Idéale pour les guitaristes acoustiques aynat acquis les bases du Blues et désireux de franchir une étape supplémentaire. Cet ouvrage commence par un rappel des notions de base, la technique, la notation musicale en solfège et en tablature, et les bases de la théorie. Ayant pour socle l'ouvrage BLUES GUITARE ACOUSTIQUE POUR DEBUTANT (MB219), cette méthode aborde rapidement les progressions de blues à 12, 16 et 9 mesures; puis explore les gammes et les arpèges, qui sont les bases du soloing blues. Comment utiliser les tierces, les sixtes, les dixièmes et les triades dans les arrangements de morceaux; les accords de dominante enrichis; le jazz blues; et l'open-tuning. L'ouvrage se termine par des morceaux utilisant la technique du jeu aux doigts, dans les styles des maîtres du blues. Si vous aimez le blues acoustique et désirez en savoir davantage, et ouvrage est incontournable. Un ouvrage pédagogique clair destiné aux guitaristes de blues acoustique, édité par l'une des plus grandes écoles américaines de musique moderne, la National Guitar Workshop. Un CD audio joint à cette méthode permet de s'entraîner en situation de jeu sur tous les exercices et morceaux abordés.

11 songs from the October 2019 live concert set featuring Metallica and the San Francisco Symphony, in authentic transcriptions with notes and tablature for guitar. Includes: All Within My Hands · The Call of Ktulu · Enter Sandman · For Whom the Bell Tolls · Halo on Fire · Master of Puppets · The Memory Remains · Moth into Flame · Nothing Else Matters · One · Wherever I May Roam.
All Within My Hands
The Call Of Ktulu
Enter Sandman
For Whom The Bell Tolls
Halo On Fire
Master Of Puppets
The Memory Remains
Moth Into Flame
Nothing Else Matters
One
Wherever I May Roam
/ Partitions variété - pop - rock / Variété internationale / Basse tablatures / HAL LEONARD

Timeless Solos is a play on words. The solos in this volume contain no time signatures or bar lines. I did this because I wanted the solos to be very expressive in interpretation yet 'free-form' in structure. The companionrecording presents my interpretation of these works. You may interpret them differently and that is fine! All solos are in notation and tablature. When writing these solos I first envisioned the form as an extended 'cadenza'.However from my earlier trumpet playing days I recalled that especially in the 19th century a cadenza was a momentary break in a solo which gave the performer a chance to dazzle the audience with his or her virtuosity. Thesesolos are not about that. Rather they are a vehicle to give the guitarist an opportunity to move the listener with the performer's expressive ability. I also thought of these solos in the form of a 'chant'. However most chantsare monophonic in form and these solos in various parts present a fairly lush harmonic structure. While the solos were written for a 7 string guitar they may be played successfully on a 6 string guitar. Alternate notes for thosefound on the 7th string are shown in the tablature part. Also the solo Peace is written in Dropped D tuning and makes little use of the 7th string pedal tones. The solos are contemplative in nature and provide ample opportunityfor individual expression and interpretation. I hope you enjoy playing and performing these works.

The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

Par LAURINDO ALMEIDA. La renommée internationale du public et des critiques établies Laurindo Almeida comme l'un des guitaristes de vraiment grand concert du monde. Avec ces transcriptions d'Isaac Albeniz' uniques compositions pour piano, il prend la guitare vers de nouveaux sommets. Ces pièces illustrent l'habileté de Almeida comme transcripteur et arrangeur pour guitare. Tout d'abord, chaque travail est présenté en notation standard, suivie d'une version de tablature. Les notes techniques touchant à des domaines de problème spécifique accompagnant chaque pièce. Sélections comprennent : Sevilla - Danza Espanola #3 (Serenata Andaluza) - Leyenda - Malaguena - Tango - Cadiz (à partir de 'Suite Espanola') - et Zambra Granadina. Texte est en anglais et en espagnol. / Niveau : Intermédiaire à Avancé / Classic - Solos / Tablatures / Guitare Tablatures Classique

Media Type : Book Level : Intermediate Musical Genre : Latin American Number of pages : 128 Due to some deep-seated cultural irony known only to its native population, the Argentine tango has a profound grip on Finland where dance clubs and popular singers thrive on this particular style of music. In this collection, Finnish guitarist Òle Halen shares his enthusiasm for the genre by presenting tangos for solo guitar by some of the best Latin American and Spanish tango composer/guitarists, plus transcriptions and arrangements by such luminaries as Francisco Tárrega and Daniel Fortea of Spanish and Italian works originally composed for instruments other than the guitar. Written in standard notation and tablature.

