CHITARRA LAMPO

• SPARTITI, LIBRI DI MUSICA
    SPARTITI NOVITA'
    SPARTITI GRUPPI e PERSONALITA'
    SPARTITI ACUSTICA
    SPARTITI ACCORDATURE APERTE
    SPARTITI OPER TUNINGS/BOTTLENEK
    SPARTITI BLUES
    SPARTITI COUNTRY BLUES
    SPARTITI CLASSICA
    SPARTITI CLASSICA e...
    SPARTITI NATALE/SACRA
    SPARTITI NEO-CLASSICO
    SPARTITI FLAMENCO
    SPARTITI LATIN
    SPARTITI COUNTRY / BLUEGRASS
    SPARTITI BANJO, MANDOLINO e...
    SPARTITI BASI '50
    SPARTITI BASI '60
    SPARTITI BASI '70
    SPARTITI BASI '80
    SPARTITI BASI '90
    SPARTITI BASI '00
    SPARTITI BASI BLUES
    SPARTITI BASI COUNTRY
    SPARTITI BASI JAZZ
    SPARTITI JAZZ
    SPARTITI JAZZ METODI
    SPARTITI GYPSY JAZZ, SWING, MANOUCHE
    SPARTITI METODI PER CHITARRA
    SPARTITI PIANO E TASTIERE
    SPARTITI ROCK 'N' ROLL
    SPARTITI RHYTHM and BLUES, SOUL, DISCO, FUNK
    SPARTITI RACCOLTE '70
    SPARTITI RACCOLTE '80
    SPARTITI RACCOLTE '90
    SPARTITI RACCOLTE '00
    SPARTITI RACCOLTE FILM/TV
    SPARTITI SOLOING SCALE MODI ARPEGGI
    SPARTITI ARMONIA, ACCORDI
    SPARTITI DI TECNICA
    SPARTITI TECNICA TAPPING
    LIBRI DI ELETTRONICA
    LIBRO DI AMPLIFICAZIONE E IL SETUP
    LIBRI SUL SUONO E GLI EFFETTI
    LIBRI DI LIUTERIA
    MONOGRAFIE, BIOGRAFIE DI CHITARRISTI
    SPARTITI METODI PER BASSO
    SPARTITI METODI PER BATTERIA
    SPARTITI METODI PER ARMONICA
    LETTERATURA
• VIDEO/DVD
• CHITARRA FLAMENCO, CLASSICA, ACCESSORI

SPARTITI JAZZ

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12 - 13 - 14 - 15 - 16 - 17 - 18 - 19 - 20 - 21 - 22

0331 DI MEOLA AL, JOHN McLAUGHLIN, PACO DE LUCIA. FRIDAY NIGHT IN SAN FRANCISCO. TABLATURE OUT OF PRINT

Euro 79,00

Quantità

DI MEOLA AL, JOHN McLAUGHLIN, PACO DE LUCIA. FRIDAY NIGHT IN SAN FRANCISCO. Le 3 tremende linee di chitarra, tutte tranne "frevo rasgado". TABLATURE

Disponibilità:

0028 DI MEOLA AL, MUSIC WORD & PICTURES. TABLATURE

Euro 19,99

Quantità

DI MEOLA AL, MUSIC WORD & PICTURES.

Series: Transcribed
Artist: Al Di Meola

A collection of Al's greatest, complete with biography, discography, and complete description of Al's special techniques. 144 pages.

AL DI MEOLA

EDITORIAL NOTES
The music in this book contains transcriptions taken directly from scores and recordings of Al Di Meola. The transcriptions include the guitar lines, bass lines, and chord progressions. The tunes were chosen by Al himself, and although he would have wished to have included more music, this was impossible due to space limitation. Unfortunately, it does not contain all of AI's lengthly solo breaks written out again due to space limitation. Each tune consists of the main thematic sections fully written out, with the solo break sections being indicated by showing the basic background" riff," with repeats included.
The order of the music, as it appears in this book, has nothing to do with the level of difficulty of the music, but rather the ordet shows the chronological progression of AI's music from his first solo album to his most recent one.

Al plays most of his music very up tempo, and it sounds incredibly hard to play. But one very important discovery I made while we worked on transcribing the music to print was that once you see the music written out, it is not very hard to read. Just work on the following practice suggestions, as well as those Al gives in the section of this book entitled "Technical Talk". An added help would be to use "AI Di Meola's Picking Techniques" book available.

