MEL BAY

VIGNOLA FRANK RHYTHM CHANGES VOLUME 1 CD TABLATURE LIBRO CHITARRA ACCORDI SPARTITI

RHYTHM CHANGES, VOLUME 1. Frank Vignola. SHEET MUSIC BOOK WITH CD TABLATURE

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE.

The Frank Vignola Play-Along Series contains solos which have been written and recorded over blues and rhythm changes in many different keys. Learn more about commonly used chord changes by having the opportunity to jam on them extensively. Some of these etudes have been recorded both at a slower tempo for learning and at performance tempo. The performance-tempo recordings of the solos include numerous choruses of rhythm section only. This allows for individual practice of the written solos or practice of original ideas with a "live" rhythm section. Occasionally, during these "rhythm only" sections, Frank Vignola will play an improvised solo for four, 12, or 24 measures. This allows the student to interact with the recording by copying ideas, building upon what has just been played, or practicing the chords to the piece. The Frank Vignola Blues and Rhythm Changes series gives any student of jazz guitar great ideas for playing solos over two of the most popular musical forms in jazz. It is recommended that the student be able to play the jazz standard "I Got Rhythm" before using this book/CD set. 32 pages.
 

About the Author

Frank Vignola is considered to be among the top rank of guitarists on the music scene today. Born on December 30, 1965, in Long Island, New York, he began playing guitar at the age of five. As his proficiency grew, he spent many hours listening to the music of legendary guitarists, Django Reinhardt, Joe Pass, and Johnny Smith. Frank not only gained a spiritual sort of inspiration from these guitarists recordings, he also made an intricate study of the complexities of these guitar masters styles, slowing down his records to analyze many a solo.

Frank’s first teacher was his father, a semi-professional banjo player. Later, Frank became the star pupil of guitarist Jimmy George, who was one of the original Dion and the Belmonts. At age 12, Frank took up the tenor banjo and swiftly burst upon the music scene in a way that would portend many of the accolades and milestones to come in his career as a jazz guitarist.

Though obviously steeped in the traditional schools of jazz, especially in the formative years, Frank would ultimately take inspiration from a wide arc of the musical spectrum. Guitarists such as Django, Charlie Christian, Wes Montgomery and Lonnie Johnson are obvious influences, but one might be surprised to learn that rocker Jimi Hendrix has also received the close scrutiny of Frank’s ear. Louis Armstrong, Lester Young, Thelonius Monk, Charlie Parker, Sonny Stitt, Antonio Carlos Jobim, Thad Jones and Duke Ellington have all had inspirational impact on the music of Frank Vignola.

While still in his teens, Frank experienced the most effective music education possible—right on the bandstand as a working musician. Soon named among the top ranked musicians in New York, Frank performed and toured with such headliners as Max Morath and Leon Redbone. At age 23, he decided to lead his own group and formed his version of the famed Quintet of the Hot Club of France. Their debut at the New York cabaret, Michael’s Pub, was a smash success and launched his career as a guitarist ‘in the spotlight.’ Tours of Europe, recording sessions, and an exclusive recording contract with the Concord Jazz label would all follow in short succession in a few short years. Frank would perform and/or record with such varied artists as Chet Atkins, Madonna, Jon Faddis, Woody Allen, Ringo Starr, Manhattan Transfer, Frank Wess, Elvin Jones, Lionel Hampton and countless legends from the golden age of jazz.

Currently, Frank Vignola is the guitarist with the Mark O Conner Trio’s tribute to Stephane Grappelli and also performs every Monday night with the Les Paul Trio at the Iridium in New York City. Frank is also the new guitarist in John Lewis’ new group Evolution.

Prezzo: €39,99
€39,99

MONTGOMERY WES EARLY YEARS LIBRO CD GUITAR TABLATURE Scrambled Eggs-Ursula-Lolita

MONTGOMERY WES, THE EARLY YEARS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA JAZZ CON CD.

LIBRO DI SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE.

The artistry exhibited by Wes Montgomery ultimately led to a redefinition of jazz guitar. These transcriptions from Wes' landmark early recorded work capture him in contrasting settings and roles as a sideman, leader and with various group configurations. All solos were carefully transcribed in notation and tablature from Wes' original Riverside recordings. Selections include: Scrambled Eggs; Compulsion; Terrain; Ursula; Lolita; Tune Up; Says You; Delirium; and No Hard Feelings.

