CHITARRA LAMPO

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    MONOGRAFIE, BIOGRAFIE DI CHITARRISTI
    SPARTITI METODI PER BASSO
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    SPARTITI METODI PER ARMONICA
    LETTERATURA
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• CHITARRA FLAMENCO, CLASSICA, ACCESSORI

SPARTITI METODI PER BASSO

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12 - 13 - 14

6263 PASTORIUS JACO, ULTIMATE MINUS ONE. CD TAB.

Euro 18,00

Quantità

PASTORIUS JACO, ULTIMATE MINUS ONE. CD TAB.

Questo libro vi permetterà di imparare a suonare usando basi musicali di altissima qualità. Ogni canzone è trascritta in notazioni standard e in tablature per basso. Il Cd allegato contiene, per ogni canzone, la base completa, nota per nota, per imparare a suonare il pezzo e la base Minus One per affinare la vostra abilità e provare l'emozione di esibirsi con una band dal vivo.
Birdland - Black Market - Cannonball - Mercy, Mercy, Mercy - Slang - Teen Town - Three View Of A Secret

Disponibilità:

3983 PATITUCCI JOHN, ELECTRIC BASS. IN ITALIANO. CD

Euro 26,99

Quantità

PATITUCCI JOHN, ELECTRIC BASS. In italiano e spagnolo. 2 CD

Tecnica (sul basso a 4 corde: scale/arpeggi, esercizi di picking, hammer on/pull, ...), time/groove, accompagnato da Dave Weckl su Cd, e grooves etnici, inclusi gli stili latino, brasiliano, reggae e africano.

INTRODUZIONE
L'obiettivo di questo libro è quello di aiutarvi a percorrere la strada giusta per diventare un bassista professionista. Non intende essere una guida completa a tutti gli stili musicali, ma piuttosto un buon punto di partenza. Ricordate di eseguire tutti gli esercizi lentamente e con un metronomo, aumentando il tempo gradualmente, suonando in modo pulito e con un buon feeling ed un buon groove. Buona fortuna e mi auguro che vi divertiate.

RINGRAZIAMENTO
Con profonda gratitudine a Gesù Cristo, mio Signore e Salvatore che rappresenta la fonte della mia ispirazione. A Killeen, mia moglie, che mi ha incoraggiato e mi è stata di grande supporto durante le lunghe ore di preparazione. Ai miei genitori, George e Joan Patitucci, ed i miei nonni, John e Rena Fenimore, per tutto il loro amore ed incoraggiamento. A mio fratello, Thomas, mio primo maestro, dal quale non solo ho ricevuto insegnamento ma anche numerose opportunità musicali. Alle mie sorelle, Renee, Joanne e Mary Ellen per il loro incoraggiamento ed interesse. Ai miei insegnanti, Chris Poehler, David Baker, Frank Sumares, Charles Siani, Abe Luboff e Barry Lieberman che hanno contribuito tutti alla formazione del mio stile. A Ron Moss, il mio manager, per aver reso possibile questo progetto e a tutte le persone della Manhattan Music per essere i "migliori." Grazie anche a tutti alla Yamaha, a Roger Sadowsky e a tutte le persone della D'Addario Strings. Questo libro è dedicato, con affetto, alla memoria dei miei nonni Camilo ed Emilia Patitucci..

Contenuto
SEZIONE UNO: TECNICA .
POSIZIONE DELLA MANO
SVILUPPO E SCIOLTEZZA DELLA MANO SINISTRA
IL "RAGNO"
HAMMER ONI PULL OFF
ESERCIZI DI PICKING PER LA MANO DESTRA
SCALE
ARPEGGI
SALTI DI CORDE
SCALE
VIBRATO E DINAMICHE
ARPEGGI
BACH CELLO SUITE NUMERO. I IN SOL MAGGIORE
SEZIONE DUE: TEMPO/GROOVES
JAMES JAMERSON
JERRY JEMMOTT
CHUCK RAINEY
GROWING
SLAPPINGIPOPPING
PAUL JACKSON
FRANCIS ROCCO PRESTIA
ROCK AND ROLL
JAZZ/WALKING BASS
SHUFFLE
SEARCHlNG, FINDING
TRASCRIZIONE DEL SOLO
SEZIONE TRE: LATINO, BRASILIANO,
AFRICANO E REGGAE .
LATINO
BRASILIANO SAMBNBAIÀO
SUD AFRICANO
REGGAE
KINGSTON BLUES

Registrazioni da John Patitucci e On The Corner, per gentile concessione
della GRP Records.

