ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

BERKLEE PRACTICE METHOD BASS CD TABLATURE JOHN REPUCCI GET YOUR BAND TOGETHER comping-improvisation-rhythm

BERKLEE PRACTICE METHOD: BASS. GET YOUR BAND TOGETHER. CD TABLATURE

Berklee Practice Method: Bass
Series: Berklee Methods
Publisher: Berklee Press Publications
Format: Softcover with CD - TAB
Author: John Repucci
Author: Rich Appleman

Make your band better, or prepare yourself to join one! This sensational series lets you improve your intuitive sense of timing and improvisation, develop your technique and reading ability, and master your role in the groove. Play along with a Berklee faculty band on the accompanying CD, then play with your own band!

Inventory #HL 50449427
ISBN: 9780634006500
UPC: 073999494273
Width: 9.0"
Length: 12.0"
176 pages

 

Foreword
Berklee College of Music has been training musicians for over fifty years. Our graduates go onto successful careers in the music business, and many have found their way to the very top of the industry, producing hit records, receiving the highest awards, and sharing their music with millions of people.
An important reason why Berklee is so successful is that our curriculum stresses the practical application of musical principles. Our students spend a lot of time playing together in bands. When you play with other musicians, you learn things that are impossible to learn in any other way. Teachers are invaluable, practicing by yourself is critical, but performing in a band is the most valuable experience of all. That's what is so special about this series: it gives you the theory you need, but also prepares you to play in a band.
The goal of the Berklee Practice Method is to present some of Berklee's teaching strategies in book and audio form. The chairs of each of our instrumental departments-guitar, bass, keyboard, percussion, woodwind, brass, string, and voice-have gotten together and discussed the best ways to teach you how to play in a band.
They teamed with some of our best faculty and produced a set of books with play-along audio tracks that uniquely prepares its readers to play with other musicians.
Students who want to study at Berklee come from a variety of backgrounds. Some have great technique, but have never improvised. Some have incredible ears, but need more work on their reading skills. Some have a very creative, intuitive sense of music, but their technical skills aren't strong enough, yet, to articulate their ideas.
The Berklee Practice Method teaches many of these different aspects of musicianship. It is the material that
our faculty wishes all Berklee freshmen could master before arriving on our doorstep.
When you work through this book, don't just read it. You've got to play through every example, along with the recording. Better yet, play them with your own band.
Playing music with other people is how you will learn the most. This series will help you master the skills you need to become a creative, expressive, and supportive musician that anyone would want to have in their band.
Gary Burton
Executive Vice President,
Berklee College of Music


Preface
Thank you for choosing the Berklee Practice Method for bass. This book/CD package, developed by the faculty of Berklee College of Music, is part of the Berklee Practice Method series-the instrumental method that teaches how to play in a band.
The recording included with this method provides an instant band you can play along with, featuring great players from Berklee's performance faculty. Each tune has exercises and practice tracks that will help prepare you to play it. Rock, blues, and funk are just some of the styles you will perform.
The lessons in this book will guide you through developing reading skills and playing basic grooves, walking bass lines, and other standard bass techniques. This book is for bass players who are just beginning lessons with their teacher, though players learning on their own will also find it invaluable. You should have some knowledge of fingering on the low part of the neck and a sense for how to play the bass notes. These are reviewed in the "Basics" chapter.
Most importantly, you will learn the skills you need to play bass in a band. Play along with the recording, and play with your friends. This series coordinates methods for many different instruments, and all are based on the same tunes, in the same keys. If you know a drummer, guitarist, hom player, etc., have them pick up the Berklee Practice Method for their own instruments, and then you can jam together.
Work hard, make music, have fun!
Rich Appleman
Chair of the Bass Department
Berklee College of Music
John Repucci
Assistant Chair of the Bass Department
Berklee College of Music

 

This series coordinates methods for many different
instruments, and all are based on the same tunes, in the same
keys. !fyou know a guitarist, drummer, keyboardist, vocalist,
horn player, etc., have them pick up the Berklee Practice
method for their own instrument, and jam together!

Lessons throughout this book guide you through playing basic
grooves, walking bass lines, and other standard bass
techniques. Daily practice routines are designed for practicing
by yourself or with other musicians. The accompanying CD
features outstanding Berklee players and covers a variety of
styles including rock, funk, jazz, blues, swing, and bossa nova.

Get Your Band Together
This is the first-ever method that teaches you how to play in a
rock band. learn what all the great musicians seem to know
intuitively-how to listen, interact and respond, improvise, and
become part of the groove. The book and play-along CDwill help
improve your timing, technique, and reading ability. Become the
great player that everyone wants to have in their band.

Topics include:
• learning by ear
• theory and technique
• rhythmic interpretation
• improvisation
• comping
• reading
• song form
• interpreting lead sheets

"THE BEST WAY TO LAUNCH YOUR PLAYING TO THE NEXT LEVEL IS BY PERFORMING REAL TUNES WITH SEASONED MUSICIANS. THIS BOOK/CD COMBO PROVIDES THAT KIND OF EXPERIENCE FOR ASPIRING BASSISTS, ALONG WITH A TREASURY OF MUSIC-THEORY KNOWLEDGE AND PRACTICAL INSIGHTS."
RICHARD JOHNSTON, EDITOR, BASS PlAYER MAGAZINE

"By FAR THE MOST INFORMATIVE BOOK I'VE EVER SEEN. GREAT FOR BASSISTS OF BEGINNER OR ADVANCED STAGES. FROM TUNING AND HOLDING THE BASS, TO TRANSPOSING AND IMPROVISING BASS LINES, IT COVERS EVERYTHING. THE WAY THAT THE DIFFERENT BASS
STYLES ARE THOROUGHLY BROKEN DOWN ALONG WITH DIFFERENT PRACTICE TIPS IS FANTASTIC. " CHRISTIAN McBRIDE

"AN EFFECTIVE WAY FOR YOU TO READ CHARTS AND PLAY ALONG WITH OTHER MUSICIANS IN A REAL-TIME PLAYING ENVIRONMENT. THE BOOK WIll KEEP YOUR NOSE IN THE MUSIC AND THE CD WIll KEEP YOUR EARS OPEN TO THE GOINGS-ON OF THE OTHER MUSICIANS WHO ARE PLAYING. HAVE FUN, PRACTICE REGULARLY, ANO ENJOY THIS FINE BOOK."
JEFF BERLIN

"TRUE TO THE TRADITION OF BERKLEE COLLEGE OF MUSIC TO THOROUGHLY TRAIN STUDENTS TO BE PROFESSIONAL MUSICIANS, THIS METHOD IS A GREAT WORKOUT. AN EXCELLENT PRACTICE BOOK COVERING MANY STYLES, WHICH WIll HELP YOU LEAR THE NECESSITIES OF WORKING IN THE RHYTHM SECTION CREATIVELY. "
CAROL KAYE, BASS RECORDING LEGEND, PIONEER IN AUTHORING TUTORS FOR THE ELECTRIC BASS, EDUCATOR AT THE HENRY MANCINI INSTITUTE-UCLA

