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4859 ROCK CHOPS FOR GUITAR, technique exercises for the aspiring guitarist, Tobias Hurwitz. CD

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ROCK CHOPS FOR GUITAR, technique exercises for the aspiring guitarist, Tobias Hurwitz. CD TAB.
stretching the fingers
alternate picking
economy picking
sweep picking
mixing sweep picking and alternate picking
tremolo picking
pentatonic riffs and concepts
scale sequencing
single-string concepts
double stops
harmonized leads
finger tapping
whammy bar techniques
legato
long scales
exotic scales
harmonics, pinch harmonics
string skipping
arpeggio etudes
the flight of the bumble bee (il volo del calabrone)
scale forms

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5611 GUITAR FOR DUMMIES (2ND EDITION). CD-ROM. TAB.

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GUITAR FOR DUMMIES (2ND EDITION). CD-ROM. TAB.

This newly updated guide offers expanded coverage on musical styles from blues to rock as well as a new chapter devoted to jazz. Guitar for Dummies 2E features new practice techniques -- from scales to full pieces. Guitar for Dummies 2E also includes updates to charts, illustrations, photos and resources. Guitar for Dummies 2E features updates on tuning as well as the latest information on buying a guitar and accessories. Plus an all-new interactive CD allows readers to listen, learn, tune, and play along. Perfect for beginner to intermediate guitar players seeking step-by-step advice and tips to play the guitar.

Introduction
About This Book
Finding a guitar
Playing the guitar
Caring for your guitar
Not-So-Foolish Assumptions
What You're Not to Read
Conventions We Use in This Book
How This Book Is Organized
Part I: So You Wanna Play Guitar
Part II: So Start Playing: The Basics
Part III: Beyond the Basics: Staring to Sound Cool
Part IV: A Cornucopia of Styles
Part V: Purchasing and Caring for Your Guitar
Part VI: The Part of Tens
Part VII: Appendixes
Icons Used in This Book
Where to Go from Here

Part I: So You Wanna Play Guitar

Chapter 1: Guitar 101
Anatomy of a Guitar
How Guitars Work
String vibration and string length
Using both hands to make a sound
Frets and half steps
Pickups

Chapter 2: Turn On, Tune In
Counting on Your Strings and Frets
Everything's Relative, Einstein: Tuning the Guitar to Itself
The fifth-fret method
In Deference to a Reference: Tuning to a Fixed Source
Taking a turn at the piano
Tuning your guitar with a pitch pipe
Sinking your teeth into the tuning fork
Experiencing the electronic tuner
Using your CD

Chapter 3: Ready, Set . . .Not yet: Developing the Tools And Skills to Play
Hand Position and Posture
Settling in to a sitting position
Standing position
Left-hand position: Fretting made easy
Right-hand position
You Don't Have to Read Music to Understand Guitar Notation
Getting by with a little help from a chord diagram
Reading rhythm slashes
Taking a look at tablature
How to Play a Chord
Fingering a chord
Avoiding buzzes

Part II: So Start Playing: The Basics

Chapter 4: The Easiest Way to Play: Basic Major and Minor Chords
Playing Chords in the A Family
Fingering A-family chords
Strumming A-family chords
Playing Chords in the D Family
Fingering D-family chords
Strumming D-family chords
Playing Chords in the G Family
Fingering G-family chords
Strumming G-family chords
Playing Chords in the C Family
Fingering C-family chords
Strumming C-family chords
Playing Songs with Basic Major and Minor Chords
Having Fun with Basic Major and Minor Chords
The "Oldies" Progression

Chapter 5: Playing Melodies without Reading Music!
Reading Tablature While Listening to the CD
Top or bottom?
Right or left?
Getting a Grip on Left-Hand Fingering
Using Alternate Picking
Playing Songs with Simple Melodies

Chapter 6: Adding Some Spice: Basic 7th Chords
Dominant 7th Chords
D7, G7, and C7
E7 and A7
E7 (four-finger version) and B7
Minor 7th Chords - Dm7, Em7, and Am7
Major 7th Chords - Cmaj7, Fmaj7, Amaj7, and Dmaj7 Playing Songs with 7th Chords
Fun with 7th Chords: The 12-Bar Blues
Playing the 12-bar blues
Writing your own blues song

Part III: Beyond the Basics: Staring to Sound Cool

Chapter 7: Playing Melodies in Position and in Double-Stops
Playing in Position
Playing in position versus playing with open strings
Playing exercises in position
Shifting positions
Building strength and dexterity by playing in position
Double-stops
Understanding double-stops
Playing exercises in double-stops
Playing Songs in Position and in Double-Stops