Compulsion by Harold Land
Delirium by Harold Land
Lolita by Barry Harris
No Hard Feelings by Buddy Montgomery
Says You by Sam Jones
Scrambled Eggs by Sam Jones
Terrain by Harold Land
Tune Up by Miles Davis
Ursula by Harold Land

 


Wes Montgomery
Born in Indianapolis, Indiana March 6, 1925
Died June 15, 1968
Wes Montgomery was a guitarist who developed an incredibly personal style.
He was influenced greatly in his early years by the driving single line jazz guitar solos
of Charlie Christian. Later, tenor saxophonist John Coltrane had tremendous influence
on him. Wes Montgomery possessed a great ear and got one of his first" gigs" playing
Charlie Christian solos by ear with a jazz combo. It was later said that his ear was good
enough to allow him to remember and embellish any piece, no matter how intricate,
after hearing it only once.
Wes Montgomery's style was so unique it can still be recognized by listening to
only a measure or two of one of his solos. Tobegin with, he played with his right hand
thumb. The story goes that he developed this technique trying to practice softly so as
not to disturb his neighbors. His thumb technique was unbelievably adept, amazing in
the words of some observers. This thumb technique gave his playing a warm, gentle
timbre. Thus, when listening to Wes, you would hear wonderfully bluesy, "be-bop"
phrases laid out in a warm, lyrically intimate manner.
Perhaps the most identifiable aspect of his style, however, was his "funky",
virtuosic use of octaves. Many great jazz guitarists have since emulated this stylistic
technique but it was pioneered by Wes Montgomery. He proved that rapid and extended
solos in octaves could be executed technically and musically. While many
others have copied this technique, few seem to obtain Wes' warm, earthy, tone.
Wes' career took a big jump when famed alto saxophonist ,Cannonball Adderly
heard him at an after-hours jazz club in Indianapolis called the Missile Room. A phone
call from Adderly set things in motion and not long after, Wes was signed to a record
contract with Riverside. He later recorded on the Verve and A & M labels. His was the
dominant voice in jazz guitar in the 1960s. His plaudits included winning the Downbeat,
Billboard and Playboy jazz guitar polls. He was awarded a Grammy for his solo
rendition of the song, "Gain' Out Of My Head." Time and Newsweek ran stories on him.
He played with many if not most of the great jazz sidemen of his era.
We are honored to present this collection of some of Wes Montgomery's early
recorded solos from the Riverside collection. We highly recommend the companion
cassette. Also available is an additional printed collection of some of his finest recorded
solos titled Wes Montgomery/Jazz Guitar Artistry.


Notes From the Transcriber
This collection of transcribed performances is a sampling from the early recorded
work of Wes Montgomery on the Riverside label. Wes signed on with Riverside in the
autumn of 1959and remained with the label through 1963.
These transcriptions capture Wes in contrasting settings and roles; as sideman,
leader and with various group configurations. As a sideman, Wes improvised concisely,
offering exactly suitable, to-the-point solos. On his own recordings, he was more
expansive, developing his solos over a number of choruses with utmost craft.
The artistry exhibited by Wes was ultimately to lead to the redefinition of jazz
guitar. His influence has, and continues to reach the oncoming generations of guitarists
within, and outside the jazz world. Being on the faculty of Berklee College of Music for
several years, I have seen first hand how the music of Wes Montgomery continues to
inspire guitarists in pursuit of excellence. Even those not versed in jazz get excited
about Wes' playing because it simply feels so good.
When working with these transcriptions, keep the recordings close at hand and
refer to them continually. What can be communicated on the printed page is limited,
but your listening to the recordings will help to make the written notes come to life.
A word about the tablature fingerings. When deciding fingerings I considered
the following factors:
1. Playability - Where does the particular phrase lie well on the fingerboard?
2. Harmonic relation - What chord shape or shapes does this phrase imply?
3. Timbre - Does the timbre clearly indicate which string a note was played on?
I have not presumed, nor do I intend to imply, where every note was originally
played by these fingerings. My intention is to provide fingerings that work well with
this music. Due to the nature of the guitar, I also recommend practicing phrases in at
least one other area of the fingerboard.