As everyone knows, the main elements in AI's guitar playing are speed and accuracy. Al suggests that anyone attempting to play his music practice it slowly with accuracy in both the left and right hands, and you will in time be able to play his music. In addition, the main musical element in AI's writing is the use of scales in both his thematic and solo break structures. AI's suggestion is to study the scales in all positions as an aid. Addressing yourself to these above mentioned elements of AI's playing and writing styles will help you tremendously not only in playing AI's music, but also in the writing and playing of your own music, as the elements of speed, accuracy, and scale work will broaden your musical creativity.
It is important to note that the playing positions and fingerings contained in these transcriptions are the choosing of the editor, and are not necessarily those that Al uses himself. They are those that seem most comfortable to me.
You should feel free to play the music in any position you feel comfortable with. As Al has stated many times, you should know your fretboard so well that you can play the given music in any position feasible. But for those of you who don't know your fretboard well, I felt it necessary to include one way you could play these tunes.
You should also note that the bass lines contain no fingerings or position markings, since I felt it better to leave it up to the player. Of course, keyboard players can use both lines, or play the chord changes along with the guitar line.
I do hope that you get many things from this book, but most of all I hope you have fun and enjoy it.
Music Editor

... Do you have any suggestions for how to learn these things?
I would recommend books that show the positions and ways to play them. Check out Berklee's books (Berklee Press Publications), because I know their advanced stuff to be very good; it's probably the same with their beginning books, too. I would suggest starting your scale education with the major and minor scales, and,after that, diminished, augmented, and whole-tone. Then, depending on what kind of music you ant to play, the modes should be learned. My theory about this kind of thing is that you should never stop learning.
Once you've got it you can play whatever you want, and your playing will sound more advanced, thus achieving a better understanding of the instrument.

How does this apply to the way you play now?
ell, now I know where to play on the instrument and what to do to get the sound I want. And because it comes o easily, I can play more in terms of feelings. You can spend a lifetime playing with the "thinking" process of hat scale to put against what chord. If you were to analyze my playing, you would find elements of the phrygian, dorian, mixolydian, and locrian modes etc.

Would you describe your left-hand technique?
My left.hand position is one from which all four fingers have easy access to the fingerboard. It doesn't vary much from that, because it is natural for me to use all four fingers to play my ideas. I really find it frustrating to see so man rock players using just the first and third fingers. It isn't necessarily wrong, but it is impossible for almost an one to play any kind of scale with and fluidity.

What about your picking style?
It is just normal alternating picking. Because I was taught that way from the beginning, it is very natural for me, and I really don't think about it. Sometimes I have my wrist on the bridge, and sometimes it is free-floating. And although my pick hits the string flat most of the time, it will change, depending on what sound I want.

How do you come up with the rhythms in your playing?
I guess they come from a love of drumming and Latin music. My involvement with Return To Forever also helped. Unlike a lot of electric guitarists, who play mostly lagato, I tend toward playing rhythms like a drummer or percussionist would. I try to incorporate both rhythmic, percussive lines with the more legato phrasings. A lot of the trickiness of many of my scale runs is involved with the rhythms and where the accents fall.

How do you work on these tricky runs?
It depends, because sometimes one apparently tricky passage will flow really easily, while another passage will be alot more difficult. I'll then have to sit down and work out the fingering. I usually find it best to work on passages at a slow tempo with correct rhythm.

Is there a good way to work on alternate picking?
I would suggest picking three or four notes, and working on those. Too often, players who are trying to improve their right-hand dexterity get hung up by trying to play too many notes in the left hand. I hear a lot of players running whole scales from the sixth string to the first and playing them really sloppy. So, I say to make it very basic, ing only a few notes and play slowly with perfect rhythm in time. That, in itself, is a task.

Do you work on your own picking very much now?
ell, I want to get even better. There are a lot of lines in my music that are tricky for the right hand, and I only know that I've really got it when I don't have to think about it at all. I find that going over these runs before a performance serves as a good warm-up also. I practice tricky things with skips and jumps in them, but it's always omething that I am going to be playing in the music. One thing that makes some lines tricky is their rhythm. When I'm playing something very rhythmic, I use my left and right hands to enhance different parts of the passage. For example, I mute strings a lot.