Chapter 8: Stretching Out: Barre Chords
Playing Major Barre Chords Based on E
Finding the right fret
Playing progressions using major barre chords based on E
Playing Minor, Dominant 7th, and Minor 7th Barre Chords Based
on E
Minor chords
Dominant 7th chords
Minor 7th chords
Playing Major Barre Chords Based on A
Fingering the A-based major barre chord
Finding the right fret
Progressions using A-based major barre chords
Playing Minor, Dominant 7th, Minor 7th, and Major 7th Barre
Chords Based on A
Minor Chords
Dominant 7th chords
Minor 7th chords
Major 7th chords
Wailing on Power Chords
Fingering power chords
How you use power chords
Playing Songs with Barre Chords and Power Chords

Chapter 9: Special Articulation: Making the Guitar Talk
Getting the Hang of Hammer-Ons
Playing a hammer-on
Getting idiomatic with hammer-ons
Getting Playful with Pull-Offs
Playing pull-offs
Getting idiomatic with pull-offs
Getting Slippery with Slides
Playing slides
Playing idiomatic licks using slides
Getting the Bends
Playing bends
Getting idiomatic with bends
Varying Your Sound with Vibrato
Getting Mellow with Muting
Creating a thick, chunky sound as an effect
Preventing unwanted string noise
Playing idiomatic licks by using muting
Playing a Song with Varied Articulation

Part IV: A Cornucopia of Styles

Chapter 10: Rock
Classic Rock'n'Roll
Rhythm guitar
Lead guitar
Modern Rock
Sus and add chords
Slash chords
Alternate tunings
Country-rock and Southern-rock lead
Playing Songs in the Rock Style

Chapter 11: Blues
Electric Blues
Blues rhythm guitar
Blues lead guitar
Acoustic Blues
General concepts
Specific techniques
Turnarounds
Playing Blues Songs

Chapter 12: Folk
Playing Fingerstyle
Fingerstyle technique
Right-hand position
Using the Capo
Arpeggio Style
Playing arpeggio style
"Lullaby" pattern
Thumb-Brush Style
Simple thumb-brush
Thumb-brush-up
Carter Style
Travis Picking
Playing the pattern
Accompaniment style
Solo style
Open tuning
Playing Folk Songs

Chapter 13: Classical
Getting Ready to Play Classical Guitar
How to sit
The right hand
Left-hand position
Free Strokes and Rest Strokes
Playing free strokes
Playing rest strokes
Arpeggio Style and Contrapuntal Style
Combining free strokes and rest strokes in arpeggios
Point/counterpoint
Playing Classical Pieces

Chapter 14: Jazz
Introducing a Whole New Harmony
Extended chords
Altered chords
Rhythm Comping
Inside chords
Outside chords
Full chords
Playing Solo: Chord-Melody Style
Making substitutions
Faking it with three chords
Taking the Lead: Jazz Melody
Scales with altered tones
Approaching target notes
Making melodies from arpeggiated chords
Playing Jazz Songs

Chapter 15: Perfectly Good Guitars
Before Breaking Out Your Wallet Beginner Guitars
Models for a Particular Style
The Second (And Third…) Guitars
Construction
Materials
Workmanship
Appointments (cosmetics)
Buying an Ax to Grind
Bringing along an expert
Meeting the salesperson
The art of the deal

Chapter 16: Guitar Accessories
Amps
Getting started with a practice amp
Powering up to a performance amp
A Case for Cases
Hard cases
Soft cases
Gig bags
Capos
Effect Pedals and Devices
Picks
Strings
Straps
Electronic Tuners
Some Other Helpful (But Nonessential) Goodies

Chapter 17: Getting Strung Along: Changing Strings

Restringing Strategies
Removing Old Strings
Stringing a Steel-String Acoustic Guitar
Changing strings step-by-step
Tuning up
Stringing Nylon-String Guitars
Changing strings step-by-step
Tuning up
Stringing an Electric Guitar
Changing strings step-by-step
The Special case of the Floyd Rose bridge

Chapter 18: Staying Fit: Basic Maintenance and Repairs

Cleaning Your Guitar
Removing dirt and grime
Caring for the finish
Protecting Your Guitar
On the road
In storage
Providing a Healthy Environment
Temperature settings
Humidity
Do-It-Yourself Repairs
Tightening loose connections
Adjusting the neck and bridge
Replacing worn or old parts
Having the Right Tools
Ten Things That You Can't Do Yourself

Part VI: The Part of Tens

Chapter 19: Ten Guitarists You Should Know
Andres Segovia (1893-1987)
Charlie Christian (1916-42)
Chet Atkins (1924-2001)
Wes Montgomery (1925-68)
B.B. King (1925-)
Chuck Berry (1926-)
Jimi Hendrix (1942-70)
Jimmy Page (1944-)
Eric Clapton (1945-)
Eddie Van Halen (1955-)
Guitarists Who May Be on Someone Else's Top Ten List

