ACCORDI - PENTAGRAMMA

YES, HOWE STEVE, GUITAR PIECES.

Steve Howe is internationally recognisedas one of the finest guitarists of our time. His talent is acknowledged byfellow musicians, who listen to his playing with respectand in order to learn. For thefirst time ever, a guitarist of the stature of Steve Howe has published a collection of his own solos and shows exactly how they should beplayed. Long time associate Mick Barker, who has transcribed all of the pieces in this collection, has added notes clarifying technica! points in the pieces. Steve Howe has also included some notes of his own, which give an insight into his attitude towards his music. Titles included are:

Clap

Mood For A Day

The Ancient

Sound ChaserDiarY'Of A Man Who Vanished

Surface Tension

Meadow Rag

Ram

Every guitarist today should have this book in his library. It represents contemporary guitar music at its best and most exciting. Steve Howe originally made his name with res. Since then his interes,tin guitar has widened to coverall its vast possibilities: jazz, country, classical, ragtime. His unique musicianship has placed him in the ore/ron! of his profession, and in the Melody Maker e was votea world's best guitarist twice (for two years) and best overall guitarist in Guitar Player Magazine for 5 years consecutively from 1977-1981.

In doing these transcriptions, I have tried to write them in such a way that even a player who is not familiar with a piece should, after some practice, be able to produce a reasonable facsimile of the original. The pieces are for the most part unaccompanied. Steve plays them as he feels them, laying back on some sections and pushing others. Capturing these variations has led to the use of fairly complex time signatures, but persevere with them, they work! You will find much use made of the tenuto or as it is normally abbreviated 'ten'. For those unfamiliar with the phrase it comes from the Italian and means 'held' or 'sustained'. Thus, notes so marked should be held on for a little longer than their written value. It allows the writer or transcriber to keep the normal time signature, but put the correct 'feeling' into the phrase. I have only resorted to use of the ubiquitous 'cadenza' on two occasions and even then the relative note values are correct and should not present any problems. A lot of the phrases are played in chord positions and the player should let notes ring. This is normal in much guitar music and. I have tied notes over in sections where I felt it was not clear what was intended, but for the most part 'let em ring'. The chord symbols are only to help find the chord shape for a phrase and do not take into account passing notes and other embellishments which must be read from the notation. When notes are doubled on different strings they are marked Thus, the G would be played on the open G string and also the 4th string (5th fret). All numbers refer to strings and not fingering. Clap was the first of Steve's work that I transcribed and I realized just writing it down in notation would not be enough. In many chords the same note sounds on different strings at the same time. Giving positions would be confusing as sometimes the top note of the chord is not played on the top string. This is why I decided to signify which strings notes were sounding on. This not only shows notes sounding twice it also gives you the position. If this is still not clear a good example is in bar 84. Using this method I hope you will be able to find the right shapes for this interesting piece. Ram is played in the 1st (C Major) position except where indicated. The chords marked with an asterisk in the ad lib banjo section were ninths on the original recording but Steve now prefers sharp ninths. In the G Major section where I've cued the bottle neck solo, you can combine the written melody with the chord symbols and play it as a solo. I find it easier to play the first two bars as is and then bring the melody down the octave and play in the 1st position. The pause just before the end is actually 8Y2 beats so to be exactly like the record count eight and kick in to the 5/4 bars. In Mood For A Day the listesso changes between 3/8,12/8 and 3/4 need not create any problems. Just keep your foot tapping and remember that in the 12/8 and 3/8 bars it is three quarters per beat and in the 3/4 and 2/4 bars, two quarters per beat. The bracketed notes about midway through the piece ...

DEF LEPPARD, HIGH 'N' DRY/PIROMANIA. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA METAL. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Released 20 January 1983
 

1. "Rock! Rock! (Till You Drop)" Steve Clark, Rick Savage, Mutt Lange, Joe Elliott 3:52
2. "Photograph" Clark, Pete Willis, Savage, Lange, Elliott 4:12
3. "Stagefright" Savage, Elliott, Lange 3:46
4. "Too Late for Love" Clark, Lange, Willis, Savage, Elliott 4:30
5. "Die Hard the Hunter" Lange, Clark, Savage, Elliott 6:17

Side two
No. Title Writer(s) Length
1. "Foolin'" Clark, Lange, Elliott 4:32
2. "Rock of Ages" Clark, Lange, Elliott 4:09
3. "Comin' Under Fire" Lange, Clark, Willis, Elliott 4:20
4. "Action! Not Words" Lange, Clark, Elliott 3:49
5. "Billy's Got a Gun" Clark, Savage, Willis, Elliott, Lange 5:56
 

ULTIMATE EAR TRAINING FOR GUITAR AND BASS. GARY WILLIS. SHEET MUSIC BOOK WITH CD .