 

Here is a brief summary of the transcribed music.
Wes Montgomery - guitar
All tracks
Scrambled Eggs
Nat Adderly - cornet (leader)
Sam Jones - bass
Bobby Timmons - piano
Louis Hayes - drums
recorded January 27, 1960

Scrambled Eggs is from Nat Adderley's highly successful Work
Song album. The Bobby Timmons composition is a bass feature for
Sam Jones who solos during the head breaks. 1have included these
bass breaks in the transcription as a matter of interest. For the
Scrambled Eggs melody, Wes plays octave unison with the cornet.
Taking the last solo for one chorus, Wes appears to be drawing from
the melody by using a great deal of chromaticism in his solo lines.
This technique, that is associated with the bebop jazz style, is characterized
by the resolution of single or double chromatics to chord
tones from above and/ or below.
Compulsion
Joe Gordon - trumpet
Harold Land - tenor sax (leader)
Barry Harris - piano
Sam Jones - bass
Louis Hayes - drums
recorded May 17, 1960

From Harold Land's West Coast Blues LP,Compulsion begins
with trademark octaves from Wes. On the head and solos of his
band mates, Wes shares comping duties with Barry Harris. The A
section of Compulsion has a 1mto IVm chord change that leads to
descending lydian chord structures. Wes takes the second solo and
on his two choruses, skillfully plays through the most active harmonic
segments, melodically weaving through the changes. On the
lydian segments, Wes transposes short musical fragments in parallel
motion with the chord structures. His use of thirds on the final
bridge should also be noted.

Prezzo: €30,99
€30,99

MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.2 BOOK & CD TABLATURE CHITARRA SPARTITI LIBRO

MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.2. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA JAZZ CON CD .

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .  


Product Description:
Mel Bay's Master Anthology of Jazz Guitar Solos Volume Two presents 11 challenging tunes, improvised solos and solo guitar arrangements designed to enhance the repertoire of the intermediate to advanced jazz guitarist. Some of the world's finest jazz guitarists are represented, including Chris Buzzelli, Corey Christiansen, Mark Elf, Jim Farquar, Dave Frackenpohl, Barry Greene, Randy Johnston, Bill Purse, Dave Stryker, Frank Vignola, and Craig Wagner. All of the pieces are in both standard notation and tablature with a biographical sketch of each performer. A companion stereo CD is included, making this an ideal sourcebook for serious students and professionals alike.

Mark Elfhas been on the Jazz scene for over 30 years. He was born in Queens, New York in 1949 and started playing the Guitar at the age of 11. He has played and or recorded with the Jazz Giants: Dizzy Gillespie, Clark Terry, Jimmy Heath & the Heath Bros., Wynton Marsalis & Jon Hendricks just to name a few. His first professional Jazz performance occurred around 1971 as a sideman at the Club Barron in Harlem, New York with Gloria Coleman and Etta Jones. This performance was a double bill with the George Benson Quintet. During the 1970's he toured with Lou Donaldson, Jimmy McGriff, Groove Holmes & Charles Earland and recorded a number of albums with them. He recorded his flrst album as a sideman with Jimmy McGriff & Groove Holmes in 1973 on the Groove Merchant Record label called "Giants of the Organ Come Together". In the late 1970's Mark worked with Junior Cook and Bill Hardman in New York City and also recorded with them on the Muse Label. In the 1980' s he toured Europe with Dizzy Gillespie, Clark Terry and other Jazz Luminaries and also recorded his flrst album as a leader in 1986 called the Mark Elf Trio Volume 1. In 1988 he recorded his second album as a leader ''The Eternal Triangle with Hank Jones, Jimmy Heath, Ray Drummond and Ben Riley. This album would be released in 1996 on Mark's Jen Bay Record Label. In 1993, Mark landed his fIrst overseas record deal with The Alerce Record Label and ''The Mark Elf Trio" was recorded in Santiago, Chile. This recording was marketed to radio in 1996 and went to #7 on The Gavin Jazz Chart. In 1995, Mark recorded for Telarc on the Jon Hendricks CD, Boppin' at The Blue Note with, Wynton Marsalis, Benny Golson, Al Grey & Red Holloway. This recording went to # 1 and opened up some radio doors just before the Alerce recording released in 1996. After forming his own record company in 1995, Jen Bay Records, he stunned the record industry with hit recordings on Jazz Radio. From 1996 to 2000 all seven of his recordings had flnished in the top ten on National Jazz Radio with flve of them going to #1 consecutively from 1997 to 2000! In 1996 he joined the Jimmy Heath band and also worked with the Heath Bros. During this time The Eternal Triangle was released and it went to #4 on The Gavin Jazz Chart. He recorded As We Were Saying with the Heath Bros. for Concord in 1997. This same year Mark's third recording as a leader, A Minor Scramble was released. This was the second for his own company and it hit #1 on The Gavin Jazz Chart. This was the flrst of 5 consecutive Chart Toppers! The other four were 1998 - Trickynometry (#1), 1999 - New York Cats (# 1) and 2000 - Over The Airwaves & Live At Smalls (# I)! From 1970 to the present, Mark has taught guitar and theory at independent studios, colleges and universities in the USA and abroad. His clinics are recognized as some of the fmest in the world as attested to by Clark Terry who hired Mark to teach at several of his jazz camps in the 1980' s and 1990's. Clark says, "The students love his no nonsense practical approach. He's a great clinician." Beside owning his own successful record label he also owns his own publishing company. He is sought after for his lectures on How To Succeed As An INDIE.