Chapter 20: Ten Guitars You Should Know
D'Angelico Archtop
Fender Stratocaster
Fender Telecaster
Gibson ES-335
Gibson J-200
Gibson Les Paul
Gretsch 6120
Martin D-28
Ramirez Classical
Rickenbacker 360-12

Part VII: Appendixes

Appendix A: How to Read Music
The Elements of Music Notation
Reading pitch
Reading duration
Expression, articulation, and miscellaneous terms and
Symbols
Finding Notes on the Guitar

Appendix B: 96 Common Chords

Appendix C: How to Use the CD

Relating the Text to the CD
Count-offs
Stereo separation
System Requirements
Audio CD players
Computer CD-ROM drives
Using the CD with Microsoft Windows
Using the CD with Mac OS
What You'll Find on the CD
CD audio tracks
Digital music
Troubleshooting

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4887 ROCK GUITAR FOR DUMMIES. CHAPPELL. CD

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ROCK GUITAR FOR DUMMIES. Chappell. CD TAB.

Description:
Whether you're contemplating a career as a heavy metal superstar or you just want to jam with friends, this friendly book/CD package makes it easy to master the fundamentals of rock guitar. From simple chord progression to smokin' rock riffs, Rock Guitar for Dummies delivers just what you need to get down and groove! Learn to strum power chords and rhythm figures, improve solos and play lead guitar, play licks, from rockabilly to rap rock, explore the mechanics of guitars, amps, and effects, care and maintain all your gear. Play-along companion CD includes blues and early rock-based lead passages, a variety of rock styles, including classic rock, heavy metal, southern rock, and progressive rock, rock licks using techniques such as hammer-ons, pull-offs, bends, slides and more!

Product Number: 0764553569
Format: Book/CD Set
ISBN: 0764553569
UPC: 785555061064
ISBN13: 9780764553561
Series: Dummies
Publisher: Wiley Publishing, Inc.
384 PAGES

Contents:
Foreward
Introduction
About This Book
Not-So-Foolish Assumptions
Conventions Used in This Book
How This Book Is Organized
Part I: So You Wanna Be a Rock-and-Roll Star
Part II: Basic Playing Techniques
Part III: Beyond the Basics: Sounding Like a Rock and Roller
Part IV: Master Different Rock Styles
Part V: Becoming a Gearhead
Part VI: The Part of Tens
Appendix
Bonus Web Chapter
Icons Used in This Book
Where to Go from Here

Part I: So You Wanna Be a Rock-and-Roll Star

Chapter 1: It's Only Rock Guitar. . . But I Like It
Differentiating Between Rock and Acoustic Guitar. . .It
Ain't Just Volume
Sound quality, or timbre
Signal
Distortion and sustain
Oh yes, and volume
Listening examples
Knowing the Essentials: The Power Trio
The electric guitar
The amplifier
Effects
Getting a Grasp on How Electric Guitars Work
String vibration and pitch
Tension vs. length
Your hands
Pickups and amplification
Accessorizing Your Guitar
Picks
Straps
Cords
Tuners

Chapter 2: Holding Your Own
Getting a Hold of the Guitar
Sitting position
Standing position
Forming a Left-Hand Position
Fretting
Getting some action

Striking a Right-Hand Position
Playing with a pick
Using your fingers

Gearing Up to Tune Up: Electric Tuners
What they are
How they work
Looking at Music Notation: Not Enough to Hurt
Reading chord diagrams
Reading rhythm slashes
Reading tablature
Making Music: How to Play a Chord
Fingering a chord
Strumming a chord

Chapter 3: The Other Half: The Guitar Amp
Discovering How Amps Work
Following the Signal Chain
Preamp
Tone controls
Effects
Power amp
Taking a Guided Tour of the Amp
Boxing It In: The Cabinet
Taking Control: The Control Panel
Channel inputs
Preamp and power amp controls
Tone controls
Amp effects
Making a Graceful Exit
Speaker out
Headphone out
Direct out
Effects loop
Power amp in
Various other "holes"
Sounding Out: The Speaker
Plugging In and Turning On
Safety first
The six-step program
Getting a Sound
Setting the controls
Channel switching
Making Do If You Don't Have an Amp
Plugging into a home stereo or boom box
Headphone amps
Demystifying the Gizmology

Part II: Basic Playing Techniques

Chapter 4: What the Left Hand Is Doing: Chords
You Gotta Have Chords
Playing Open-position Chords
Putting Power Chords into Play
Moving power chords
Pulling the power together
Getting Behind the Barre
Getting a grip on barre chords
Playing E-based barre chords
Moving the E-form barre chord around the neck
Other E forms: Minor, dominant 7, minor 7, and 7sus
Playing A-based barre chords
Moving the A-form barre chord
A forms: Minor, dominant 7, minor 7, 7sus, and
Major 7