INFORMAZIONI SUL
CONTENUTO DEL CD

CD 1
1. Song Excerpt
2. Posizione della mano
3. Esercizi per la scioltezza della mano sinistra
4. Il "Ragno"
5. Hammer On/Pull Off
6. Hammer On/Pull Off (proseguimento)
7. Mano destra Esercizi di Picking
8. Arpeggi
9. Salti di corde
10. Scale
11. ScalelDiteggiatura #2
12. Vibrato e Dinamiche
13. Arpeggi
14. Bach CelIo Suite NO.1 in Sol Maggiore

CD 2
1. JAMES JAMERSON
2. JERRY JEMMOTT
3. CHUCK RAINEY
4. "GROWING"
5. SLAPPING/POPPING
6. PAUL JACKSON
7. FRANCIS ROCCO PRESTIA
8. ROCK AND ROLL
9. JAZZ/WALKING BASS
10. SHUFFLE
11. "SEARCHING, FINDING"
12. LATINO
13. BRASILIANO - SAMBAlBAIAO
14. SUD AFRICANO
15. REGGAE
16. "KINGSTON BLUES"

In alcuni esercizi di questo metodo é stata mantenuta la notazione
internazionale. r.:equivalente italiano è il seguente:
A = La
B = Si
C = Do
D = Re
E = Mi
F = Fa
G = Sol

SEZIONE 2: TEMPO/GROOVES

La cosa più importante sulla quale un bassista deve lavorare è il tempo. E' importante che il vostro tempo sia deciso, sostenuto e facile da suonare. Voi ed il batterista provvederete a creare le basi per qualsiasi gruppo di cui farete parte. Quando vi esercitate con il tempo è importante che lavoriate con un metronomo o con una batteria elettronica e che siate in grado di trasmettere le vostre emozioni per dare vita al groove. Un groove è semplicemente un tempo sentito con emozione, espresso chiaramente e con energia, senza incertezze. Un ottimo modo per imparare a fare un groove è quello di ascoltare registrazioni di bassisti che siano maestri del groove - musicisti che vi facciano venir voglia di ballare ciò che state ascoltando. Ascoltando i diversi stili e le idee musicali di differenti grandi bassisti incomincerete a capire cosa sia il groove.
Il primo groove che Dave ed io suoneremo sulla cassetta è nello stile di Jamcs Jamerson la mia prima grande influenza nel basso. Jamerson era il re del Motown sound, ha suonato su molti dischi degli anni '60, inclusi quelli di Diana Ross e The Supremes, The Temptations, The Jackson Five, Stevie Wonder ...Tutti i grandi artisti del Motown. Questo è un semplice groove stile Motown che ha reso famoso Jamerson.
Jerry Jemmott è un altro dei miei groovers preferiti. Ho ascoltato per la prima volta Jerry su un disco di King Curtis intitolato Memphis Soul Stew.

Disponibilità:

6271 PATITUCCI JOHN, 60 MELODIC ETUDES.

Euro 21,99

Quantità

PATITUCCI JOHN, 60 MELODIC ETUDES.

About 60 Melodic Etudes
(for Acoustic and Electric Bass) By John Patitucci. Instructional book for string bass. 128 pages.
With fingerings. Instructional, Etudes and Scales. 9x12 inches.

This new book from one of the most popular bass players in the business brings players great tools to improve their skills. Bass players can advance their knowledge of the fingerboard, improve intonation and time, develop flexibility and work though modes and scales presented in the book. This work combines music and technique in one powerful package!

Contents:
John Patitucci Biography
Foreword
PART I:
PART II:

This book is designed for acoustic bassists, electric bassists and cellists who want to:

• Improve their knowledge of the fingerboard.
• Practice interpreting and phrasing melodies.
• Improve their intonation and time.
• Learn to play with more flexible time by practicing rubato passages.
• Strengthen their ears to hear the five basic chord sounds within the diatonic
major scale: major, minor 7, dominant 7,minor 7b5and major 7#11.
• Learn to hear and use various diatonic modes and scales against these five
basic chords: Major, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and
Locrian.
• Gain valuable experience on the use of the melodic-minor scale over the
minor-seventh b5chord.
As far as I know, this is the first book to have a separate melodic etude for each
of these five chord sounds in all twelve keys. I also left room on a few occasions
for you to try your hand at improvising for a few measures within an etude. The
etudes have tempo markings, but should be practiced at different tempos and
even rubato (i.e., elastic and flexible time with room for speeding up and
slowing down to enhance the freedom of the artist's expression). These etudes
also help the bassist and cellist tackle the common technical problems that all
must deal with, such as shifting on one string, string crossing and alternating
right-hand plucking and bowing. For acoustic bassists and cellists, every etude
can be played pizzicato and/or arco. I deliberately shied away from providing
fingerings and bowings because I would rather you explore many alternatives
for each passage.
In Part II of the book (pp. 69-128), I have included a complete fingering chart
for both acoustic and electric bass for all the scales. The scale examples are
given in two ways: 1) Starting on the root note and 2) starting on the lowest
note available on the fingerboard. The second example is provided to foster a
more comprehensive knowledge of the instrument.
If you have a teacher-which I feel is extremely important-s/he may want to
write down ideas for you as well. Also, as you vary the tempo of each etude, you
may have to alter fingerings and bowings.
In closing, I sincerely hope and believe that this book will help you grow as a
musician and be a useful tool for many years to come.
-John Patitucci

John Patitucci has been at the forefront of the jazz world for the last twenty
years and active in all styles of music. He is a two-time Grammy award winner
and has been nominated eleven times. He has won many magazine polls and
awards as a double bassist and bass guitarist, most recently as a member of
the Wayne Shorter Quartet which won the 2003 Downbeat critics' poll for Best
Acoustic Jazz Group and Best Jazz Recoding for Footprints - Live!. He has
performed and/or recorded with jazz giants such as Dizzy Gillespie, Wayne
Shorter, Herbie Hancock, Chick Corea, Stan Getz, Freddie Hubbard, Roy
Haynes, Wymon Marsalis, Michael Brecker, John Scofield, Joe Lovano, Kenny
Garrett, Victor Feldman and countless others.
John has been active as a composer with eleven solo recordings of his own. He
has also been commissioned to write for various chamber music groups, most
recently the New York-based string quartet Elements. John was nominated for
a Grammy in 2003 for Best Instrumental Arrangement Accompanying a Vocal
for his arrangement of In the Bleak Midwinter from his CD Song, Stories and
Spirituals. He was nominated for a Grammy in 2002 for Best Instrumental
Composition for a piece entitled Communion that featured Branford Marsalis,
Brad Mehldau and violist Lawrence Dutton of the Emerson String Quartet.
Mr. Patitucci has been involved in education for many years, writing books,
making instructional videos and giving master classes around the world. He
was formerly the Artistic Director of The Bass Collective, a specialized school
in New York. In 2002, he began teaching at The City College of New York
(CUNY) and was named Associate Professor of Music there in 2003.

I would like to thank God, my wife Sachi, and my daughters-Gracie
and Bella, and all the other members of my family especially my
brother Thomas, my Mom and Dad, and sisters. Thanks are also
due to Chris Poehler, David Baker and all of the other teachers I
have had in my musical journey to this point (whose names could
take up as many pages as this book). Thanks also to the many
musicians I have worked with who have inspired me and taught me
(another very long list) and to Sandy Feldstein and John Castellano
for urging me to write this book.
Special Thanks to Mindy Sax, for the preliminary music copying.
Finally, thanks also to all the folks at Carl Fischer for the fine work
and support, especiallyAlexTeploff.
Cover photo by Bill Bytsura.