"THE PRACTICE METHOD RULES! IT's A GREAT WAY TO LEARN RIFFS, LATCH ONTO SOME BASIC SONG STRUCTURES, AND SEE HOW TUNES ARE PUT TOGETHER. THIS LETS YOU FOCUS ON PLAYING IN A BAND, AND ON CREATING YOUR OWN INTERPRETATIONS IN ANY STYLE. "
JOE STUMP, SHRED GUITAR MASTER, ASSISTANT PROFESSOR, BERKLEE COLLEGE OF MUSIC

Berklee Practice Method is also available for:
• drum set • alto sax
• guitar • tenor sax
• Keyboard • trombone
• voice • trumpet
• Vibraphone ·violin

"TEACHERS ARE INVALUABLE, PRACTICING BY YOURSELF IS CRITICAL, BUT PERFORMING IN A BAND IS THE MOST VALUABLE EXPERIENCE OF ALL. THAT's WHAT IS SO SPECIAL ABOUT IS SERIES: IT GIVES YOU THE THEORY YOU NEED, BUT ALSO PREPARES YOU TO PLAY IN A BAND.
THIS SERIES WILL HElP YOU MASTER THE SKILLS YOU NEED TO BECOME A CREATIVE, EXPRESSIVE, AND SUPPORTIVE MUSICIAN THAT ANYONE WOULD WANT TO HAVE IN THEIR BAND."
GARY BURTON, EXECUTIVE VICE PRESIDENT, BERKLEE COLLEGE OF MUSIC

Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available proceeds from the sales of our products are contributed to the scholarship funds of the college.
Cover design: mooremoscowitz
Berklee Press

 

Contents
CD Tracks
Foreword
Preface
Basics .
Chapter I. Playing Rock ("Sweet") .
Lesson 1. Technique/Theory .
Lesson 2. Learning the Groove .
Lesson 3. Improvisation .
Lesson 4. Reading .
Daily Practice Routine .
Chapter II. Playing Blues ("Do It Now") .
Lesson 5. TechniquelTheory .
Lesson 6. Learning the Groove .
Lesson 7. Improvisation .
Lesson 8. Reading .
Daily Practice Routine .
Chapter III. Playing Blues Swing ("I Just Wanna Be With You") .
Lesson 9. Technique/Theory .
Lesson 10. Learning the Groove .
Lesson 11. Improvisation .
Lesson 12. Reading .
Daily Practice Routine .
Chapter IV. Playing Funk ("Leave Me Alone") .
Lesson 13. TechniquelTheory .
Lesson 14. Learning the Groove .
Lesson 15. Improvisation .
Lesson 16. Reading .
Daily Practice Routine .


Chapter V. Playing Light Funk ("Affordable") .
Lesson 17. Technique/Theory .
Lesson 18. Learning the Groove
Lesson 19. Improvisation .
Lesson 20. Reading .
Daily Practice Routine .
Chapter VI. Playing Hard Rock ("Don't Look Down") .
Lesson 21. Technique/Theory .
Lesson 22. Learning the Groove .
Lesson 23. Improvisation .
Lesson 24. Reading .
Daily Practice Routine .
Chapter VII. Playing Bossa Nova ("Take Your Time") .
Lesson 25. Technique/Theory .
Lesson 26. Learning the Groove .
Lesson 27. Improvisation .
Lesson 28. Reading .
Daily Practice Routine .
Chapter VIII. Playing Stop Time ("Stop It") .
Lesson 29. Technique/Theory .
Lesson 30. Learning the Groove .
Lesson 31. Improvisation .
Lesson 32. Reading .
Daily Practice Routine .
Final Remarks .


 

Prezzo: €16,00
€16,00

BASS MASTER CLASS, GLENN LETSCH'S. CD TABLATURE

BASS MASTER CLASS, GLENN LETSCH'S. 5 Lessons from Jaco, Prestia, Mike Chapman, ecc. CD TAB.

Prezzo: €29,99
€29,99

BASS BIBLE: A WORLD HISTORY OF STYLES AND TECHNIQUES. Paul Westwood. 2 CD TABLATURE

BASS BIBLE: A WORLD HISTORY OF STYLES AND TECHNIQUES. 286 Pagine. 2 CD TABLATURE

Bass Bible - La Bibbia del Basso

Autore Paul Westwood

Per il Basso, la vera Bibbia. Un dizionario di frasi musicali, che può essere aperto e consultato in qualsiasi punto di maggior interesse. Uno strumento indispensabile per captare l'essenza di ogni stile, esplorare i propri interessi e allargare i propri orizzonti, ideato per tenere sempre desta l'attenzione del lettore e rifuggire quindi la noia della ripetitività. Frasi, riff, ritmi e patterns per imparare un linguaggio utile a poter suonare all'interno di un gruppo musicale. I 2 cd allegati sono stati pensati dall'autore anche per tutti i bassisti che non leggono la musica.

Introduzione
Il ruolo principale del basso è quello di fornire un supporto musicale alla sezione ritmica e, in particolar modo, insieme alla batteria, quello di riuscire ad ottenere un groove interessante che si fondi in un tutt’uno con la band. Al fine di mantenere il pubblico sempre coinvolto, le linee di basso dovranno essere sempre molto variegate. Di conseguenza, se si suona una linea di Walking bass, un riff, se improvvisiamo, oppure un semplice pattern, lo scopo fondamentale del basso è quello di produrre frasi più o meno ripetitive, in modo solido e con un buon senso del tempo. L’apprendimento di uno strumento musicale può avvenire in modo analogo a quello di imparare una lingua. Il primo passo consiste di solito nell’acquisire familiarità con frasi brevi, ad orecchio. Quindi si impara a parlare, utilizzandole il più accuratamente possibile. Più frasi impari, più il tuo vocabolario diventerà sempre più vario e sofisticato. La lettura, di solito, viene dopo. Ma l’entusiasmo può venire inizialmente offuscato dall’assorbimento di troppa teoria. Questo libro è concepito come un dizionario di frasi musicali, che può essere aperto ad ogni punto che ti interessa. Pertanto, nel mettere insieme questo manuale, ho lavorato seguendo la premessa che, se imparerai tutta una serie di frasi musicali, riff, ritmi e patterns, questo ti fornirà il linguaggio di base per poter suonare all’interno di un gruppo musicale. Ho evitato gli esercizi eccessivamente ripetitivi, perché ciò, a lungo andare, può diventare