Chapter 5: The Right Stuff: Right-Hand Rhythm Guitar
Techniques
Strumming Along
Downstrokes
Upstrokes
Combining downstrokes and upstrokes
Mixing Single Notes and Strums
The pick-strum
Boom-chick
Moving bass line
Disrupting Your Sound: Syncopated Strumming
Syncopated notation: Dots and ties
Playing syncopated figures
Giving Your Left Hand a Break
Left-hand muting
Implying syncopation
Suppressing the Right Hand
Right-hand muting
Breaking Out of the Chord Box: Left-hand Movement within a
Right-hand Strum
Giving Your Fingers Some Style
Getting Into Rhythm Styles
Straight-four feel
Two-beat feel
16-feel
Heavy metal gallop
Three feel

Chapter 6: The Leading Edge: Introduction to Lead Rock
Guitar
Taking the Lead
Holding the Pick
Attacking the Problem
Striking the Downs and Ups of Lead Playing
Playing Single Notes
Single-note technique
Alternate picking in downstrokes and upstrokes
Playing melodies across strings
Scales
Skips
Combining steps and skips
Starting at the Bottom: Low-Note Melodies
Going to the Top: High-Note Melodies
Playing in Position
Open position
Moveable, or closed, position
Getting in Tune with Lower Register Riffs
Making It Easy: The Pentatonic Scale
Playing the Pentatonic Scale: Three Ways to Solo
Pentatonics over a Major key
Pentatonics over a minor key
Pentatonices over a blues progression
Improvising Leads
A Final Note

Chapter 7: Groovin' on Riffs
Getting Your Groove On: Basic Riffs
Half- and whole-note riffs
Eighth- and quarter-note riffs
16th-note riffs
Eighth-note syncopation
Playing Two Notes Can be Better than One: Double-Stops
Combining Single-Note Riffs and Chords
Discovering Your Own Style

Part III: Beyond the Basics: Sounding Like a Rock and Roller

Chapter 8: Playing Up the Neck
Beyond Open Position: Going Up the Neck
Choking up on the neck
Playing double-stops on the move
Playing Closed-position Lead Patterns
Playing in Position
Positions defined
A firm position
Using the Moveable Pentatonic Scale
Staying at home position
Going above home position
Dropping below home position
Moving between positions
Seeking Out the Five Positions of the Pentatonic Scale
Changing Your Position
Licks the transport
From the depths to the heights
Knowing Where to Play
Associating keys with positions
Placing positions
Putting the five positions into play

Chapter 9: Playing Expressively: Making the Guitar Sing
Bringing Down the Hammer-ons
Having Pull with Pull-offs
Slippin' into Slides
Bending to Your Will
Bend and release
Pre-bend
Sounding a Vibrato That Makes You Quiver
Adding Spice Through Harmonics
Passing the Bar Exam
Putting It All Together

Part IV: Mastering Different Rock Styles

Chapter 10: Rock and Roll: The Early Years
It Don't Mean a Thang If It Ain't Got That Twang
Sending R&B Mainstream: Bo Diddley
Giving Rock a Texas Twang: Buddy Holly
Bringing Doo-Wop Up Front
I-vi-ii-V: 12/8
I-vi-IV-V: Straight-eighth feel
I-vi-ii-V: Shuffle
Combining Country and Blues: Rockabilly Rhythm
Creating Rock and Roll Guitar Style: Chuck Berry
Surf's Up
The British Are Coming, The British Are Coming
The Beatles' "I Saw Her Standing There"
Melodic riffing a la the Beatles
Low- and high-note riffing

Chapter 11: The Golden Age of Classic Rock
Playing Advanced Riffs and Rhythm Figures
Riff-based rhythm figure
Chord-based rhythm figure
Studying the Classics: Classic Rock
The British Invasion
The Blues break through
Latin rock: Carlos Santana
Southern rock
Later blues influence: Stevie Ray Vaughan
Neo-classic rock: Aerosmith
Fusing Country and Rock Lead Styles: The Eagles
Going to the Edge: U2's Guitarist Brings Epic Textures

Chapter 12: Heavy Metal
Bring on the Metal
Black Sabbath's skull-crushing riffs
Ritchie Blackmore's baroque blast
Making Rock Stars: The Arena-Rock Era
KISS my axe!
Boston's FM-friendly riffs
Van Halen's sonic revolution
Angus Young's bar-room crunch
Introducing the Euro-Metal Invasion
Putting Fans in the Stands: Heavy Metal Hits the '80s
Randy Rhoads's metal attack
Yngwie Mamsteen, the Swedish speed demon
Metallica's thrashing riffs
Raging into the New Millennium
Dimebag Darrell's speed-metal frenzy
Alice in Chains
Korn-ography