Dans le vocabulaire du flamenco, le terme compás désigne à la fois un cycle métrico-rythmique et un mode mélodique associé à des harmonisations traditionnelles. Les guitaristes flamencos utilisent pour chaque mode des positions d?accord particulières (posturas) qui déterminent tout autant l?identité musicale de chaque palo (forme) que le strict cadre rythmique. Pour travailler les compases, il est donc également indispensable d?étudier les voicings flamencos. Les apprentis tocaores (guitaristes flamencos), fascinés à juste titre par la richesse des compositions (falsetas) que nous ont léguées depuis plus d?un siècle les grands maîtres du genre, oublient trop souvent que leur premier devoir est d?intérioriser les compases, au sens large, jusqu?à ce qu?ils deviennent une seconde nature. Cet ouvrage a pour objectif de vous aider à maîtriser les compases, et à « jouer » avec eux, de manière naturelle, jusqu?à ne plus avoir à « compter les temps ». Nous apprendrons donc à « hacer compás » (à produire du compás), non seulement en rasgueados, mais aussi en variant rythmiquement et harmoniquement les motifs codifiés qui articulent aussi bien les solos que les dialogues entre chanteurs, danseurs et guitaristes (introductions, paseos, llamadas et remates). Ce sont ces cinq groupes de séquences que nous étudierons dans cet ouvrage, appliquées à un palo emblématique, la soleá. Le CD joint à la méthode propose la totalité des exemples musicaux au format mp3, pour en faciliter la compréhension et donc aussi l?assimilation. / Partitions variété - pop - rock / Musique du monde / / PLAY MUSIC PUBLISHING

Key Features at Grade 5 Natural harmonics playing over changes Major and Natural Minor Major and Minor Pentatonic scales Blues Scales. All in two positins. Major and Minor Arpeggios over two octaves. Chords in three inversions Playback skills Rockschool builds upon its 21 years of unrivalled experience in rock and pop examination by bringing you the 2012-2018 Syllabus. For this latest Syllabus Rockschool have employed some of the most sought after professional musicians to ensure that their tunes are the most authentic on offer. Guitar Syllabus features Plot your stylistic specialism - follow your preferred style up through the grades Introduction to tone - authentic tone and amp setting suggestions for each track TAB and Standard Notation 6 Performance pieces 6 varying styles Fact files - band and artist background information with recommended further listening Walkthroughs -  Hints and Tips on the tricky sections of the songs Downloads with full mixes

Written by technical wizard Stephen Delach The Rock Guitar Workout is a collection of technique building etudes that will catapult your playing to new heights. All of the techniques used in modern rock guitar are covered startingfrom the most basic picking exercises to blistering arpeggio studies. When used as a daily practice routine The Rock Guitar Workout will undoubtedly unleash the technical virtuoso lurking within you. Topics include alternate legato and hybrid picking string skipping two-hand tapping pentatonic blues harmonic and natural minor scales melodic patterns arpeggios and much much more. A word of caution: not for the faint of heart. In standardnotation and tablature.

This book/CD package is an insider's guide to the guitar style of Johnny Winter. You'll learn blues licks riffs turnarounds and solos from the master himself plus slide technique alternate tunings and much more. The CD features performances by Johnny Winter on regular slide and National Steel guitar with Paul Nelson on rhythm guitar and Dave Rubin on bass. Detailed performance notes are provided for each example.

Features fingerstyle guitar arrangements in notes and tab for 13 songs from Carole King's classic ground-breaking album. Includes: Beautiful · I Feel the Earth Move · It's Too Late · (You Make Me Feel Like) A Natural Woman · Smackwater Jack · So Far Away · Tapestry · Will You Love Me Tomorrow · You've Got a Friend · more.Also includes an introduction and a selected discography.

Airs haut d'une douzaine de sensations teen internationales, disposées en notes and onglets. / Guitare Tablatures

Par HANCOFF STEVE. New Orleans Jazz est la musique américaine qui a pris le pays par la tempête et la propagation de là. Les titres comprennent : Original Dixieland en une seule étape, rêve de Mabel¹s, High Society, Folies Du Carnaval, argent facile: une sonate de Ragtime, Roberto Clemente, boutons d'oie et plus dans le Gloryland/juste un peu pendant de rester ici. Ecrit en notation standard et tablature avec notes de rendement et les accords suggérées. / Niveau : Intermédiaire / Jazz - Transcribed Solos / Tablatures / Guitare Tablatures