noioso e, esercitarsi in modo noioso, può essere pericoloso se si vuole imparare a intrattenere la gente. All’interno troverai frasi più interessanti e pratiche, che non mancheranno di tenere costante la tua attenzione e che ti forniranno una buona tecnica, solida e fluente. Una volta che avrai assorbito tutta una serie di frasi in un certo stile, le varie alternative ti verranno successivamente in mente. È qui che il tutto diventa veramente affascinante. Solo dopo aver sperimentato molte alternative si potranno elaborare le proprie idee originali. Un’improvvisazione convincente fa seguito all’apprendimento delle frasi di base. Quello che ho cercato di raggiungere con ogni sezione è il cercare di captare l’essenza di ogni stile. Questo non è da considerarsi affatto completo o definitivo. È semplicemente il punto di partenza, o un trampolino da cui iniziare. In molti casi ho incluso le idee che mi hanno destato interesse in prima persona. Queste possono essere tanto semplici quanto complesse, ma sono tutte funzionali e ciascuna di esse ha costituito la base di tutta una nuova serie di idee personali. Questo libro può essere utilizzato in vari modi. Se sei interessato a suonare il basso Slap, apri il libro in quel punto. Troverai delle frasi adatte sia ai principianti che ai livelli più avanzati. Scoprirai inoltre che le idee in stile Slap sono basate su vecchie linee Boogie, che si trovano nel capitolo precedente. Studiare linee di basso Walking ti porterà ad esaminare alcune scale ed arpeggi che sono connessi con queste. In questo modo sarà possibile esplorare i propri interessi ed, al contempo, espandere i propri orizzonti. Molti bassisti suonano ad orecchio e non leggono la musica, quindi tenendo a mente anche loro, ho preparato i CD che accompagnano il libro. Ciò nonostante, consiglio, anche ai lettori che non leggono la musica, di tenere sotto mano la trascrizione della frase che stanno ascoltando, così alla fine impareranno anche loro a riconoscerla. Noi tutti leggiamo sulla base del riconoscimento dei vari patterns. Allo stesso modo, per esempio, non leggiamo le singole lettere di una parola, ma il gruppo di lettere nel suo complesso. 
Il manoscritto è un metodo utile per memorizzare le idee. Quando si impara a leggere, si ha accesso ad un nuovo mondo di musica, informazioni e di esperienze che un non-lettore non può condividere. Si basa tutto sull’entusiasmo e sull’impegno. Infine, devo spiegare che non avevo in mente di scrivere un libro. Il tutto si è evoluto come un modo per aiutare i miei allievi, che ho scoperto essere disperatamente a corto di idee e di modi di esprimersi musicalmente. Ogni allievo ha una sua serie di problemi. Solo dopo aver accumulato un mucchio di esempi musicali, mi sono reso conto che avevo effettivamente sviluppato un sistema che avrebbe potuto aiutare anche altri. Il mio obiettivo è diventato quindi quello di fornire ad ogni studente una sorta di arsenale di frasi, un arsenale di armi musicali. In questo modo, si può essere preparati per la maggior parte delle eventualità. Il tuo vocabolario sarà ampio a sufficienza da poter essere in grado di esprimerti al meglio attraverso il linguaggio della musica. P.S. Gli editori a volte utilizzano una nuova versione modificata della notazione musicale. Essendo questa ampiamente conosciuta, può rendere più facile la lettura in determinate circostanze.
 
Sommario 
Introduzione ....................................................................................................................6
 
LIBRO PRIMO.................................................................................9
Tecniche.....................................................................................................................10
Finger Style .........................................................................................................10 
Soft / Hard Playing ..............................................................................................10 
Il suono...............................................................................................................10 
Spanish Style.......................................................................................................11 
Il Plettro ..............................................................................................................11 
Suonare con l’unghia ..........................................................................................11 
Slap Bass .............................................................................................................11 
Lo Squeeze .........................................................................................................12 
Il Tapping della mano destra ...............................................................................12 
Il Damping..........................................................................................................12 
Walking in 4 e Damping......................................................................................12 
Il Patting .............................................................................................................12 
Gli armonici ........................................................................................................13 
Effetti e pedalini ..................................................................................................13
49 passaggi di Teoria di livello base.................................................................14
Linee di basso in stile Walking ...........................................................................19
Scale, Arpeggi ed Esercizi sulle scale................................................................20
Scale Maggiori ....................................................................................................20 
Scale Minori ........................................................................................................23 
Modi Diatonici ....................................................................................................25 
Arpeggi (Maggiori) .............................................................................................26 
Arpeggi (Minori) .................................................................................................29 
Esercizi sulle scale ................................................................................................32 
Swing in 4 - cambi di base ..................................................................................36 
Swing in 4 con estensioni di accordi....................................................................42 
Swing in 4 con note di passaggio........................................................................44  
Fills in terzine ......................................................................................................46 
Successioni di Accordi e Improvvisazione ......................................................47
Contemporary Pop .............................................................................................47 
Latin ...................................................................................................................52 
Ballad..................................................................................................................56 
Jazz .....................................................................................................................59
 
LIBRO SECONDO..................................................................61
Groove di base ........................................................................................................62
Groove di base in ottavi ......................................................................................62 
Groove di base in sedicesimi ...............................................................................63
Groove di base in 12/8 Shuffle ............................................................................65
Blues e R & B............................................................................................................66
Blues in 12/8 e R & B (Portamento Shuffle) .........................................................67
Blues in 4/4 e R & B ............................................................................................69 
Soul ...........................................................................................................................73
JAMES JAMERSON e la Motown ........................................................................79
Bass Fills ..............................................................................................................84
CHUCK RAINEY e l’Atlantic Records.................................................................86
JAMES BROWN e il Funk.......................................................................................90
STANLEY CLARKE....................................................................................................96
Rock ...........................................................................................................................99
Portamento dritto in ottavi................................................................................101 
Portamento Sincopato in ottavi.........................................................................105 
Portamento in sedicesimi ..................................................................................109 
Portamento Shuffle ...........................................................................................113
 
LIBRO TERZO..............................................................................115
Musica latina ..........................................................................................................116
Stili latini .................................................................................................................118
Riffs latini ................................................................................................................127
Double Time latin riffs ........................................................................................130
Riffs latini - Salsa...................................................................................................132
Flamenco spagnolo..............................................................................................136
Mariachi messicano .............................................................................................139
Mambo cubano.....................................................................................................143
Rock cubano...........................................................................................................148
Reggae giamaicano..............................................................................................154
Portamento costante.........................................................................................154 
Portamento costante - Nessun Battere...............................................................163 
Portamento Shuffle ...........................................................................................166 
Portamento Shuffle - Nessun Battere .................................................................168
Colombia .................................................................................................................170
Samba brasiliana...................................................................................................172
Perù, Ecuador, Cile, Bolivia................................................................................176
 