Frank Vignola is considered to be among the top rank of guitarists on the music scene today. Born on December 30, 1965, in Long Island, New York, he began playing guitar at the age of five. As his proficiency grew, he spent many hours listening to the music of legendary guitarists; Django Reinhardt, Joe Pass, and Johnny Smith. Frank not only gained a spiritual sort of inspiration from these guitarist's recordings, he also made an intricate study of the complexities of these guitar masters styles, slowing down his records to analyze many a solo. Frank's first teacher was his father, a semiprofessional banjo player. Later, Frank became the star pupil of guitarist Jimmy George, who was one of the original Dion and the Belmonts. At age 12, Frank took up the tenor banjo and swiftly burst upon the music scene in a way that would portend many of the accolades and milestones to come in his career as a jazz guitarist. Though obviously steeped in the traditional schools ofjazz, especially in the formative years, Frank would ultimately take inspiration from a wide arc of the musical spectrum. Guitarists such as Django, Charlie Christian, Wes Montgomery and Lonnie Johnson are obvious influences, but one might be surprised to learn that rocker Jimi Hendrix has also received the close scrutiny of Frank' s ear. Louis Armstrong, Lester Young, Thelonius Monk, Charlie Parker, Sonny Stitt, Antonio Carlos Jobim, Thad Jones and Duke Ellington have all had inspirational impact on the music of Frank Vignola. While still in his teens, Frank experienced the most effective music education possible-right on the bandstand as a working musician. Soon named among the top ranked musicians in New York, Frank performed and toured with such headliners as Max Morath and Leon Redbone. At age 23, he decided to lead his own group and formed his version of the famed Quintet of the Hot Club of France. Their debut at the New York cabaret, Michael's Pub, was a smash success and launched his career as a guitarist 'in the spotlight.' Tours of Europe, recording sessions, and an exclusive recording contract with the Concord Jazz label would all follow in short succession in a few short years. Frank would perform and/or record with such varied artists as Chet Atkins, Madonna, Jon Faddis, Woody Allen, Ringo Starr, Manhattan Transfer, Frank Wess, Elvin Jones, Lionel Hampton and countless legends from the golden age of jazz. Currently, Frank Vignola is the guitarist with the Mark O'Conner Trio' s tribute to Stephane Grappelli and also performs every Monday night with the Les Paul Trio at the Iridium in New York City. Frank is also the new guitarist in John Lewis' new group "Evolution".