Chapter 13: Progressive Rock and Jazz-Rock Fusion
Welcoming the First Wave of Progressive Rock
Just say Yes: Steve Howe's eclectic mastery
The spectral guitar of Genesis
Fripp's trip
Pink Floyd's space blues
Acoustic art-rock: Emerson, Lake & Palmer
Joining Two Rock Styles: Progressive Meets Heavy Metal
Into the limelight with Alex Lifeson of Rush
Songs from the wood: The riffs of Jethro Tull
Hitting the Charts with Jazz Rock
Steely Dan's elegant jazz-pop
The soulful jazz of George Benson
Pat Metheny's sophisticated jazz-pop
Toto's Steve Lukather: Rock monster
Looking at the Legends of Jazz-Rock Fusion
Pure virtuosity: John McLaughlin and Al Di Meola
Jeff Beck's jazz comeback

Part V: Becoming a Gearhead

Chapter 14: Gear Lust: Assembling Your Dream Rig
Getting What You Want Out of a Guitar
Checking out the body
Testing the neck and fingerboard
Tuning into the hardware
Trying out the pickups and electronics
Deciding among guitar variations
Choosing the Perfect Amp to Give Your Guitar Life
Configurations and features
Key features
Putting It All Together

Chapter 15: Wild and Crazy Sounds: Effects
Identifying Effects
Choosing an Effects Format
Stompboxes
Floor-mounted multi-effects
Rack-mounted effects
Built-in effects
Coming to Terms
Processing Gain-based Effects: Overdrive, Distortion, and
Fuzz
Overdrive
Distortion
Fuzz
Tuning It Up, or Down: Dynamic Effects
Compressors
Gates
Playing by Ear: Tone-based Effects
EQ
Filters
Getting Volume under Control: Other Volume Effects
Volume pedal
Tremolo
Making a Change: Modulation Effects
Chorus
Flanger
Phase shifter/phaser
Rotating speaker or Leslie
Pitch shifters and octave dividers
Putting Your Sound in Context: Ambient Effects
Delay or echo
Reverb
Designing a Signal Path
Organizing Your Effects: Pedalboards

Chapter 16: The Care and Feeding of Your Electric Guitar
Using the Tools of the Trade
The basics
Power user tools
Changing Strings
Choosing the right strings
Removing the old strings
Putting on the new strings
Cleaning the Part of Your Guitar
The strings
The body, fingerboard, and hardware
The frets
The electronics
Optimizing Your Guitar's Performance: The Setup
Warning signs
Bridge spring tension
Fixing minor wiring problems
Repairing Amps and Effects
Replacing the fuse
Cleaning and replacing the tubes
Speakers
Troubleshooting Guide
Storing Your Guitar

Part VI: The Part of Tens

Chapter 17: Ten Rock Guitarists Who Changed History
Chuck Berry
Eric Clapton
Jimi Hendrix
Jeff Beck
Jimmy Page
Eddie van Halen
Stevie Ray Vaughan
Eric Johnson
Steve Vai
Kurt Cobain

Chapter 18: Ten Must-Have Rock Guitar Albums
The Beatles, Rubber Soul (1965)
The Jimi Hendrix Experience, Are You Experienced? (1967)
Led Zeppelin, Led Zepellin II (1969)
The Who, Who's Next? (1971)
The Rolling Stones, Exile on Main Street (1972)
Jeff Beck, Blow by Blow (1975)
Van Halen, Van Halen (1978)
Joe Satriani, Surfing with the Alien (1987)
Metallica, Metallica (The Black Album) (1991)
Korn, Issues (1999)

Chapter 19: Ten Classic Guitars
Fender Telecaster
Gibson Les Paul
Fender Stratocaster
Gibson ES Series
Gibson Flying V
Mosrite Ventures Model
Rickenbacker 360/12
Ibanez Iceman
"Super Strats"
Paul Reed Smith
Appendix
Index

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5646 TEACH YOURSELF TO PLAY GUITAR, ELECTRIC GUITAR SONGBOOK. CD TAB. 2009

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TEACH YOURSELF TO PLAY GUITAR, ELECTRIC GUITAR SONGBOOK. CD TAB.

Series: Guitar Book
Medium: Softcover with CD
Artist: Various

Learn how to play guitar using eight great songs and a CD featuring demo and play-along tracks. Songs:

All The Small Things
Fun, Fun, Fun
A Hard Day's Night
Smells Like Teen Spirit
Summer Of '69
Sweet Home Chicago
What I Like About You
Wonderful Tonight

56 PAGES

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2430 ROCK GUITAR STYLES, Mike Ihde. BERKLEE. CD

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ROCK GUITAR STYLES. BERKLEE, Mike Ihde.

