring Jimmy Bruno Sr.) By Arthur Smith
Figure 4 - Intro, Head, and First Guitar Solo
Rewriting history can be a daunting and problematic business. Such is the case with "Guitar Boogie Shuffle." History incorrectly credits Frank Virtue as the guitarist on the track and further ascribes the tune to Arthur Smith. Its inclusion in this collection provides us with an ideal opportunity to set the record straight. Here is the real story as recounted and substantiated by his son, Jimmy Bruno Jr. (who incidentally is one of the most compelling jazz guitarists on the scene today-check him out). In the 1940s and 1950s, guitarist Jimmy Bruno Sr. played with a bassist named Frank Virtue. Virtue was not an accomplished musician but had an uncanny knack for obtaining work. As times were tough, Bruno stayed with this band. In the 1950s, Virtue built a small recording studio in his house and there they recorded "Guitar Boogie Shuffle" as the Virtues. The members on the date were Jimmy Bruno Sr. (guitar), Tom Friday (drums), Ralph Federico (piano) and Frank Virtue (bass). Contrary to popular belief, Bruno Sr. was the composer of the music but failed to copyright his work, thinking that the boogie-woogie riff was public domain and not realizing that his arrangement granted him ownership rights. A self-made millionaire, Arthur Smith, who had recorded a different version on acoustic earlier, wound up with the rights and the credit. Virtue's lawyers and the record company saw to it that Bruno received 10% of 1% for his efforts. Bruno discovered this while on tour and quit on the spot, vowing never to record again and further stating that Virtue would never have another hit song. "Guitar Boogie Shuffle" reached #5 on March 23, 1959 and remained in the Top 40 for twelve weeks. It was the Virtues' one and only hit.
"Guitar Boogie Shuffle" is a 12-bar blues in E (which sounds a half step lower in Eb)
founded on a swing-inspired triplet feel. In the intro, Bruno plays a ground-finding pattern
in eighth-note rhythm on the open low E string to get things rolling. His sound during the
head is treated with generous amounts of slap-back echo. The head [A] is based on a fournote
ascending-descending melody (E-G#-B-C#: root-third-fifth-sixth) which is the quintessential
boogie riff of the period-in essence, a left-hand boogie-woogie piano pattern
transferred to the bass register of the electric guitar. Variations of this figure are moved
through the I-IV-V changes of a simple 12-measure, three-chord blues progression. Note
the use of G (the seventh) over the A chord in measure 7, and the use of 0 (the sharp
ninth) over the B7 chord in measure 10.
The interlude [B] is based on a catchy ostinato riff made of a quarter note and an
eighth-note triplet. The triplet contains the ascending chromatic motion B-C-C#, which
strengthens the sixth (the goal of this motion) in the figure. This riff, like the main theme, is
taken through the 12-rneasure blues form with slight variations.
Bruno's improvised solo choruses in [C] and [0] reveal the close relationship of late
1940s swing jazz and early rock 'n' roll. You could describe these phrases as "Charlie
Christian licks in a jitterbug context." His lines are certainly jazz-oriented, based primarily
on the E Major scale (E-F#-G#-A-B-C#-D#), with characteristic passing-tone chromaticism
in measures 26, 28, 41-43, and 45-47, and arpeggios in measure 32-34. Specific
references to Charlie Christian's style are heard in the explicit use of the sixth tone (C#) in
measures 27-29 and measure 45, the inverted mordent embellishing figure in measure 31
(a Lester Young motive popularized by Christian on the guitar), the staccato rhythmic
motive in measures 34-35, and the dominant-ninth lick in measures 42-43. Unlike
Christian's style, Bruno's licks are devoid of string bends and contain no overt references
to Texas and Oklahoma blues guitar styles.
On the recording, Jimmy Bruno Sr. played a honey blonde Gretsch hollow body
(probably a 6120) with DeArmond pickups, and plugged into an Ampeg Gemini II amp.
[Before playing along with Figs. 4 and 5, tune down 1/2 step with track 7] ...

-Raunchy

-rumble

-Lenny (S.R.V.)

-guitar boogie shuffle

-walk don't run -pipeline

-just like a woman (B.B. King)

-rebel 'rouser

-sleepwalk (come suonata da Santo and Johnny) 

-sleepwalk (come suonata da Larry Carlton) 

-Jessica -frosty

-hide away (come suonata da Freddy King)

-steppin' out (Clapton)

-song of the wind (Santana).

Tutti gli esempi di assoli possono anche essere usati come per Jam. CD TABLATURE

Santo & Johnny era il nome di un duo di chitarristi formato dai fratelli newyorkesi Santo (24 ottobre 1937) e Johnny Farina (30 aprile 1941). Il loro primo singolo, Sleepwalk, pubblicato nel 1959, era un brano strumentale composto con l'aiuto della madre, che riscosse un notevole successo balzando al primo posto delle classifiche statunitensi. Ad esso fecero seguito altri singoli e numerosi album che raccoglievano soprattutto brani easy-listening e colonne sonore. Furono molto popolari durante gli anni sessanta e settanta, anche in Italia, dove registrarono molti dischi e guadagnarono il disco d'oro per la loro versione della colonna sonora de Il Padrino (1973) del compositore Nino Rota. Il duo si sciolse nel 1976, ma Johnny Farina ha continuato per moltissimi anni ancora a esibirsi come solista e a incidere dischi.

The Farina brothers, Santo & Johnny, were born in Brooklyn, New York. Santo, October 24, 1937 and Johnny, April 30, 1941. The boys were young when their Dad was drafted into the Army and stationed in Oklahoma. There on the radio he heard this beautiful music, it was the sound of the steel guitar. He wrote home to his wife and said "I'd like the boys to learn to play this instrument". When he returned from the war they searched out to a man who could get them started with the steel. Years later, they formed a band, playing at church dances, weddings and clubs. The Farina brothers began to gather fans from Brooklyn to Long Island.
As their popularity grew locally they recorded a couple of demo tapes. Johnny made the rounds of the New York record companies. One day Johnny decided to try a music publishing company and there is where the history of "Sleep Walk" started, they signed a song writer's contract which later on lead them to Canadian American Records. Their first release in 1959 was "Sleep Walk" which was written by Santo & Johnny. It was the last #1 instrumental of the 50's and earned them a Gold Record. With their unmistakable sound, they appeared on all the top music shows, "The Alan Freed Show", "Dick Clarks' American Bandstand", "The Perry Como Show" etc. etc

FUNK ROCK. Troy Stetina. TROY STETINA'S GUITAR LESSONS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

TROY STETINA'S GUITAR LESSONS

LIBRO METODO DI MUSICA FUNK ROCK CON CD. 

CD DI BASI PER VOCE E, VOCE E CHITARRA. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

MANUALE, TECNICA, DIDATTICO, 

20 lezioni con lo scanner e trascrizione completa di 3 canzoni: Cult Of Personality (Living Colour) -Bombtrack (Rage Against The Machine) -Suck My Kiss (Red Hot Chili Peppers). CD TABLATURE 

Cult Of Personality (Living Colour) -Bombtrack (Rage Against The Machine) -Suck My Kiss (Red Hot Chili Peppers). CD includes 60 song excerpts. 72 pages.