Dave Stryker (3/30/57) grew up in Omaha, Nebraska and moved to New York City in 1980. After establishing himself in the local music scene, he joined organist Jack McDuffs group for two years 1984-85. When McDuff wasn't on the road (literally traveling by van all over the country) they worked a steady four-night a week gig at Dude's Lounge in Harlem. His fIrst break, this turned out to be an invaluable experience, paying his dues night after night with the soulful jazz organist. It was at Dude's Lounge that Stryker met tenor saxophonist Stanley Turrentine, who would occasionally sit in. Mter leaving McDuff, Turrentine asked Stryker to join his quintet. From 1986-1995 he played with the legendary saxophonist at all the major festivals, concert halls, and clubs throughout the world. He is featured on two Turrentine CD's (Stanley recorded Stryker's tune Sidesteppin). With Turrentine, Stryker was able to play with such jazz greats as Dizzy Gillespie and Freddie Hubbard. The ten years playing alongside the tenor legend helped Stryker realize the importance of having his own sound. (He continues to play with Stanley on occasion.) Stryker recorded his fIrst CD, First Strike (featuring Billy Hart) in 1988. Guitar on Top (featuring Mulgrew Miller and Victor Lewis) reached #13 on the Gavin Radio Chart and received 4 stars in Downbeat magazine. There have been articles in Downbeat, Guitar Player, Jazz Times, Swing Journal, and Jazz Life on Dave, and he has been awarded three jazz grants from The National Endowment For The Arts. In 1990 Dave began his association with SteepleChase Music. He has released twelve CDs on the label, including: Shades of Miles, Blue to the Bone II, All The Way, Big Room, Blue to the Bone, The Greeting, Nomad, Stardust, Full Moon, Blue Degrees, Passage, and Strikezone. Early on Stryker realized that as much as he loved playing standards and the jazz repertoire he had to have something of his own to give to the music. He feels that his writing combined with his playing is what shapes his musical expression. He has recorded and published over flfty of his own compositions. Eighteen of those compositions (from the flrst flve SteepleChase CD's) are compiled in the book: The Music of Dave Stryker (SteepleChase Music). Some of the other artists who have recorded his music are: Stanley Turrentine, Kevin Mahogany, Victor Lewis, and Steve Slagle. He is currently a featured member of vocalist Kevin Mahogany's working band, having written and arranged music for his Warner Bros. release Another Time, Another Place. Recent gigs have included Europe, Japan, Brazil, Poland and Carnegie Hall. He also works with Blue Note saxophonist Javon Jackson and pianist Eliane Elias. He has appeared on over twenty CD's as a sideman. As a producer, Stryker compiled the CD The Guitar Artistry of Billy Rogers which is the only existing record of the brilliant jazz playing of the late underground legend who was his friend, former teacher and member of the Crusaders. He also co-produced with partner Jim Eigo A Tribute to Grant Green on Evidence Music and is currently involved in producing some new releases. 

Product Number: 99554BCD
Format: Book/CD Set
ISBN: 0786660716
UPC: 796279076661
ISBN13: 9780786660711
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 5/15/2001

Format: Book/CD Set


Song Title: Composer/Source:
Eso Si Que Es - Chris Buzzelli
Got Milk? - Corey Christiansen
Guitar On Top - Dave Stryker
It Happened To Me - Barry Greene
Lenny's Song - Jim Farquar
Pat + Wes - Randy Johnston
Rain Forest - Bill Purse
Spiders - Craig Wagner
Tide Pool - Dave Frackenpohl
Trickynometry - Mark Elf
Vignette #1 - Frank Vignola

Prezzo: €27,99
€27,99

MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.3. CD TABLATURE

MEL BAY'S MASTER ANTHOLOGY OF JAZZ GUITAR SOLOS VOL.3. CD TABLATURE

Mel Bay's Master Anthology of Jazz Guitar Solos Volume Three presents nine challenging tunes and improvised solos by some of today’s top jazz guitar players for the intermediate to advanced jazz guitarist. Contributors include: Ron Afiff, Peter Bernstein, Joe Diorio, Fred Hamilton, Ken Hatfield, Hank Mackie, Steve Masakowski, Joe Negri, and Rick Stone. All of the pieces are in both standard notation and tablature with a biographical sketch of each performer. A companion stereo CD is included, making this an ideal sourcebook for serious students and professionals alike.

Product Number: 20016BCDEB
Format: eBook
ISBN:
UPC:
ISBN13: 9781610659376
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 1/21/2011 