Metodo per solista e ritmica con marcati esempi di musica hard rock, metal, funk, blues ecc. . CD

Mike Ihde, Guitar
Peter Olson, Bass
Bob Harsen, Drums

FOREWORD
This book is written for all guitarists, professional or not, who realize the importance of being versatile on their instrument. If you plan to make a living as a working guitarist, sooner or later whether you like it or not, you'll be called upon to play some kind of Rock and Roll. This is why I've tried to cover what I think are the most valuable and enduring styles of rock. There may be only an example or two for each topic, but if you can play it exactly as written, with the right sound or gadget, I know you'll sound authentic. Hopefully, you'll find this book to be a short cut in learning rock lead or rhythm. You will need a certain amount of reading skills to handle it all, but I'm sure the results of your practice will be worth the struggle. Not all of the examples are recorded, but each one I chose demonstrates a particular technique that you must be able to imitate. All examples that have been recorded are indicated by a large star"* . I've been teaching the styles shown in this book in my Rock Guitar Styles Workshop at Berklee over the past few years with excellent results. Start anywhere in the book you want, but learn each style completely before going on. Most of all, try to learn why each style is different from the other, this way you'll be able to create your own licks instead of copying someone elses. The recordings are included because no matter how well you read, you won't be able to achieve the right feel unless you hear it

H. RIGHT HAND HAMMERING
Here's a new twist on bending that will add a great deal to the licks you already know. You know how to playa hammer when using your left hand. Well, this technique is the same except for the fact that the hammer is done with your right hand .. Use your right hand's middle finger and sharply nail it down anywhere on a string. You should hear a note just as you would have had you done it with your left hand.
It will definitely take a while to build up the strength and accuracy necessary for this technique but it'll be worth it. Now, try a bend with your left hand. Let's say G to A on the second string. While the note is bent up to A, hammer on your right hand's middle finger on the 13th fret. This will produce the note D. Now, keep your right hand's D helci.down while you release the bend in your left hand. You should hear that D go down to C. All right hand hammers are indicated with a star*.

Standard Notation
The string bending notation is my own, but the following notations are standard in all forms of music. THE SLUR: A curved line connecting two notes of different pitch, tells you not to attack the second note. For a horn player this would mean not to tongue the second note. For the guitar player it means not to pick the second note. The only way this can be done is by hammering on or pulling off . Beat one of measure one uses a hammer on. Pick only the first note(E~) and drop your third finger sharply on the string to produce the F. Between the "and" of three and beat four, pick only the F and ...

Early Rock
Ballads and Up Tempo Styles When rhythm and blues was discovered by white artists like Elvis, and mixed with the country music of the day, the result was Rock and Roll. In July of 1955 when "Rock around the clock" hit the number one spot on Billboards top 40 charts, a new era of music began. In 1956, Dean Martin and Nelson Riddle were riding high on the charts when Elvis released "Heartbreak Hotel". In the same year he had four more No.1 hits with "Hound Dog", "Don't be Cruel", "Love Me Tender" and "Any Way You Want Me". From then on, rock and roll was in full swing. Because of the roots rock had in country and blues, the chord progressions were always simple. The old "three chord special" was the rule in almost all the hits. This simplicity was probably the main·reason that thousands of kids decided to take up guitar and bass. Almost anybody could figure out a C, F and G chord on the guitar. Soon, every town had at least five or ten bands trying to get gigs at the high school dances. (Ah yes, I remember it well!) Most tunes were either slow ballads or fast rock and roll. For slow tunes, a typical rhythm would look like this:

Table of Contents
Foreword
Notation for string bending
Standard notation
Notation for rhythm guitar

CHAPTER ONE ROCK RHYTHM GUITAR
Early rock, ballads and up tempo styles
Cha Cha
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
NewWave
Blues
Soul & Funk
Funk
Jazz Rock

CHAPTER TWO ROCK LEAD GUITAR
Early rock and roll, ballads and up tempo styles
Soft rock
Folk rock
Acid rock
Hard rock
Pop rock, fast and slow
Heavy metal!
New Wave
Blues
Soul & Funk
Jazz Rock

CHAPTER THREE ELECTRONIC DEVICES FOR THE ROCK GUITARIST
Distortion & Fuzz
Phase Shifter & Hanger
WaWa & Envelope Follower
Octave Divider
Echo
Compressor & Limiter
Chorus & Double Tracking
Volume Pedal
Guitar Synthesizer
The Harmonizer

CHAPTER FOUR ARRANGEMENTS FOR LEAD GUITAR, RHYTHM GUITAR, BASS and DRUMS
Notation for rhythm guitar, bass and drums
Basic technique for arranging the rhythm section
Full length examples
1. "St;::eplechase", rock style
2. "Bent Over Backwards", country rock style
3. "Slightly Out", jazz rock style
4. "Funky Chicken Pickin"', funky country style
5. "After two very dry Martinos", fusion style

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3799 ROCK LICKS. Celentan. CASSETTA TAB.

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ROCK LICKS. D. Celentano. CASSETTA TAB.