LIBRO QUARTO......................................................................179
Musica africana .....................................................................................................180
Riffs africani............................................................................................................181
Nord Africa e Medio Oriente............................................................................191
Somalia ....................................................................................................................194
Mali .........................................................................................................................197
Guinea......................................................................................................................202
Camerun..................................................................................................................207
Repubblica del Congo (Zaire) ..........................................................................210
Zimbabwe ...............................................................................................................214
Sud Africa & Soweto............................................................................................218
 
LIBRO QUINTO.......................................................................225
Linee Boogie ..........................................................................................................226
Larry Graham & Mark King - Slap Bass .........................................................229
Slap (Principianti) ..............................................................................................230 
Larry Graham - Slap (Boogie) ............................................................................232 
Mark King - Slap (Popping) ...............................................................................237
Jaco Pastorius - Basso fretless...........................................................................240
Riffs...................................................................................................................241 
Fretless Bass Solos .............................................................................................245 
Armonici naturali..................................................................................................250
Chordal Harmonics ...........................................................................................250 
Arpeggio Chord Progressions con Armonici ......................................................252  
Synthesizer Bass....................................................................................................254
Riffs moderni - Fraseggi Jazz e Progressive .................................................259
Riffs moderni.....................................................................................................260 
Fraseggi Jazz e Progressive ................................................................................268
Prezzo: €39,00
€39,00

THRASH GUITAR METHOD TROY STETINA BOOK & CD TABLATURE LIBRO METODO SPARTITI CHITARRA

THRASH GUITAR METHOD. Per ritmi precisi, un cucchiaino di Stetina tutti i giorni. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA METAL, CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, TABLATURE. 

TECNICA, 

Series: Stylistic Method
Medium: Softcover with CD
Author: Troy Stetina

Let the mosh begin! Learn the techniques and principles used by today's heaviest bands including Metallica, Anthrax, Testament, and others. This truly radical method book takes you from slow grinding metal up to the fastest thrashing. Syncopation, shifting accents, thrash theory, progressions, chromatic 'ear-twisting ' melodic dissonances, shifting time signatures, harmony, and more. CD features bull band accompaniment for all musical examples so that you can play along with the band. Fully transcribed in tablature! 64 pages

Anvil Head (Stetina/Burton)
Bug Guts (Stetina/Burton)
Megadirt (Stetina/Burton)

 

 

Thrash Guitar Method

1 "Bug Guts" 3:06

2 "Megadirt" 3:00

3 "Anvilhead" 3:59

4 Chapter1 - Tuning Notes 0:43

5 The Beat 1:01

6 Muting 0:35

7 Accenting Chords 1:30

8 Syncopation and Upbeats 2:46

9 Shifting Accents 2:01

10 "All things Repulsive" 2:17

11 Chapter2 - Alternate Picking 1:05

12 Gallop and Reverse Gallop 2:57

13 Syncopation and Offbeats 0:54

14 Triplets 1:45

15 "Worm Juice and Bat's Heads" 3:15

16 Chapter3 - Common Scales 1:43

17 Chord Progressions and Riffs 0:14

18 Melodic Principles 1:35

19 Harmony 2:49

20 Time Signatures 2:35

21 Shifting Time Signatures 1:44

22 "The Sound of Music!!" 1:53

Prezzo: €29,99
€29,99

ROCK GUITAR FOR DUMMIES CHAPPELL BOOK CD TABLATURE CHITARRA LIBRO SPARTITI

ROCK GUITAR FOR DUMMIES. Chappell. CD TABLATURE

LIBRO METODO DI MUSICA ROCK, POP , CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE. 


Description:
Whether you're contemplating a career as a heavy metal superstar or you just want to jam with friends, this friendly book / CD package makes it easy to master the fundamentals of rock guitar. From simple chord progression to smokin' rock riffs, Rock Guitar for Dummies delivers just what you need to get down and groove! Learn to strum power chords and rhythm figures, improve solos and play lead guitar, play licks, from rockabilly to rap rock, explore the mechanics of guitars, amps, and effects, care and maintain all your gear. Play-along companion CD includes blues and early rock-based lead passages, a variety of rock styles, including classic rock, heavy metal, southern rock, and progressive rock, rock licks using techniques such as hammer-ons, pull-offs, bends, slides and more!

Product Number: 0764553569
Format: Book/CD Set
ISBN: 0764553569
UPC: 785555061064
ISBN13: 9780764553561
Series: Dummies
Publisher: Wiley Publishing, Inc.
384 PAGES

Contents:
Foreward
Introduction
About This Book
Not-So-Foolish Assumptions
Conventions Used in This Book
How This Book Is Organized
Part I: So You Wanna Be a Rock-and-Roll Star
Part II: Basic Playing Techniques
Part III: Beyond the Basics: Sounding Like a Rock and Roller
Part IV: Master Different Rock Styles
Part V: Becoming a Gearhead
Part VI: The Part of Tens
Appendix
Bonus Web Chapter
Icons Used in This Book
Where to Go from Here

Part I: So You Wanna Be a Rock-and-Roll Star

Chapter 1: It's Only Rock Guitar. . . But I Like It
Differentiating Between Rock and Acoustic Guitar. . .It
Ain't Just Volume
Sound quality, or timbre
Signal
Distortion and sustain
Oh yes, and volume
Listening examples
Knowing the Essentials: The Power Trio
The electric guitar
The amplifier
Effects
Getting a Grasp on How Electric Guitars Work
String vibration and pitch
Tension vs. length
Your hands
Pickups and amplification
Accessorizing Your Guitar
Picks
Straps
Cords
Tuners

Chapter 2: Holding Your Own
Getting a Hold of the Guitar
Sitting position
Standing position
Forming a Left-Hand Position
Fretting
Getting some action

Striking a Right-Hand Position
Playing with a pick
Using your fingers

Gearing Up to Tune Up: Electric Tuners
What they are
How they work
Looking at Music Notation: Not Enough to Hurt
Reading chord diagrams
Reading rhythm slashes
Reading tablature
Making Music: How to Play a Chord
Fingering a chord
Strumming a chord

Chapter 3: The Other Half: The Guitar Amp
Discovering How Amps Work
Following the Signal Chain
Preamp
Tone controls
Effects
Power amp
Taking a Guided Tour of the Amp
Boxing It In: The Cabinet
Taking Control: The Control Panel
Channel inputs
Preamp and power amp controls
Tone controls
Amp effects
Making a Graceful Exit
Speaker out
Headphone out
Direct out
Effects loop
Power amp in
Various other "holes"
Sounding Out: The Speaker
Plugging In and Turning On
Safety first
The six-step program
Getting a Sound
Setting the controls
Channel switching
Making Do If You Don't Have an Amp
Plugging into a home stereo or boom box
Headphone amps
Demystifying the Gizmology