Born on December 30, 1965, Affif lear ned all about passion, discipline, and endurance from his father, Charlie Affif, a fiercely competitive middleweight boxer who numbered Miles Davis among his fans and close friends.Then there was his uncle, Ron Anthony, a superb guitarist who worked with the likes of George Shearing and Frank Sinatra. "When I was 12, Uncle Ron gave me my first guitar lesson. When I turned 18, I went out to the West Coast to live near him. From and early age, I did all kinds of gigs. I've worked with everybody from AI Martino to Roger Williams, and I learned a ton of old songs from Gershwin on up. That whole working musician vibe really helped me grow as a professional. So, If a singer comes up and wants to do a tune, it doesn't matter what key-because I'm cool. When I first came to New York, Gene Bertoncini gave me some solid advice. He said to let the singers know I did that kind of work, because a lot of the joints they work don't have pianos, and when the jazzgigsdry up for a minute, they'll have work for you." Driven along by Essiet Essiet's crackling bass lines and Colin Bailey'scrisp, unobtrusive timesteps, guitarist Ron Affif launches into his live Ringside recital with the kind of exuberant, aggressive attack you'd expect from a championship boxer pouring it on in the first round, determined to break an opponent's will before he can establish any kind of rhythm. "If I Were A Bell" is a virtuoso workout delivered with the kind of horn-like intensity and pianistic sweep that transcends straight guitar phrasing. For the 31-year old Affif, it's the kind of performance that draws knowing comparisons to the titled elite of jazz guitar such as Joe Pass and Pat Martino No less a personage that fellow Pittsburgh native George Benson has commented that "There's a kid from my hometown, an Italian fellow: his name is Ron Affif.-yeah, he's a bad dude"; and "my favorite type of guitar player is one that plays with fire, and the first thing that becomes evident listening to Ron is that he has plenty of that." Yetin the course of acknowledging all this praise, Ron Affifis already working to distance himself from his earliest inspirations, as he charts future directions and searches for his own special voice. "Cats like Monk had their own little universe. These days guys are improvising too much the same, they're writing tunes too much the same. And man, I'm not claiming to have it all figured out, but I know what direction I have to take. We all kind of know what we're supposed to do, but a lot of people don't listen to their inner voice. A trumpet player friend of mine, Brian Lynch, told me he was in a shop out in California when a CD come on, and he said "Within a few notes I knew it was you." That's the biggest compliment someone can give you."

Rick Stone began playing guitar at age nine in his hometown of Cleveland. He developed an early affinity for the blues, but it was in the mid-seventies that his passion for jazz was sparked by a live performance of saxophonist Sonny Stitt. Rick studied classical guitar and theory at Cuyahoga Community College and then moved on to Berklee College of Music where he earned his Bachelor of Music in 1980. In 1982 he moved to New York to find a fertile and stimulating envitonment in Barry Harris' Jazz Cultural Theatre. While studying with the legendary pianist, Rick honed his craft sitting in alongside veteran players like Tommy Flanagan, Lionel Hampton, Clarence "C" Sharpe, and Junior Cook. Then, under the tutelage of jazz masters Jimmy Heath, Ted Dunbar, Donald Byrd, Tony Purrone and Hal Galper, he earned his M.A. At Queens College in 1991. Rick's recordings Blues For Nobody and Far East have received wide critical acclaim and his group - which has included world-class sidemen like Kenny Barron, Eric Alexander, Vernel Fournier, Richard Wyands, Ralph Lalama, Dennis Irwin and Billy Hart -- has appeared at venues like Carnegie Hall's Weill Recital Hall, The Smithsonian Institute, The Blue Note and Birdland. From 1993-96 he led a series of guitar duos at the Swing Street Cafe (with guests including Mark Elf, Roni Ben-Hur, Peter Leitch and Peter Bernstein), in 1996 his trio toured South America, and from 1997-2001 his trio played regularly at Sette MoMA (in the Museum of Modern Art). A soughtafter sideman, Rick can be heard performing with Irene Reid, Ronny Whyte, Howard Kimbo, David Coss, Carol Sudhalter, Sol Yagedand many others. He is featured on several recent recordings including Carol Sudhalter's It's Time and Last Train To Astoria, and AI Ashley's These Are Them (with Dave Leibman). An active educator, Rick currently teaches at Jazz in July (U. Mass./Amherst), the JazzMobile, Hofstra University and the Brooklyn Conservatory of Music. His clinics have won accolades at numerous colleges and universities as well as the International Association of Jazz Educators and the Music Educators National Conference. He has received two IAJE Awards for Outstanding Service to Jazz Education and several NEA performance fellowships. In recent years Rick's interests in audio and computer technology have led him to build a studio in his home where he produces numerous recording projects. A regular columnist for Just Jazz Guitar magazine, he is cutrently writing a book on jazz guitar technique. Rick's latest CD Samba Novembro (from which this solo is excerpted) features his guitar in duo, trio and quartet settings with pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson. Gear: Comins 17" Classic Archtop, Fender amps, D'Addario Chromes and Dugain picks,

 