LIBRO METODO DI MUSICA JAZZ ROCK, FUSION. CON CD. 

PER BASSO E CHITARRA : 

ACCORDI, PENTAGRAMMA. 

METODO

ULTIMATE EAR TRAINING FOR GUITAR AND BASS

Series: Fretted
Format: Softcover Audio Online
Author: Gary Willis
This complete method for the practicing musician covers: intervals, rhythms and melodic shapes; inversions, scales, chords, extensions and alterations; fretboard visualization, fingering diagrams; and much more. The audio includes 99 full-demo tracks.

Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Inventory #HL 00695182
ISBN: 9780793581566
UPC: 073999951820
Width: 9.0"
Length: 12.0"
64 pages

PATITUCCI JOHN, ULTIMATE PLAY-ALONG FOR BASS LEVEL 1, VOL.2. 2CD. SHEET MUSIC BOOK METHOD WITH 2 CD. 

LIBRO METODO DI MUSICA FUSION, CON 2 CD.

SPARTITI PER BASSO CON:

ACCORDI, PENTAGRAMMA.

The best way to practice is to have fun while you learn; and that is exactly what the ULTIMATE PLAY-ALONG series is all about. Every musician has learned by playing along with records, and now with Ultimate Play-Along you can practice with great recorded music as if you were a member of the band. That's because you get eaach track mixed without your instrument. You also get to hear the music with the featured instrument as well, for reference.
ULTIMATE PLAY-ALONG FOR BASS, LEVEL TWO has been developed so that the beginner to intermediate bassist can practice in different styles along with all-star musicians including Mike Stern on guitar and Dave Weckl on drums.
This book/CD package contains two CDs; the first disc contains the full rhythm tracks and the second CD includes teh rhythm tracks minus the bass. The seven CD tracks cover a wide range of syles including: Straight Eighths, Shuffle (Blues), Sixteenth-Note Feel, Hip-Hop (Jazz Funk), Pop Ballad, Reggae (Shuffle), and Rock.
The book features roadmap charts for each tune, as well as a step-by-step discussion of each section. John also gives you a variety of options you can use for both groove and fill ideas. Each section concludes with a 'talk down' of the chart, similar to what you'd encounter on a session or at a rehearsal. Each chart comes perforated so it can be easily removed for use on a music stand. The play-along charts will help improve your reading, time, feel and confidence.
So, put on some headphones, turn up the music and work out with the ULTIMATE PLAY-ALONG!

La parte per chitarra è nel libro chitarra Lampo.com 2075 Mike Stern ULTIMATE PLAY-ALONG, 

EXPANDING WALKING BASS LINES.

LIBRO PER BASSO CON CD

Expanding Walking Bass Lines
BASS BUILDERS

Series: Bass Instruction
ormat: Softcover with CD
Author: Ed Friedland

A follow-up to Building Walking Bass Lines, this book approaches more advanced walking concepts, including model mapping, the two-feel, several 'must know changes,' and other important jazz bass lessons. CD includes a jazz trio for practicing standard tunes.

Inventory #HL 00695026
ISBN: 9780793545865
UPC: 073999950267
Width: 9.0"
Length: 12.0"
56 pages

- PRE-RECORDED JAZZ TRIO FOR PRACTING STANDARD TUNES
- SCALES TONES, CHROMATIC PASSING TONES AND NON-CHORD TONES
- INTERPRETATION OF CHORD SYMBOLS WITH TENSIONS
- PLAYING OVER MODAL TUNES
- PEDAL POINTS 
- EXPANDING THE ''TWO'' FEEL
- RHYTHM ESSENTIALS

Preface
In the first book of this method, Building Walking Bass Lines, we learned many of the basic skills needed to create good, solid lines from a set of chord changes. The techniques discussed were: finding the root motion, adding the fifth, approach techniques (chromatic, dominant and scale), scale wise motion, resolving to chord tones other than the root, arpeggiation, indirect resolution, and chromatic motion.
If you are not familiar with these concepts, I recommend you use Building Walking Bass Lines before attempting to work through the material in this book. It is crucial to your understanding to have a good foundation with the rudiments of walking. The information presented in this book will be most useful to those who have a firm grasp of these basic skills.

Goal Statement
This book will expand on your knowledge of the basics by focusing on some of the finer points of walking bass lines. You will be exposed to some practical concepts to help you become more functional in a jazz rhythm section. We will branch out from the "straight ahead" and learn to stretch the boundaries of tonality.
It is also a goal of this method to provide you with an opportunity to experience some "real world" situations and develop the skills to cope with them.