Part II: Basic Playing Techniques

Chapter 4: What the Left Hand Is Doing: Chords
You Gotta Have Chords
Playing Open-position Chords
Putting Power Chords into Play
Moving power chords
Pulling the power together
Getting Behind the Barre
Getting a grip on barre chords
Playing E-based barre chords
Moving the E-form barre chord around the neck
Other E forms: Minor, dominant 7, minor 7, and 7sus
Playing A-based barre chords
Moving the A-form barre chord
A forms: Minor, dominant 7, minor 7, 7sus, and
Major 7

Chapter 5: The Right Stuff: Right-Hand Rhythm Guitar
Techniques
Strumming Along
Downstrokes
Upstrokes
Combining downstrokes and upstrokes
Mixing Single Notes and Strums
The pick-strum
Boom-chick
Moving bass line
Disrupting Your Sound: Syncopated Strumming
Syncopated notation: Dots and ties
Playing syncopated figures
Giving Your Left Hand a Break
Left-hand muting
Implying syncopation
Suppressing the Right Hand
Right-hand muting
Breaking Out of the Chord Box: Left-hand Movement within a
Right-hand Strum
Giving Your Fingers Some Style
Getting Into Rhythm Styles
Straight-four feel
Two-beat feel
16-feel
Heavy metal gallop
Three feel

Chapter 6: The Leading Edge: Introduction to Lead Rock
Guitar
Taking the Lead
Holding the Pick
Attacking the Problem
Striking the Downs and Ups of Lead Playing
Playing Single Notes
Single-note technique
Alternate picking in downstrokes and upstrokes
Playing melodies across strings
Scales
Skips
Combining steps and skips
Starting at the Bottom: Low-Note Melodies
Going to the Top: High-Note Melodies
Playing in Position
Open position
Moveable, or closed, position
Getting in Tune with Lower Register Riffs
Making It Easy: The Pentatonic Scale
Playing the Pentatonic Scale: Three Ways to Solo
Pentatonics over a Major key
Pentatonics over a minor key
Pentatonices over a blues progression
Improvising Leads
A Final Note

Chapter 7: Groovin' on Riffs
Getting Your Groove On: Basic Riffs
Half- and whole-note riffs
Eighth- and quarter-note riffs
16th-note riffs
Eighth-note syncopation
Playing Two Notes Can be Better than One: Double-Stops
Combining Single-Note Riffs and Chords
Discovering Your Own Style

Part III: Beyond the Basics: Sounding Like a Rock and Roller

Chapter 8: Playing Up the Neck
Beyond Open Position: Going Up the Neck
Choking up on the neck
Playing double-stops on the move
Playing Closed-position Lead Patterns
Playing in Position
Positions defined
A firm position
Using the Moveable Pentatonic Scale
Staying at home position
Going above home position
Dropping below home position
Moving between positions
Seeking Out the Five Positions of the Pentatonic Scale
Changing Your Position
Licks the transport
From the depths to the heights
Knowing Where to Play
Associating keys with positions
Placing positions
Putting the five positions into play

Chapter 9: Playing Expressively: Making the Guitar Sing
Bringing Down the Hammer-ons
Having Pull with Pull-offs
Slippin' into Slides
Bending to Your Will
Bend and release
Pre-bend
Sounding a Vibrato That Makes You Quiver
Adding Spice Through Harmonics
Passing the Bar Exam
Putting It All Together

Part IV: Mastering Different Rock Styles

Chapter 10: Rock and Roll: The Early Years
It Don't Mean a Thang If It Ain't Got That Twang
Sending R&B Mainstream: Bo Diddley
Giving Rock a Texas Twang: Buddy Holly
Bringing Doo-Wop Up Front
I-vi-ii-V: 12/8
I-vi-IV-V: Straight-eighth feel
I-vi-ii-V: Shuffle
Combining Country and Blues: Rockabilly Rhythm
Creating Rock and Roll Guitar Style: Chuck Berry
Surf's Up
The British Are Coming, The British Are Coming
The Beatles' "I Saw Her Standing There"
Melodic riffing a la the Beatles
Low- and high-note riffing

Chapter 11: The Golden Age of Classic Rock
Playing Advanced Riffs and Rhythm Figures
Riff-based rhythm figure
Chord-based rhythm figure
Studying the Classics: Classic Rock
The British Invasion
The Blues break through
Latin rock: Carlos Santana
Southern rock
Later blues influence: Stevie Ray Vaughan
Neo-classic rock: Aerosmith
Fusing Country and Rock Lead Styles: The Eagles
Going to the Edge: U2's Guitarist Brings Epic Textures

Chapter 12: Heavy Metal
Bring on the Metal
Black Sabbath's skull-crushing riffs
Ritchie Blackmore's baroque blast
Making Rock Stars: The Arena-Rock Era
KISS my axe!
Boston's FM-friendly riffs
Van Halen's sonic revolution
Angus Young's bar-room crunch
Introducing the Euro-Metal Invasion
Putting Fans in the Stands: Heavy Metal Hits the '80s
Randy Rhoads's metal attack
Yngwie Malmsteen, the Swedish speed demon
Metallica's thrashing riffs
Raging into the New Millennium
Dimebag Darrell's speed-metal frenzy
Alice in Chains
Korn-ography

Chapter 13: Progressive Rock and Jazz-Rock Fusion
Welcoming the First Wave of Progressive Rock
Just say Yes: Steve Howe's eclectic mastery
The spectral guitar of Genesis
Fripp's trip
Pink Floyd's space blues
Acoustic art-rock: Emerson, Lake & Palmer
Joining Two Rock Styles: Progressive Meets Heavy Metal
Into the limelight with Alex Lifeson of Rush
Songs from the wood: The riffs of Jethro Tull
Hitting the Charts with Jazz Rock
Steely Dan's elegant jazz-pop
The soulful jazz of George Benson
Pat Metheny's sophisticated jazz-pop
Toto's Steve Lukather: Rock monster
Looking at the Legends of Jazz-Rock Fusion
Pure virtuosity: John McLaughlin and Al Di Meola
Jeff Beck's jazz comeback

Part V: Becoming a Gearhead

Chapter 14: Gear Lust: Assembling Your Dream Rig
Getting What You Want Out of a Guitar
Checking out the body
Testing the neck and fingerboard
Tuning into the hardware
Trying out the pickups and electronics
Deciding among guitar variations
Choosing the Perfect Amp to Give Your Guitar Life
Configurations and features
Key features
Putting It All Together

Chapter 15: Wild and Crazy Sounds: Effects
Identifying Effects
Choosing an Effects Format
Stompboxes
Floor-mounted multi-effects
Rack-mounted effects
Built-in effects
Coming to Terms
Processing Gain-based Effects: Overdrive, Distortion, and
Fuzz
Overdrive
Distortion
Fuzz
Tuning It Up, or Down: Dynamic Effects
Compressors
Gates
Playing by Ear: Tone-based Effects
EQ
Filters
Getting Volume under Control: Other Volume Effects
Volume pedal
Tremolo
Making a Change: Modulation Effects
Chorus
Flanger
Phase shifter/phaser
Rotating speaker or Leslie
Pitch shifters and octave dividers
Putting Your Sound in Context: Ambient Effects
Delay or echo
Reverb
Designing a Signal Path
Organizing Your Effects: Pedalboards