Format: Book/CD Set

Song Title: Composer/Source:
Blues Enough - Rick Stone
Charene - Ron Affif
Dragonfly - Peter Bernstein
Narayani - Joe Diorio
Nina's Smile - Joe Negri
One For George - Hank Mackie
Pass Presence - Steve Masakowski
Thanks, Byrl Elvin - Fred Hamilton
The Book of Sands - Ken Hatfield

Prezzo: €21,00
€21,00

GYPSY JAZZ JAM FRANK VIGNOLA DVD Besame Mucho-Dark Eyes-Tico Tico-Nuages-Limehouse Blues

GYPSY JAZZ JAM FRANK VIGNOLA DVD

This footage is a backstage look at what Frank Vignola and his friends do best: Jam. Some of the world’s foremost gypsy jazz guitarists let it all hang out on this very special DVD.

01) Warm-Ups 1-3
02) Pent-Up House - Sonny Rollins
03) Besame Mucho - Consuelo Velazquez
04) Exactly Like You - Jimmy McHugh and Dorothy Fields
05) Tico Tico - Zequinha Abreu
06) Czardus
07) Nuages - Django Reinhardt
08) Besame Mucho - Consuelo Velazquez
09) It Don't Mean A Thing Duke - Ellington and Irving Mills
10) Endless Love - Josef Myrow
11) Gypsy Traditional Waltz
12) Limehouse Blues - Philip Braham and Douglas Furber
13) Dark Eyes
14) Credits

Prezzo: €29,00
€29,00

GETTING INTO JAZZ FUSION GUITAR CD TABLATURE Diminished Scale Harmony-Seventh Chords-MEL BAY

GETTING INTO JAZZ FUSION GUITAR. LIBRO CD E TABLATURE

LIBRO METODO DI MUSICA JAZZ FUSION CON CD
SPARTITI PER CHITARRA.
GRAFICO DELLA TASTIERA, ACCORDI, PENTAGRAMMA E TABLATURE.

Product Description:

In Getting Into Jazz Fusion Guitar, author Scott Miller presents the most common scales used in Jazz Fusion and other modern music styles. Scott discusses each mode of the Major, Melodic Minor, Harmonic Minor, Diminished, and Whole Tone scales and provides the student with conventional as well as three-note-per-string scale patterns. Scott shows many chord fingerings for each scale in standard notation and guitar tablature. Also included is a play-along CD containing one or two-chord progressions for each scale, helping guitarists solo or improvise over chords. Because Scott presents the material in Getting Into Jazz Fusion Guitar in a logical, "easy-to-understand" fashion, all guitarists are sure to benefit from this book. This book and CD set is sure to please!

Product Number: 99925BCD
Format: Book/CD Set
ISBN: 0786662484
UPC: 796279080729
ISBN13: 9780786662487
Series: Getting Into
Publisher: Mel Bay Publications, Inc.
Date Published: 4/2/2002

Contents:

Chapter 1: Music Theory Fundamentals
Intervals
Major Scale Construction
Accidentals
Major Scales
Interval Classification
Interval Quality
Perfect Intervals
Major Intervals
Augmented Intervals
Minor Intervals
Diminished Intervals
Enharmonic Intervals
Simple and Compound Intervals
Interval Inversion
Triads
Triadic Inversion
Harmonized Scales
Minor Keys
Seventh Chords
Chord Function

Chapter 2: Scales and Modes
Major Harmony
Modes of the Major Scale
Melodic Minor Harmony
Modes of the Melodic Minor Scale
Harmonic Minor Harmony
Modes of the Harmonic Minor Scale
Diminished Scale Harmony
Whole-Half Diminished Scale
Half-Whole Diminished Scale
Whole-Tone Scale Harmony
The Whole-Tone Scale

Chapter 3: Progressions for Practice

Prezzo: €27,99
€27,99

BEBOP BLUES BY COREY CHRISTIANSEN BOOK CD GUITAR TABLATURE SPARTITI CHITARRA LIBRO

BEBOP BLUES. 29 tracce audio, 80 pagine. METHOD, SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO METODO DI MUSICA JAZZ CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

STUDIO, TEORIA, MANUALE, 

 

Prezzo: €49,99
€49,99

DR. MIDNIGHT'S BLUES HARP SONGBOOK CASSETTE ARMONICA LIBRO David Michelsen MEL BAY

DR. MIDNIGHT'S BLUES HARP SONGBOOK CASSETTA. TAB. per armonica

Author: David Michelsen 

LIBRO METODO DI MUSICA BLUES. 

