Partitions Numériques de G7 pour Guitare

G7

Strumming Practice V7-I (Keys of G, C, and F Majors)
Guitare

Solo Guitar - Level 1 - Digital Download SKU: A0.1016161 Composed by Amy B. Warmenh…(+)

Solo Guitar - Level 1 - Digital Download SKU: A0.1016161 Composed by Amy B. Warmenhoven. Instructional. Individual part. 2 pages. Amy Warmenhoven #6433823. Published by Amy Warmenhoven (A0.1016161). Strumming Practice: V7-I (Keys of G, C, and F Majors)D7-G (3/4)G7-C (4/4)C7-F (6/8)Tied rhythms in 4/4, 3/4, 6/8Chord chartsCountingRhythm syllablesKid-friendly font
$1.99 1.82 € #Guitare #Amy B #Strumming Practice V7-I #Amy Warmenhoven #SheetMusicPlus

Guitar - Level 2 - Digital Download SKU: A0.1168489 Composed by Stephen Foster. Arranged by Brian Streckfus. Country,Folk,Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 1 pages. Brian Streckfus #768792. Published by Brian Streckfus (A0.1168489). If you are looking for a historically accurate version, I would just get Hal Leonard's publications of it. This version really sprinkles some razzle dazzle on an otherwise straightforward public domain song in G major, though it does not use the exactÂ original melody.1. The original melody is NOT intact, this is ghostwritten. Notes were flatted to give a bluesier sound. Â 2. The chords are very modern, despite this song being written in the mid 1850s. 3. Grace notes added 4. Background harmonies now have more thought put into part writing, originality, being idiomatic on guitar, and making the melody the forefront.Â 5. Left hand fingerings added to aid in sight-reading.6. Letter names added to note heads to aid in sight-reading.7.Â I like versions like this because it could be used for a guitarist who doesn't sing, a guitarist who does sing, or a guitarist in a band. In otherwords, the more band members, the more you are just focusing on background chords, the more you are a one-person band, the more you have to take everything in.Â Tips:1.Â I arranged this so that students could see how blues scales work as I drenched this song in more blues than it originally had (Bb - B...F - F#...E minor blues and G major blues respectively.) You'll notice I don't stay on these dissonant blues notes for very long, that's why there's so many grace notes in this song.2.Â The D9 in measure 6 was originally a D7. Some extensions like this don't really change the scale in use.3. The Ab7 in measure 7 was originally a D7, making the Ab7 a tritone substitution. If you know the key of G major well, that chord should stick out like a sore thumb.Â 4. The Bb7 in measure 14 was originally a G7. I call these kind of substituitions mediant substitutions as they are similiar to jazz tritone substitions, but at a 3rd instead of a tritone.5. The Cm(maj7) was originally a C major chord. This is a modal borrowing composition technique of borrowing from the parrallel minor, in this case, G minor.

Frank Vignola- Building Guitar Finger Strength
Guitare

Guitar (flatpicking) - Intermediate - Digital Download SKU: M0.99659EB And 26 Di…(+)

Guitar (flatpicking) - Intermediate - Digital Download SKU: M0.99659EB And 26 Different II-5-I Progressions. Composed by Frank Vignola. Style. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #99659EB. Published by Mel Bay Publications - Digital Sheet Music (M0.99659EB). ISBN 9781619112582. 8.75x11.75 inches.In the Building Finger Strength section of this book, we will cover 12 different finger-strengthening exercises. Practice these exercises slowly and accurately before trying to build speed. On the optional practice-along recording you will find three different tempos for each individual exercise. This is to help you build up your speed and your finger strength one step at a time. Obviously beginners should start with the slow tempo. I also believe that the more advanced students should start with the slow tempo to build accuracy. I found when recording these exercises for the practice-along recording that the slowest tempo was the hardest to execute with no mistakes. Diligent practice will build flexibility and strength!In the latter section of this book (26 ii-V-I Progressions), we will be looking at 26 different ways to play the ii Ã» V Ã» I chord progression. We will be working in the key of C. The ii chord is Dm7, the V chord is G7 and the I chord is C. It is recommended that you transpose these into other keys. These studies can be used for ear training and to facilitate improvisation on standard chord progressions. Includes access to online audio.
$12.99 11.86 € #Guitare #Frank Vignola #Frank Vignola- Building Guitar Finger Strength #Mel Bay Publications - Digital Sheet Music #SheetMusicPlus

Solo Guitar - Level 1 - Digital Download SKU: A0.1171119 Composed by Scott Joplin. Arranged by Brian Streckfus. 20th Century,Barbershop,Blues,Folk,Ragtime. Individual part. 2 pages. Brian Streckfus #771449. Published by Brian Streckfus (A0.1171119). 1. 2 page arrangement for guitar. I'm sorry to say this is not the full version, but a 16 page version is long winded for my purposes.2. Guitar Tab added. 3. Slurs and slides added. 4. Re-harmonized to be idiomatic for guitar, be less cliche, Â and to emphasize the main melody more. 5. Some composers indications added when really necessary. Â 6. Left hand fingerings added.7. Chord nomenclature added.8. Overly excessive ties removed.9. Some octaves changes to better suit guitar.Tips:1. Be very careful of the difference between slurs and ties! Sometimes I don't show slurs on the tab, but this time I had to.2. The rests are real and they are suggested because they lead to a jazzier rag time sound. I feel like it goes without saying that sustain is ultimately up to the performer, which is why I removed a lot of pedantic ties; they seem to add confusion half the time.Â 3. The D7 is a slight key change because it has an F# in the chord. It's a secodary dominace chord, V7/V, and often a vii7b5 can replace it. In other words, the F# goes gravitates into the next chord, a G Major chord.4. G6 is really just the 3 thinnest strings of the guitar open. It's a great transition chord.5.Â The D# is part of the C major blues scale.6.Â Adding more 7th chords than originally there is almost always an interesting pursuit. Going from G to G7 can certainly aid in helping things sound more goofy.