Chapter 16: The Care and Feeding of Your Electric Guitar
Using the Tools of the Trade
The basics
Power user tools
Changing Strings
Choosing the right strings
Removing the old strings
Putting on the new strings
Cleaning the Part of Your Guitar
The strings
The body, fingerboard, and hardware
The frets
The electronics
Optimizing Your Guitar's Performance: The Setup
Warning signs
Bridge spring tension
Fixing minor wiring problems
Repairing Amps and Effects
Replacing the fuse
Cleaning and replacing the tubes
Speakers
Troubleshooting Guide
Storing Your Guitar

Part VI: The Part of Tens

Chapter 17: Ten Rock Guitarists Who Changed History
Chuck Berry
Eric Clapton
Jimi Hendrix
Jeff Beck
Jimmy Page
Eddie van Halen
Stevie Ray Vaughan
Eric Johnson
Steve Vai
Kurt Cobain

Chapter 18: Ten Must-Have Rock Guitar Albums
The Beatles, Rubber Soul (1965)
The Jimi Hendrix Experience, Are You Experienced? (1967)
Led Zeppelin, Led Zepellin II (1969)
The Who, Who's Next? (1971)
The Rolling Stones, Exile on Main Street (1972)
Jeff Beck, Blow by Blow (1975)
Van Halen, Van Halen (1978)
Joe Satriani, Surfing with the Alien (1987)
Metallica, Metallica (The Black Album) (1991)
Korn, Issues (1999)

Chapter 19: Ten Classic Guitars
Fender Telecaster
Gibson Les Paul
Fender Stratocaster
Gibson ES Series
Gibson Flying V
Mosrite Ventures Model
Rickenbacker 360/12
Ibanez Iceman
"Super Strats"
Paul Reed Smith
Appendix
Index

Prezzo: €23,00
€23,00

YOU CAN DO IT... PLAY GUITAR DAMMIT! Scharfglass 2CD TABLATURE LIBRO SPARTITI-CC Rider-

YOU CAN DO IT... PLAY GUITAR DAMMIT! Matt Scharfglass. 2CD TABLATURE

 

LIBRO DI MUSICA ROCK CON CD.

SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE.

CON BASI E ARRANGIAMENTI PER 2 CHITARRE DI ALCUNE CANZONI NOTE.

Description
This is the book for you if you always wanted to learn but somehow kept putting it off, if you’ve played guitar before and given up or if you’re determined to crack it this time.
The no-nonsense guide that will soon have you playing great chords, riffs and even solos with as little pain as possible!

Some basic musical knowledge is handy, but the 2 CDs included feature a demonstration and backing tracks for each exercise. Chord boxes and how-to-play photos make the tricky stuff easy.

Arranged by Matt Scharfglass who is a New York-based songwriter, bassist and multi-instrumentalist. He does session work, leads his own band and performs extensively in the New York City area.

CC Rider - PER 2 CHITARRE
I Ain't Got Nobody - PER 2 CHITARRE
St James Infirmary - PER 2 CHITARRE
The House Of The Rising Sun - PER 2 CHITARRE
This Train - PER 2 CHITARRE

Prezzo: €27,99
€27,99

REGGAE GUITAR HOW TO PLAY Ray Hitchins CD TABLATURE CHITARRA LIBRO METODO SPARTITI

REGGAE GUITAR, HOW TO PLAY. Manuale per imparare a suonare all'ombra di una palma di Kingstone, nutrendosi di cocco. Una chitarra sempre al sole, in stile Bob Marley. Semplici esercizi sugli accordi, le pennate in alto e in basso, i ritmi, gli accordi staccati e muti, lo stile percussivo. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

Series: Fretted
Medium: Softcover with CD
Artist: Ray Hitchins

Learn to play authentic reggae guitar. Here's a complete guide to this unique style of music, including an explanation of the rhythms used, construction of guitar parts, exercises, examples, amplifier settings, and much more. The recording contains all the examples in the book, so you can learn to hear and play correctly from the very beginning. 56 pages

 

BY RAY HITCHINS

CONTENTS
Acknowledgements .
About The Author .
Introduction .
Introduction To The Recording .
THE FUNDAMENTALS
YourEquipment .
Rudiments .
Practice Schedule .
DOWN- & UPSTROKES (Theory and Practice)
Lesson 1 Downstroke Theory .
Lesson 2 Upstroke Theory .
Lesson 3 Downstroke Practice .
Lesson 4 Upstroke Practice .
Lesson 5 Stroke Changing .
BASIC TECHNIQUES
Lesson 6 String Grouping .
Lesson 7 Damping .
Lesson 8 Tenuto Downstrokes.Right-Hand Damping .
Lesson 9 Tenuto Upstrokes. Right-Hand Damping .
Lesson 10 Tenuto Down-and Upstrokes. Right-Hand Damping .
Lesson 11 Staccato Downstrokes,Right-Hand Damping .
Lesson 12 Staccato Upstrokes. Right-Hand Damping .
Lesson 13 Staccato Down-and Upstrokes. Right-Hand Damping .
Right-Hand Damping Summary Points .
Lesson 14 Left-Hand Damping .
NEW RHYTHMS
Lesson 15 Reggae Beats .
Lesson 16 Rhythm Fills .
Lesson 17 Rhythmic Patterns .
Lesson 18 Before Reggae .
FINAL STEPS
Lesson 19 Chords .
Lesson 20 Bass Lines & Riffs .
Lesson 21 Percussive Playing .
Lesson 22 Dummy Strokes .
Lesson 23 Sound Evaluation.
Conclusion

Prezzo: €19,99
€19,99

RHYTHM GUITAR ENCYCLOPEDIA BOOK & 2 CD JODY FISHER CHITARRA TABLATURE LIBRO METODO

RHYTHM GUITAR ENCYCLOPEDIA, Jody Fisher. SHEET MUSIC BOOK WITH FOR GUITAR WITH TABLATURE AND 2 CD .

