For all guitarists, the quest to finding the guitar tone you hear in your head and then recording it is a never-ending journey. The Ultimate Guitar Tone Handbook is your definitive guide to discovering that great, elusive guitar sound and making sure it\'s recorded well. This book features a series of interviews with expert players, guitar technicians, recording engineers, record producers, and gear manufacturers to give you an inside look into the business of guitar tone. The included DVD provides both audio and visual reference points to help you achieve the classic sounds you hear on records. / Guitare

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

Leçon ONE : KING OF BLUES moderne : b.b., ALBERT KING, FREDDIE KING et T.BONE WALKER - en analysant des échantillons tunes, Fred enseigne comment jouer licks blues électrique de single-chaîne. Vous apprendrez à plusieurs postes d'échelle et comment improviser avec eux, comment faire le vibrato ' blues ' et comment utiliser les remplir licks, les accords et les délais. LECON deux : MODERN ROCK : BLUES anglais et le HEAVY METAL - cette leçon se concentre sur the licks, échelles et jouant les styles de Eric Clapton, Van Halen, Ted Nugent et Jimmy Page - guitaristes dont le jeu directement dérive de la maîtrise de blues. Cette leçon comprend instruction à effets (distorsion, barre de vibrato, etc.), les blues et les échelles coulissantes. Leçon 3: BLUES électrique JAZZY - notre dernière leçon de la série illustre comment jazz jusqu'à la progression de 12-bar blues, comment faire varier le blues échelles avec des échelles diminuée á la Charlie Christian, comment appliquer le blues des échelles d'airs de jazz, comment ' substituer les échelles ' et les techniques spéciales utilisées par Wes Montgomery... / Guitare / 56 pages / niveau : Débutant/Intermédiaire / Partition/3-Cd Set - Format: 11,75 X 8,75

Jouez grand rocher pendant que vous apprenez à partir de l'une des méthodes de guitare les plus vénérés de tous les temps! Ces chansons correspondent directement aux leçons de la méthode moderne William Leavitt pour Guitare Vol. 1, (GS49404) le texte de base de guitare au Berklee College of Music.Soigneusement supervisé par Scotty Johnson du département guitare de Berklee, ces dispositions sont conçues pour Leavitt éprouvée approche, vous donnant la chance d'appliquer ce que vous apprenez la musique des Beatles, les Rolling Stones, les Who, Creedence Clearwater Revival, Santana et bien d'autres.Le CD d'accompagnement démontre tous les morceaux et les offres Play-along pistes pour la pratique des duos. Parmi les chansons retrouvez: Beast of Burden - Day Tripper - La Bamba - My Girl - Oye Como Va - Pinball Wizard - Smooth - Sunshine of Your Love Et Plus! / Guitare

Media Type : Book Level : Beginning-Intermediate Musical Genre : Classic Number of pages : 160 The primary aim of this book is to help the reader to understand the language of music and how it works in relation to the guitar. It is not intended as a substitute for all other lines of study, but it will provide a basic knowledge that can be expanded and developed. The reader is urged to read as wide a range of books as possible and to examine whatever music he or she possesses to identify further examples of the points discussed. The examples should be played and carefully listened to. The study of music is sterile if confined to making marks on paper, no matter how well understood intellectually; no real value attaches to a theoretical study of music unless it is directly related to aural experience and its value is reduced further if it is not related to the music of one's instrument. Contents include Musical Sounds and Their Origins, The Organization of single notes, Melody, Intervals, The Beginning of Harmony-Triads, Functional Harmony and Cadences, Primary Harmony and Cadences, Primary Triads and Substitution, Modulation and Transition, Secondary Sevenths, Other Diatonic Secondary Sevenths, The Cadential Six-four, the Dominant Ninth, Secondary Ninths, Chords of the Eleventh and Thirteenth, Chromatic Alteration of Diatonic Chords, chromatic Harmony, Remote Modulation, Pedal Points, and Steps Beyond