How did muting become a part of your playing technique?
It was actually very natural. When I first started taking guitar lessons, I was very self-conscious in just playing around other people. I never really wanted anyone to hear what I was doing, because I was very conscious of their pace, too. I never wanted to have people say, "What's that noise?" In those days, electric guitar was not accepted like it is today. I was very shy, so I started muting the strings with my hand to cover up the volume. Years later, I ould mute the strings as a musical effect, but only then did I realize that it had become a part of my style. ...

Al Di's Dream Theme FOR GUITAR AND BASS
Casino FOR GUITAR AND BASS
Dinner Music Of The Gods FOR GUITAR AND BASS
Egyptian Danza FOR GUITAR AND BASS
Electric Rendezvous FOR 2 GUITARS AND BASS
Elegant Gypsy Suite FOR GUITAR AND BASS
Lady Of Rome, Sister Of Brazil FOR 2 GUITARS
Land Of The Midnight Sun FOR GUITAR AND BASS
Midnight Tango FOR GUITAR AND BASS
Morning Fire FOR GUITAR AND BASS
Race W/Devil On Spanish Highway FOR GUITAR AND BASS
Ritmo De La Noche FOR GUITAR AND BASS - TABLATURE
Passion, Grace & Fire FOR 2 GUITARS TABLATURE, PACO de LUCIA and AL DI MEOLA - TABLATURE

Disponibilità:

3747 AL DI MEOLA, PICKING TECHNIQUES. TABLATURE

Euro 9,99

Quantità

DI MEOLA AL, PICKING TECHNIQUES. Vari esempi di alternate picking. 32 pagine senza TABLATURE

Al Di Meola's Picking Techniques
Series: Instructional
Publisher: 21st Century Publications
Artist: Al Di Meola

An insightful and helpful book written by Di Meola on his own personal technique of guitar playing. Includes exercises and excerpts from his music, which act as a step-by-step guide to help the guitar student play better. 32 pages

Produced: John Cerullo
Inventory #HL 00604044
ISBN: 9780793510184
UPC: 073999040449
Width: 9.0"
Length: 12.0"
32 pages

My main purpose in writing this book on picking technique is to help guitar players develop speed and accuracy in their playing while developing their own musical goal. By doing this, the guitarist is better able to hear, play and write creatively for the guitar. Many of today's guitar players, particularly rock guitar players, are limiting themselves. By not learning speed, accuracy, and scale work, they have no chance to develop a variety of styles, tempos or other important musical elements. In order to be an effective and creative player today, a guitarist must learn the entire fretboard in a scale-wise fashion and be able to do it with speed and accuracy. An added help would be to listen to lots of different styles of music, not just top 40. This book has been simply structured for ease of use and accessibility to every guitarist who wishes to develop his picking technique. The real secret to it all is to practice a lot and to start slowly, gradually building speed, while always playing as clearly and accurately as possible. The main thing is to work hard on repetitive rhythms-it's the only way to improve. The outline of the book follows the development of alternate picking: first single string alternating, then work on repeated upstrokes, alternate picking on adjacent strings, and finally alternate picking skipping strings. These different elements of picking and some variations will all .be demonstrated by the use of exercises, scales, folk songs, and excerpts from my own tunes. An explanation of my muting technique is also covered. The excerpts from my own music include bass lines and chord changes for anyone who wishes to play with a friend or teacher. The left hand fingerings are those suggested by the editor and not necessarily my own. Full transcriptions of the tunes used in this book can be found along with other tunes of mine in my book, Al Di Meola, Music/Words/Pictures. I hope you wotk. hard and enjoy the book.

Al Di Meola

CONTENTS

Foreword
MutingTechnique
Alternate Picking
Right Hand Position
Articulation
Alternate Picking on Single String
Alternate Picking on Adjacent Strings
Alternate Picking on Single and Adjacent Strings
Alternate Picking on Easy Skips
Alternate Picking on Chords
Summary of Technique. Learned So Far
Alternate Picking on Melodic Skips
Alternate Picking on Scales, Skips, and Chord.
More Advanced Alternate Picking on Adjacent Strings
Further Skips with Step-WileBrew
Double Note Picking
"Tarantella" Revilited
Chordal Strumming
Excerpt from "PASSION, GRACE & FIRE" TABLATURE GUITAR I AL, GUITAR II PACO - TABLATURE

ESEMPI DA :

CASINO'
ELEGANT GYPSY SUITE
RACE WITH DEVIL ON SPANISH WIGHWAY
EGYPTIAN DANZA
ELECTRIC RENDEZVOUS

Disponibilità:

3797 DI MEOLA AL, PRESENTS THE ULTIMATE FIRST GUITAR BOOK.

Euro 6,00

Quantità

DI MEOLA AL, PRESENTS THE ULTIMATE FIRST GUITAR BOOK.