SPARTITI PER ARMONICA CON TABLATURE. 

Spiral-bound: 91 pages
Publisher: Mel Bay (January 1, 1994)
Language: English
ISBN-10: 078660025X
ISBN-13: 978-0786600250

HARMONICA

Prezzo: €89,99
€89,99

FLAMENCO MUSIC FOR ACOUSTIC GUITAR Mel Agen CD TABLATURE SPARTITI CHITARRA METODO LIBRO

FLAMENCO MUSIC FOR ACOUSTIC GUITAR. Mel Agen. SHEET MUSIC METHOD WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA FLAMENCA, CON CD.

LIBRO DI SPARTITI PER CHITARRA CON: 

PENTAGRAMMA, TABLATURE. 


Product Description:
This book/cd set contains 15 beautiful flamenco guitar solos in notation and tablature written especially for teachers, students and soloists. Flamenco guitar selections you will want in your repertoire for club and concert work.

All selections have been re-recorded by Ben Bolt on the newly released companion CD as of December 15, 2005.

Product Number: 95326BCD
Format: Book/CD Set
ISBN: 078663278X
UPC: 796279047234
ISBN13: 9780786632787
Series: Acoustic Guitar Series
Publisher: Mel Bay Publications, Inc.
Date Published: 9/15/1997 

Many has been said about flamenco guitar and the techniques used in this style of playing. Two words are essential in understanding and acquiring a feeling for this music. The words are technique and falseta and they mean the same thing. In flamenco think of the name of the piece of music as being the entire melody. Now think of each falseta as being a melody within a melody. Each falseta usually begins and ends with a particular technique, so each time you see a different finger pattern emerge you can be quite sure you have come to a new falseta It is the synthesis of the various falsetas or techniques in a piece that lends the character and mood to the composition. All the parts add up to create the total feeling of any song.

Flamenco music has a style and character all its own. It is bristling with life. We feel that the arrangements contained in this book embody the very essence of that fiery and moody style. Mel Agen has spent many years studying and performing Flamenco music. His mastery of the subject emerges throughout the many arrangements contained in this text.

Traditionally, students of flamenco guitar leamed the art in the time-honored aural fashion. The fire and varied moods of flamenco music are the natural result of this aural tradition, its improvised nature, and its original function as dance accompaniment. Some of these moods cannot be communicated effectively in standard notation or tablature, and it is common knowledge that in written flamenco guitar music all passages are open to individual interpretation. In flamenco parlance, such passages are referred to as falsetas. These measures or phrases can be played ad libitum, literally "as one pleases" -or they may be varied or even omitted according to the whim or ability of the guitarist. Try this approach with the Farruca or Petemeras, or any flamenco piece. From these expansions, compressions, and dynamic variations come the very life and essence of flamenco music as well as the unique styles of such artists as Serrano, Sabicas, Montoya, Escudero, and others.

Contents:

Editor's note
The correct way to hold the guitar
Flamenco Guitar Techniques
How to read Tablature

Alegrias De Mofa -- Mel Agen
Anhelo (Old Time Soleares) -- Mel Agen
Sangre De Gitano -- Mel Agen
Bulerias -- Mel Agen
Caracoles -- Mel Agen
Amante (Peteneras) -- Mel Agen
Malaguena Del Sonador -- Mel Agen
Soleares (De Montes) -- Mel Agen
Farruca De Juerga -- Mel Agen
Granadinas -- Mel Agen
Canela -- Mel Agen
Guajiras -- Mel Agen
Peteneras De Espana -- Mel Agen
Malaga City Of Dreams -- Mel Agen
Seguiriyas -- Mel Agen

Prezzo: €21,99
€21,99

TAYLOR MARTIN AND DAVID GRISMAN TONE POEMS II GUITAR LIBRO-Basame mucho-blue moon-

TONE POEMS II FOR GUITAR, TAYLOR MARTIN AND DAVID GRISMAN. BOOK TABLATURE

The sounds of the great Jazz Guitars, Mandolins, Mandolas and Mandocellos.

 

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE.

 

TITOLI: 

- Basame mucho

-blue moon

-jeepers creepers

-mairzy doats

-over the rainbow

-mood indigo

-it had to be you

-please -swanee

-crystal silence

-out of nowhere

-Musette for a Magpie

 

TABLATURE

Prezzo: €34,99
€34,99
Condividi contenuti