Acknowledgments
Thanks to my family. Sonia, LeeEllen and Aimee Friedland, and David Taylor. Thanks also to Jim Roberts Bat Bass Player Magazine, Larry Fishman of Fishman Transducers, Bill Brinkley, Michael Merrill, Tom Hamilton, Athena, Lu Ann, Ed Siegfried, Dave Flores, and everyone at Carvin, and GHS strings.

About the Author
Ed Friedland is a graduate of the High School of Music and Art in
New York City, and a former faculty member of Berklee College of
Music and Boston College. He is a frequent contributor to Bass
Player Magazine. His performance credits include Larry Coryell,
Michal Urbaniak, Robben Ford, Mike Metheny, Johnny Adams,
Linda Hopkins, Robert Junior Lockwood, Barrence Whitfield and the
Savages, Martha and the Vandellas, The Drifters, Brook Benton, the
Boston and Tokyo productions of Little Shop of Horrors, the Opera
company of Boston, and the Boston production of A Closer Walk with
Patsy Cline. Ed is involved in producing and arranging with Bass
Station Music. He has a M.Ed. from Cambridge College, Cambridge,
Massachusetts. He uses Carvin basses, GHS strings and Fishman
transducers. Ed resides in Tucson, Arizon. Photo: Jean Hangarter

Using the Audio
The audio portion of this method is of equal importance to the text, since learning to walk without the
opportunity to hear the lines is an incomplete experience. In view of the scarcity of clubs around the world
where you can go sit in and experiment, I have provided an alternative. However, if you have the opportunity
to play at a jam session, or do a jazz gig, by all means take it. There is no replacement for the actual experience
of playing in a live rhythm section. I hope you will get to play with players as great as the ones I hired for this recording, Brad Hatfield on piano and Jim Lattini on drums.
This method's audio uses a split-stereo mix with piano and drums on the left channel, and bass and drums on the right channel. This configuration will allow you to turn off the bass track and play with the piano and drums. It will also make it easier to hear the bass track when learning the lines by ear, and transcription.
The examples in the book marked with a CD.
icon have a number that corresponds to the number on the audio. The example number is given and then counted off with a click. The click is a two measure count off, two half notes, and three quarter notes, leaving beat four of measure two blank. For example: 1. .. 2 ... 1, 2, 3, ... (play).
There are many opportunities in the book to create your own lines. These are the examples with chord symbols and slashes without a specific written bass line. It is more common for the bass player to encounter this type of reading in the real world, so these examples are very important. The bass lines for these examples are not written in the book, so they provide an excellent opportunity to practice learning by ear. Go the extra mile and transcribe these bass lines. Writing music on paper is one of the best ways to improve your ability to read music. Remember, you can use any of the chord progressions presented to practice any technique learned. If you want to practice fingered triplets with a progression from another part of the book, go ahead.
The last section of the book, the Appendix, includes ten jazz progressions. The last three progressions have no chord changes written. These "mystery tunes" are included to provide you with the challenge of learning a song completely by ear, with no prior iMormation given. As difficult as this may seem, thousands of bassists do it all the time. "Faking" tunes is an important skill that bass players must have to survive in the real world. It is not my intention to have this book become a full-scale primer of all the background information one needs to develop this skill; that comes from years of experience. There are suggestions given to help you develop an awareness of the process, things to listen for, hints about form, but nothing concrete.
This process is more like sorcery than science.
This book will not guarantee your ability to swim when you're thrown into the deep end of the pool, but it may save you from drowning! Stick with it, give it time, and keep your ears open!

Table of Contents
Preface .
Goal Statement .
Acknowledgements .
About the Author .
Using the Audio .
Fine Tuning Your Time Feel .

Part One
Overview .
A Disclaimer .
Introducing Rhythms .
Eighth Note Triplets .
Rests .
Combining Rhythms and Rests .
Adding Rhythmic Embellishment .
More Practice with Skips ,
Skips with Dead Notes .
Lift-off Dead Notes ,
Putting It Together .
Using Triplets .
Even More Triplets .
Triplets with Dead Notes .
Expanding the "Two" Feel .

Part Two
Overview .
Targeting Non-chord Tones .
U sing Scale Tones as Targets .
U sing Chromatic Passing Tones as Targets .
Interpreting Chord Symbols with Tensions .
Playing Over Modal Tunes .
Create Your Own Modal Map .
Pedal Points .
A Listening Assignment .
Walking Open: The Art of Implied Harmony .
A Closing Word .

Appendix
U sing the Appendix .
Tune 1: ABAC form .
Tune 2: "Rhythm Changes" A section .
Tune 3: Several Key Centers in A section .
Tune 4: "Expanded Two Feel" .
Tune 5: Modal .
Tune 6: Bridge Modulations .
Tune 7: Repetitive A section .
Three Mystery Tunes .
Things to Consider .
Things You Should Know .
Things You Can Do .
Notation Legend .