Bob Aslanian. A beginner's guitar book that guides you through the basics in a clear, easy-to-understand manner. Learn everything that you need to know to begin playing the guitar using a simple ten-step method plan. Includes illustrative photos and diagrams.

Disponibilità:

1572 DI MEOLA AL, SOLOS. TABLATURE

Euro 18,00

Quantità

DI MEOLA AL, SOLOS. Contiene esempi da: Andonea -the embrace -global safari -indigo -kiss my axe -last tango for Astor -Mediterranean sundance -Morocco -one night last June -parrada -passion, grace & fire -ritmo de la noche -scenario -sequencer -song with a view -traces of tear -vistaero. TABLATURE

Series: Guitar School
Publisher: 21st Century Publications
Artist: Al Di Meola

This exploration of DiMeola's music includes transcribed solos and lessons and 17 songs:

Andonea
The Embrace
Global Safari
Indigo
Kiss My Axe
Last Tango For Astor
Mediterranean Sundance
Morocco
One Night Last June
Parranda
Passion, Grace & Fire
Ritmo De La Noche
Scenario
Sequencer
Song With A View
Traces Of A Tear (Di Meola)
Vistaero

96 pages

Disponibilità:

5849 MCLAUGHLIN JOHN, AND THE MAHAVISHNU ORCHESTRA.

Euro 26,00

Quantità

MCLAUGHLIN JOHN, AND THE MAHAVISHNU ORCHESTRA. NO TABLATURE

152 pages.
CATEGORY: Guitar Personality
FORMAT: FULL Score

John McLaughlin and the Mahavishnu Orchestra was the most influential band of the 1970s fusion jazz movement. Fresh from turning the jazz world upside down on Miles Davis' immortal In a Silent Way, John McLaughlin teamed with Jan Hammer, Rick Laird, Billy Cobham, and Jerry Goodman to form the Mahavishnu Orchestra, an amazing fusion of jazz, blues, rock and Indian music.

This book contains John's own "miniature scores" to 28 classic Mahavishnu songs. Titles:

Includes the Following Selection:
Title Composer

A LOTUS ON IRISH STREAMS

AWAKENING

BE HAPPY

BIRDS OF FIRE

CELESTIAL TERRESTIAL COMMUTERS

DAWN

DREAM

EARTH SHIP

ETERNITY'S BREATH

FAITH

HOPE

IF I COULD SEE

LILA'S DANCE

MEETING OF THE SPIRITS

MILES BEYOND

NOONWARD RACE

ON THE WAY HOME TO EARTH

ONE WORD

OPEN COUNTRY JOY

OPUS I

PASTORAL

RESOLUTION

SANCTUARY

SAPPHIRE BULLETS OF PURE LOVE

THE DANCE OF MAYA

THOUSAND ISLAND PARK

VITAL TRANSFORMATION

YOU KNOW, YOU KNOW

Disponibilità:

1060 DIORIO JOE, FUSION GUITAR. CD

Euro 18,00

Quantità

DIORIO JOE, FUSION GUITAR. CD

Joe Diorio constructs 16 modern and ultra-modern jazz guitar solos over eight classic jazz chord progressions. Each solo is jammed full of inventive licks and patterns to use as building blocks and jumping-off points for creating dynamic jazz guitar solos. Comping patterns and chord voicings are included.

Disponibilità:

1061 DIORIO JOE, GIANT STEPS, study of Coltrane's classic. CD TABLATURE

Euro 19,50

Quantità

DIORIO JOE, GIANT STEPS, study of Coltrane's classic. CD TABLATURE

(An In-Depth Study Of John Coltrane's Classic) By Joe Diorio, composed by John Coltrane, edited by Aaron Stang. Guitar tablature songbook and examples CD for guitar. 50 pages. With guitar tablature, standard notation, chord names and guitar chord diagrams. Jazz.
In this book, the legendary Joe Diorio takes you through John Coltrane's classic (and very challenging) improvisation vehicle 'Giant Steps.' This in-depth study includes 17 single-note solos, II-V patterns, substitution principles for both comping and soloing, and eight complete chord-melody solos utilizing a variety of harmonization techniques.