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1064 SECRETS TO WRITING KILLER METAL SONGS, Stetina. CD FUORI STAMPA, OUT OF PRINT

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SECRETS TO WRITING KILLER METAL SONGS, Stetina. 8 Canzoni complete per chitarra, basso e canto. CD TAB.

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6167 SHEETS OF SOUND FOR GUITAR, Jack A. Zucker. TAB.

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SHEETS OF SOUND FOR GUITAR, Jack A. Zucker. TAB.

Product Description:
Develop Extreme Chops for guitar. Applicable for all types of music from Shred to Classical to Jazz to Bluegrass to Chickin' Pickin'. This method is endorsed and utilized by some of the best guitarists in the world. There is NO better method for developing chops and efficiency on the instrument.
-Tab and standard notation
-Amazing Chops (works for Fusion, Metal, Jazz, etc)
-Amazing blues scale applications
-Sweep Picking to die for
-Pick & Finger rolls
-Incredible Arpeggios
-Pentatonic Madness
-4th and 5th chords and arpeggios
-Odd Meter Phrasing
-The most comprehensive Chord Sub methodology
-Diminished lines like you've never seen before
-Endorsed and used some of the best guitarists in the world

Contents:
Chapter 1 - Linear Scales
Exercise 1.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Major Scale and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Exercise 1.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Melodic Minor and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Exercise 1.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Harmonic Minor and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Exercise 1.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Harmonic Major and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Exercise 1.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Diminished scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Exercise 1.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Whole tone scale, swept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Exercise 1.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Diatonic Sweep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Exercise 1.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Diatonic Banjo Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Exercise 1.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Diatonic Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Exercise 1.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Diatonic Scale Fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Exercise 1.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Diatonic Scale Fragments, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Exercise 1.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Diatonic Scale Fragments, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Exercise 1.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Diatonic Scale Sweeps, Var. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Exercise 1.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
One, Two, Three, Five, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Exercise 1.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
One, Three, Five, Diatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Exercise 1.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Five, Three, One, Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Exercise 1.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Diatonic Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Exercise 1.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Coltrane triad with chromatic approach note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 2 - Pentatonic Scales
Exercise 2.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Basic Pentatonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Exercise 2.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Pentatonic scale fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Table of Contents
Exercise 2.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Pentatonic Sequencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Exercise 2.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Pentatonic Sequencing, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Exercise 2.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Pentatonic, Long Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Alternate fingerings for practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Exercise 2.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Pentatonic Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Pentatonic Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Exercise 2.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Pentatonic 7b9 (5th mode of Harmonic Major) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Exercise 2.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Pentatonic Minor 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Exercise 2.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Pentatonic 9sus, Synthetic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Exercise 2.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Pentatonic Maj7#5 (3rd Mode of Melodic Minor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Exercise 2.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Pentatonic Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Exercise 2.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Blues Scale, Long Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Exercise 2.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Pentatonic Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Chapter 3 - Arpeggios
Exercise 3.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Diatonic Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Exercise 3.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Diatonic Triads, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Exercise 3.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Triads, 2nd Inversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Exercise 3.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Triads, 2nd Inversion, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Exercise 3.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
13th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Exercise 3.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Exercise 3.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
7th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Exercise 3.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Diatonic 7th Chord Arpeggios, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Exercise 3.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
7th Chord Arpeggio Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Exercise 3.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
9th Chord Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Exercise 3.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
11th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Exercise 3.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2 Octave 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Exercise 3.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
2 Octave 9th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Exercise 3.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
9th Chord, Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Exercise 3.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
2 Octave 13 chord arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Exercise 3.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
2 Octave 9th Chord Arpeggio, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Exercise 3.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Diatonic Sus Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Exercise 3.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
13th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Exercise 3.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Quadratonic Scale and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Exercise 3.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Dual 7th Arpeggios (built on root and 6th) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Exercise 3.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Diatonic Sus Triads Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Exercise 3.22.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Diatonic, dual arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Chapter 4 - Fourth-based Intervallic Models
Exercise 4.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
4th Chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Exercise 4.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Exercise 4.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Diatonic 4th Diads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Exercise 4.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Two Octave, 4th Arpeggio Inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Exercise 4.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Perfect 4th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Exercise 4.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Diatonic 4th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Exercise 4.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
4th Quadrads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
4th Quadrad Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Exercise 4.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Diatonic 4th Arpeggio, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Exercise 4.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Diatonic 4th Arpeggio Quintuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Exercise 4.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Diatonic 4th Arpeggio, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Exercise 4.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Diatonic 4th Arpeggio, Var. 3, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Exercise 4.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
2 Octave Diatonic 4th Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Exercise 4.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Diatonic G Major, 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Exercise 4.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
1st Inversion 4th Arpeggios, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Exercise 4.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Diatonic 4th and 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
Exercise 4.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
2 Octave Diatonic 4th and 7th Chord Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Exercise 4.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Exercise 4.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Exercise 4.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
9th Chord Arpeggios (Combined with 2nd Inversion 4th Triad) . . . . . . . . . . . . . . . . . . . . . . .168
Exercise 4.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
2 Octave Diatonic 4th Arpeggio, 2nd Inversion, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Exercise 4.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Diatonic 4th Arpeggio / Double Stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Exercise 4.22.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Diatonic 4th Septuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Chapter 5 - Fifth-based Intervallic Models
Exercise 5.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
5th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Exercise 5.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Diatonic 5th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Exercise 5.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Diatonic 5th pairs, Cross-String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Exercise 5.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Diatonic 5ths Diads, Cross-String in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Exercise 5.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Diatonic 5ths, Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Exercise 5.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Perfect 5th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Exercise 5.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Diatonic 5th Arpeggio Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Exercise 5.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Diatonic 5ths Quartlets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Exercise 5.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Diatonic 5th Quartlets, Cross-String in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Exercise 5.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Diatonic 5th Arpeggio and Diatonic tertiary Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Exercise 5.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Diatonic 5th and 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Exercise 5.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Dual 5th / 4th Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Exercise 5.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Diatonic 5th Septuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Chapter 6 - Miscellaneous Lines and Etudes
Exercise 6.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Picking Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Exercise 6.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Pat Martino Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Exercise 6.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Pat Metheny Muted Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Exercise 6.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Wes Montgomery Horizontal Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Exercise 6.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
George Benson Diatonic Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Exercise 6.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
George Benson Blues Scale Fingerings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Exercise 6.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Miscellaneous Dominant 7th Chord Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Exercise 6.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
7th Mode, Harmonic Minor Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Exercise 6.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
4th Mode Major Hexatonic Scale, no 7th . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
Exercise 6.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
3rd Mode, Melodic Minor Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Exercise 6.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Mode 4 Harmonic Major (Melodic Minor #4), Hexatonic Scale . . . . . . . . . . . . . . . . . . . . . . . 226
Exercise 6.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Seven Steps to Pat Metheny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Exercise 6.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Seven Steps to Pat Martino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231
Exercise 6.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
TraneThang Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Exercise 6.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Rhythm Method Etude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Exercise 6.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Chromatic scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Exercise 6.17.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Chromatic scale, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Chromatic Scale, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Chapter 7 - Diminished Models
Exercise 7.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Linear Diminished Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Exercise 7.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Linear Diminished Pattern, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Exercise 7.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Linear 7th #9 Diminished Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246
Exercise 7.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
7th #9 Diminished Quadruplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Exercise 7.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Linear Diminished 4th, Maj7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Exercise 7.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
4th Maj7 Diminished Quadruplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Exercise 7.7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Linear Diminished Septuplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Exercise 7.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Diminished Septuplet, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Exercise 7.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Linear Diminished Quintuplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254
Exercise 7.10.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Diminished #9 and 2nd Inversion Major Triad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Exercise 7.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
7#9 Triads, Vertical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Exercise 7.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Linear Diminished Quintuplets, Var. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Exercise 7.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Linear Diminished Septuplet, Var. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264