LIBRO DI MUSICA, CON 2 CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

 

Ritmi intorno al mondo. Africa: Sikyi-Ashanti, adowa-Ashanti, akom-Ashanti, gahu-Ewe. Blues: shuffles, pinky patterns, slow (down home), dodici ottavi, feels. Country, Disco, folk: fingerstyle. Funk, Jazz: swing, four-bar phrases, jazzwaltz. Ballads, Dixie, Latin: afoxe-brazil, afro-cuban, baion-brazil, beguine, bolero, bossa-nova a 4, 5, 6, 7 quarti, calypso-Trinidad, Cataret-Brazil, cha cha-Cuba, charanga-Pachanga, choro-Rio, comparsa-Cuba, Conga-Cuba, Frevo-Brazil, guaguanco-Cuba, guajira-Cuba, Guaracha, joropa, Mabo-cuba, maracatu-Brazil, marcha-brazil, merengue-Haiti, montuno, mozanbique-Cuba, pasa doble, reggae-Jamaica, rhumba-Cuba, samba-Brazil, samba cruzado, samba marcha, samba de partido alta, samba in tre, sette quarti, songo-Cuba, spanish tango, tango. Rock. Bunny hop, charleston, greek, hora, Irish jig, Polka, can-can, reel, sher, turkish, two step, straightwaltz, viennese waltz, 5, 7, 15, 11, quarti. Più di 450 ritmi, il tempo, gli accenti, i cambi imprevedibili. Con questo libro migliorerete la vostra precisione ritmica. CD 2 TABLATURE

Rhythm Guitar Encyclopedia Music by Jody Fisher
CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs

Includes over 450 rhythms in every musical style including rock, blues, jazz, folk, alternative, country and more. Examples are shown in an easy-to-read rhythmic notation, standard music notation and TAB. Fingerstyle accompaniment patterns are included. The CDs offer performances of examples.

introduction

Most guitarists want to become great improvisers. The image of the wailing guitar player, lost in the
moment, searching for the means te express him or herself is weil known - almost stereotypical. The
truth of the matter is that without great rhythmic backup the soloist has nothing to work with. To
a large extent, the success of a solo has a lot to do with how the rhythm section and the lead player interact.
Originally, the guitar (in non-c1assical circles) was strictly a rhythm instrument. The pulse provided
by the guitarist was the glue that held the rhythm section together. It was, and is, used to provide a
harmonie and rhythmic background for vocals as weil. With the advent of pickups and amplifiers,guitar
players were able te step out front and solo just like the other members of the band. This provided a
more balanced role for guitarists. Somehow, through the years, "rhythm playing" has taken a backseat
te soloing. As a result, many guitarists today are not hip to the benefits of becoming a great rhythm
player. This book is designed help remedy this.
This is a multipurpose book. There are several ways it can be helpful:
• First, it can be used as a reference source. You come home from the gig, embarrassed because
you didn 't know how to play an authemic Bossa Nova pattern, and look it up. Maybe
you had to play some Reggae or a Viennese Waltz. Perhaps you are a jazz player who has
limited rock rhythm chops, or a rocker who needs more funk ideas. Do you freelance, play
in a wide variety of styles? Inside you will find everything from Afro-Cuban rhythms to the
Bunny Hop!
• Second, if you are a songwriter, you should find plemy of material here to inspire new ideas
and help you break out of your old rhythmic habits.
• Third, working your way through each page is a great way to practice reading rhythmic notation.
If you are comfortable reading most of the rhythms here, you are probably ready to
handle anything you find in the professional world.
• Fourth, arrangers will find these ideas helpful for coming up with new ways te treat old,
worn-out material.
Becoming a knowledgeable rhythm guitarist will help you become a better improviser as weil. You will
become more musical in your approach and more in control of your ideas from a rhythmic perspective.
No book can say it ail or Iist every example of every style. This book surveys many styles, but be assured
that you could spend your life studying any one in depth. However you use this book, it is my
hope that you will create good music and find self-expression.
Thanks to my family,julie,josh, Shauna andTom,jennifer, Mom, Dad,jack and Yvonne Abels, Noah,
Maggie,jasper and ail of my teachers and friends for having supported my musical endeavors through
the years. Thanks to David Smolover and Nat Gunod for their friendship and for providing so many
opportunities te further my career - l've learned a lot.

The Author
Jody Fisher has worked professionally in virtually all styles of music during his career, from straight ahead and contemporary jazz to rock and roll, country, pop and show tunes. In the field of education, he taught Guitar and Jazz Studies at the University of Redlands in Southern California for eight years and at the Idyllwild School of Music and the Arts (ISOMATA) for two years. An active performer in the Southern California area, he still maintains a private teaching practice, and is an associate director of the National Guitar Summer Workshop's California, Nashville and Connecticut campuses. Jody Fisher is also the author of The Guitar Mode Encyclopedia, The Guitar Chord and Scale Finder. Jazz Guitar Christmas and The Complete Jazz Guitar Method. all published by the National Guitar Workshop and Alfred.

 

Content

ABOUT THE AUTHOR 
INTRODUCTION 

HOW TO USE THIS BOOK 
Tempo 
Downstrokes and Upstrokes 
Accents 
Chords and Practice 
Technique 
Using a Pick 
Fingerstyle 
 
AFRICAN 
Sikyi-Ashanti
Adowa-Ashanti
Akom-Ashanti 
Gahu-Ewe 
 
BLUES 
Shuffles 
Pinky Patterns 
Slow (Down Home) 
 
COUNTRY 
Country 
 
DISCO 
Disco 
 
FOLK 
Folk 
Fingerstyle 
 
FUNK 
Funk 
 
JAZZ  
Swing 
Four-Bar Phrases 
Jazz Waltz 
 
BALLADS 
Ballads 
 
DIXIE 
Dixie 
 
LATIN
Afoxe - Brazil 
Afro-Cuban 
Afro-Cuban 
Balon - Brazil 
Beguine 
Bolero
Bossa Nova - Brazil 
Bossa Nova 5/4 
Bossa Nova 6/4 
Bossa Nova 7/4
Calypso - Trinidad 
Cataret - Brazil
Cha Cha - Cuba .
Charanga (Pachanga) 
Choro - Rio 
Comparsa - Cuba 
Conga - Cuba 
Frevo - Brazil 
Guaguanco - Cuba 
Guajira - Cuba .
Guaracha .
Jaropa .
Mambo - Cuba .
Maracatu - Brazil. .
Marcha - Brazil .
Merengue - Haiti .
Mozambique - Cuba 
Pasa Doble 
Reggae - Jamaica 
Rhumba - Cuba 
Samba - Brazil 
Samba Cruzado - Brazil.. 
Samba Marcha - Brazil 
Samba de Partido Alto - Brazil 
Samba 2 Brazil. 
Samba 1 Brazil. 
Spanish Tango 
Songo - Cuba 
Tango - Argentina 

ROCK/POP
Rock 

MISCELLANEOUS
Bunny Hop .
Charleston .
Greek .
Hora .
Irish jig .
Polka .
Can-Can .
Reel .
Sher 
Turkish ,
Two Step ,
Straight Waltz '
Viennese Waltz .
Odd Time 5/4
OddTime - 7/4 
OddTime - 15/4
OddTime - 15/8
OddTime - 11/4
OddTime - 11/8.
 