Disponibilità:

3545 DIORIO JOE, JAZZ BLUES STYLES. CD TABLATURE

Euro 19,00

Quantità

DIORIO JOE, JAZZ BLUES STYLES. CD TABLATURE

Product Description:
Jazz Blues Solos presents guitar solos in the styles of Charlie Parker, Thelonius Monk, Sonny Rollins, and other jazz blues greats. Within the context of the blues, this book teaches: styles of jazz blues; jazz ideas, phrases, and licks; jazz syncopation, the rhythmic language of jazz; jazz phrasing, the breath of jazz; how to use the triplet, altered chords, and slash chords; how to reharmonize the blues; a new innovative vocabulary of jazz chord sequences; how to use fragments of the chords to outline the harmony and create interesting new sounds; and how to play walking bass lines with chords. Joe Diorio's "Right Brain Guitarist(R)" approach helps to direct your playing with your intuitive sense as opposed to your logical sense. The accompanying CD will help convey the subtle nuances of the music.

Format: Book/CD Set

Introduction
Introduction to Solos
Solo 1: Sonny's Blues
Solo 2: Sonny's syncopated blues
Solo 3: Altered chord blues
Solo 4: Bird and Sonny Blues
Solo 5: Monk s Blues
Solo 6: The Bluesy Blues
Solo 6: The Bluesy Blues (cont.)
Solo 7: Bird Blues
Solo 8: Parkers New Blues
Solo 9: Two Note Blues
Solo 10: Flat Five Blues
Solo 11: Octaves a la Wes Blues
Solo 12: Comping Blues
Solo 13: The Low Strings Blues
Solo 14: Accompany Yourself Blues
Solo 15: Walking Bass with Chords Blues
Solo 16: The Walking Bass Bird Blues
Blues for All Space Cadets
Introduction to Chord Examples and Progressions Blues Progressions
Chord Example 1
Chord Example 2
Chord Example 3
Chord Example 4
Chord Example 5
Chord Example 6
Chord Example 7
Chord Example 8
Chord Example 8 (cont.)
Chord Example 9
Chord Example 10
Chord Example 11
Chord Example 12
Chord Example 13
Chord Example 14
Chord Example 15
Chord Example 16
Right Brain Guitarist Study Guide
Cultivating a Creative Environment
Gesture Improvising
Practicing Without the Instrument
Take a Risk a Day
Keeping Yourself Inspired Seven Days a Week
Other Books and CDs by Joe Diorio

Disponibilità:

3281 DIORIO JOE, JAZZ STRUCTURES FOR THE NEW MILLENIUM. CD TABLATURE

Euro 26,00

Quantità

DIORIO JOE, JAZZ STRUCTURES FOR THE NEW MILLENIUM. CD TABLATURE

Product Description:
Joe Diorio is an accomplished guitarist and composer as well as a respected music educator. In this book he combines his skills to present innovative "intervallic designs" for the guitar. Written in standard notation and tab, these linear, often 12-tone flavored studies reflect Diorio's jazz roots and compositional mastery. Due to the harmonic ambiguity of these lines, the author recommends an experimental approach in applying these examples in various melodic and harmonic settings. The companion stereo CD features Diorio's performance of each of the 96 studies in the book.

Format: Book/CD Set

Credits, About the Author, and Copyright Information
Introduction from Joe Diorio
II-V Patterns
Overview of Chord Substitutions
II-V-I Substitution Examples
Chord Substitutions for Dm7, G7, Cmaj7
Overview of 4th and 5th shapes
4th and 5th Chord Shapes for Lines and Comping
4th and 5th Shapes for Lines
Overview of Remaining Lines and Arpeggios
II-V-I
Evolution Jazz I
Cmaj7b5 Lines -- In and Out
12-Tone Patterns
Cm7
Altered Dominants
More 12-Tone Patterns
Evolution Jazz II
Overview of Original Compositions
Monk-ing
Blues for All Space Cadets

Disponibilità:

CHITARRA LAMPO