Chapter 8 - Appendix
Scale Analysis tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Introduction to Dodecaphonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

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6168 SHEETS OF SOUND FOR GUITAR, VOL. II by Jack A, Zucker

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SHEETS OF SOUND FOR GUITAR, VOL. II by Jack A, Zucker.
A natural evolution of SOS Vol I, this book continues along the same harmonic and rhythmic path while putting more emphasis on real world examples and delving into asymetrical, odd-meter groupings and artist studies inspired by Pat Metheny, George Benson, Frank Gambale, Pat Martino, John Coltrane, and others. Includes: amazing chops (works for fusion, metal, jazz, etc), arpeggio scales, waterfalls, 4ths patterns, forward motion pentatonics, long form swept Pentatonics, more. Spiral-bound. Note/tab. 58 pp.

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4669 YOU CAN DO IT... PLAY GUITAR DAMMIT! M. Scharfglass. 2CD TABLATURE

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YOU CAN DO IT... PLAY GUITAR DAMMIT! M. Scharfglass. 2CD TABLATURE

Description
This is the book for you if you always wanted to learn but somehow kept putting it off, if you’ve played guitar before and given up or if you’re determined to crack it this time.
The no-nonsense guide that will soon have you playing great chords, riffs and even solos with as little pain as possible!

Some basic musical knowledge is handy, but the 2 CDs included feature a demonstration and backing tracks for each exercise. Chord boxes and how-to-play photos make the tricky stuff easy.

Arranged by Matt Scharfglass who is a New York-based songwriter, bassist and multi-instrumentalist. He does session work, leads his own band and performs extensively in the New York City area.

CC Rider
I Ain't Got Nobody
St James Infirmary
The House Of The Rising Sun
This Train

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CHITARRA LAMPO