There are two compact discs available for this book. Many of the examples in the book are performed on them. These CDs can make learning with this book easier and more enjoyable. Vou can use them to check your interpretations of the written rhythms and to make sure you are capturing the "feel" of each rhythm. One of these symbols will appear next to most section headings. The number in the upper left hand corner indicates the disk number. The track
numbers below the symbols correspond to the group of rhythms under that heading. In many cases, you will find additional examples in the book that are not included on the CD. These are in sections labeled "More ..." and are
provided for your further reference. Disk l, Track 1will help you tune to the CD. Have fun!
Prezzo: €34,99
€34,99

ROCK CHOPS FOR GUITAR technique guitarist Tobias Hurwitz CD CHITARRA METODO VOLO DEL CALABRONE

ROCK CHOPS FOR GUITAR, A Technique-Building Approach for the Dedicated Guitarist, Tobias Hurwitz. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA ROCK CON MP3 CD.  

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA, 

 

The Serious Guitarist: Rock Chops
A Technique-Building Approach for the Dedicated Guitarist
By Tobias Hurwitz

Series: The Serious Guitarist
Category: Guitar Method or Supplement
Format: Book & MP3 CD
Instrument: Guitar

Great musical ideas need a solid foundation of strong chops to back them up. Fill the gaps in your technique with this unique approach to rock guitar. Build your finger strength, flexibility, and independence with exercises and examples written especially for rock players. This book explores all the important soloing techniques such as speed picking, sweeping, tapping, harmonics, scale sequencing, and more. Develop your chops while practicing exercises in the style of the music you enjoy. The Serious Guitarist: Rock Chops provides the tools you need to become a better guitar player, but more importantly, it will help you become a better musician. The included companion MP3 CD features demonstrations of the examples in the book.

 

CONTENUTO: 
stretching the fingers
alternate picking
economy picking
sweep picking
mixing sweep picking and alternate picking
tremolo picking
pentatonic riffs and concepts
scale sequencing
single-string concepts
double stops
harmonized leads
finger tapping
whammy bar techniques
legato
long scales
exotic scales
harmonics, pinch harmonics
string skipping
arpeggio etudes
the flight of the bumble bee ( il volo del calabrone di Rimsky-Korsakov )
scale forms

https://content.alfred.com/catpages/00-40266.pdf

Prezzo: €29,99
€29,99

MASTERS OF THE TELECASTER ARLEN ROTH'S BOOK & 2 CD TABLATURE B-BENDER SPARTITI CHITARRA COUNTRY

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

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

SPARTITI PER CHITARRA CON : 

ACCORDI, NOTE PENTAGRAMMA E TABLATURE. 

STUDIO, METODO, MANUALE, 

 

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

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

 

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

TELECASTER HISTORY

OVER 140 MUSIC EXAMPLES

Blues, Country, Rhythm Blues, Rock

8 PAGES OF COLOR PHOTOS

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

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

 

CONTENTS

INTRODUCTION

Intro Music CD 1

Tuning Notes

ABOUT THE AUTHOR

ABOUT THE TELECASTER

CHAPTER 1:

FOUNDATION TECHNIQUES

Shuffle Rhythms

Examples 1, 1A & 2

The Harmony Shuffle II

Examples 3 & 4

Piano Style Rhythm Grooves

Examples 5 & 6

Single-Note Rhythm Licks

Example 7

Heel Damping

Example 8

PICK AND FINGER TECHNIQUE

Example 9

The Constant Bass

Examples 10 & 11

Pick and Finger "Roll" Patterns"

Open G "Banjo" Rolls

Examples 12, 13 & 14

CHAPTER 2:

RHYTHM AND BLUES TELECASTER

Partial Chords in R&B Guitar

Examples 15 - 21

STEVE CROPPER

Example 22: The "Soul Man" Lick

CORNELL DUPREE

Examples 23 - 30

Example 31:

The "Memphis Soul Stew" Lick

CHAPTER 3:

TELECASTER BLUES

The Basic Blues Scales

Examples 32 & 33

Blues Passing Tones

Examples 34 & 35

First Position Licks

Examples 36 & 37

Adding The Major Third

Examples 38 - 41

BLUES STRING BENDING

Whole Step and Half Step Bends

VIBRATO

The "Bend and Release" Vibrato

Example 42

BLUES SOLOING

Examples 43 & 44

FALSE HARMONIC AND VOLUME CONTROL SWELL TECHNIQUES

Examples 45 - 47

Volume and Tone Control "Swells"

Examples 48 & 49

Tone Control Tricks

Examples 50 & 51

ROY BUCHANAN 66

Example 52: The "Haunted House" Lick

Examples 53 & 54: "Lonesome Fugitive"

Example 55: Soloing Buchanan Style

ALBERT COLLINS

Example 56

MUDDY WATERS

Example 57

CHAPTER 4:

COUNTRY AND ROCKABILLY TELECASTER

Basic Country Scales and Positions

Examples 58 - 60

Some Hot Country Licks

Examples 61 & 62

The Extended Country Pentatonic Scale

Examples 63 - 74

 

CD 2

COUNTRY STRING BENDING TECHNIQUES

String Bending as Substitution

Examples 75 - 83

Pedal Steel-Style "Banjo" Roll

Example 84

Advanced "Pedal Steel" Bend Positions

Example 85

Examples 86 - 88

CLARENCE WHITE

Examples 89 - 93

Example 94: Advanced String Bending Solo

Two-String Bends

Examples 95 - 98

JAMES BURTON: A TELE MAN FOR ALL SEASONS

Examples 99 - 103

Examples 104 & 105: The "Mystery Train" Lick

Chicken Pickin'

Example 106

DANNY GATTON: TELEMASTER

Examples 107 - 109

ALBERT LEE

Examples 110 & 111

BENDING BEHIND THE NUT

Examples 112 - 117

JERRY DONAHUE

Examples 118 & 119

HOT COUNTRY DOUBLE STOPS

Examples 120 & 121

Combining Double Stops with String Bending

Example 122 & 123

SCOTTY ANDERSON: KING OF THE DOUBLE-STOP.

Example 124

MARTY STUART: KEEPER OF THE FLAME

Example 125

VINCE GILL: FROM THE STUDIO TO SUPERSTAR

Example 126

PEDAL STEEL-STYLE "CARRY" LICKS

Examples 127 & 128

USING DISSONANCE IN COUNTRY PLAYING

Examples 129 - 132

HAWAIIAN LAP STEEL-STYLE

Example 133

JIMMY BRYANT: TELE PIONEER

Example 134

CHAPTERS:

THE TELECASTER IN ROCK

KEITH RICHARDS

Examples 135 - 137

PETE TOWNSHEND

Example 138

ANDY SUMMERS

Example 139

JEFF BECK

Example 140

JIMMY PAGE

Example 141

CLASSIC TELE ROCK LICKS

Example 142

Example 143: The Final Solo

CONCLUSION  

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