John Patitucci Biography .
Foreword
Part I: 60 Melodic Etudes
C Major Scale
F Major Scale
Bb Major Scale
Eb Major Scale
Ab Major Scale
Db Major Scale
Gb Major Scale
B Major Scale
E Major Scale
A Major Scale
D Major Scale
G Major Scale
C Aeolian Scale (Ballad) (Cm7)
F Dorian Scale (Ballad) (Fm7)
Db Aeolian Scale (Bbm7)
Eb Dorian Scale (Ebm7)
G# Phrygian Scale (G#m7)
C# Phrygian Scale (C#m7)
F# Phrygian Scale (F#m7)
B Phrygian Scale (Bm7)
E Dorian Scale (Em 7)
Aeolian Scale (Am 7)
D Dorian Scale (Dm7)
G Phrygian Scale (Gm7)
C Lydian Scale (Cmaj7# 11)
F Lydian Scale (Fmaj7#l1)
Bp Lydian Scale (Bbmaj7# 11)
Eb Lydian Scale (Ebmaj7# 11)
b Lydian Scale (Abmaj7#11)
Db Lydian Scale (Dbmaj7# 11)
Gb Lydian Scale (Gbmaj7#l1) .
B Lydian Scale (Bmaj7# 11) .
E Lydian Scale (Emaj7# 11) .
A Lydian Scale (Amaj7# 11) .
D Lydian Scale (Dmaj7# 11) .
G Lydian Scale (Gmaj7#11) .
C Mixolydian Scale (C7)
F Mixolydian Scale (F7) .
Bb Mixolydian Scale (Bb7)
Eb Mixolydian Scale (Eb7)
Ab Mixolydian Scale (Ab7) .
Db Mixolydian Scale (Db7)
Gb Mixolydian Scale (Gb7)
B Mixolydian Scale (B7)
E Mixolydian Scale (E7) .
A Mixolydian Scale (A7)
D Mixolydian Scale (D7)
G Mixolydian Scale (G 7)
C Loerian Scale (Cm7b5) .
Ab Melodic-minor Scale (Fm7b5)
Db Melodic-minor Scale (Bbm7b5)
Gb Melodic-minor Scale (Ebm7b5) .
G# Loerian Scale (G#m7b5) .
C# Loerian Scale (C#m7b5) .
F# Loerian Scale (F#m7b5) .
B Loerian Scale (Bm7b5) .
G Melodic-minor Scale (Em7b5) .
C Melodic-minor Scale (Am7b5) .
F Melodic-minor Scale (Dm7b5) .
G Loerian Scale (Gm7b5) .

Part II: 60 Melodic Scales
C Major Scale
F Major Scale
Bb Major Scale
Eb Major Scale
Ab Major Scale
Db Major Scale
Gb Major Scale
B Major Scale
E Major Scale
A Major Scale
D Major Scale
G Major Scale
C Aeolian Scale (Ballad) (Cm7)
F Dorian Scale (Ballad) (Fm7)
Db Aeolian Scale (Bbm7)
Eb Dorian Scale (Ebm7)
G# Phrygian Scale (G#m7)
C# Phrygian Scale (C#m 7)
F# Phrygian Scale (F#m7)
B Phrygian Scale (Bm7)
E Dorian Scale (Em7)
Aeolian Scale (Am 7)
D Dorian Scale (Dm7)
G Phrygian Scale (Gm 7)
C Lydian Scale (Cmaj7h1)
F Lydian Scale (Fmaj7# 11)
Bb Lydian Scale (Bbmaj7# 11)
Eb Lydian Scale (Ebmaj7# 11)
Ab Lydian Scale (Abmaj7# 11)
Db Lydian Scale (Dbmaj7#1)
Gb Lydian Scale (Gbmaj7#11) .
B Lydian Scale (Bmaj7#11) .
E Lydian Scale (Emaj7# 11) .
A Lydian Scale (Amaj7# 11) .
D Lydian Scale (Dmaj7# 11) .
G Lydian Scale (Gmaj7#11) .
C Mixolydian Scale (C7) .
F Mixolydian Scale (F7) .
Bb Mixolydian Scale (Bb7) .
Eb Mixolydian Scale (Eb7) .
Ab Mixolydian Scale (Ab7) .
Db Mixolydian Scale (Db7) .
Gb Mixolydian Scale (Gb7) .
B Mixolydian Scale (B7) .
E Mixolydian Scale (E7) .
A Mixolydian Scale (A7)
D Mixolydian Scale (D7) .
G Mixolydian Scale (G7) .
C Locrian Scale (Cm7b5) .
Ab Melodic-minor Scale (Fm7b5) .
Db Melodic-minor Scale (Bbm7b5) .
Gb Melodic-minor Scale (Ebm7b5) .
G# Locrian Scale (G#m7b5) .
C# Locrian Scale (C#m7b5) .
F# Locrian Scale (F#m7b5) .
B Locrian Scale (Bm7b5) .
G Melodic-minor Scale (Em7b5) .
C Melodic-minor Scale (Am7b5) .
F Melodic-minor Scale (Dm7b5) .
G Locrian Scale (Gm7b5) .

Disponibilità:

4605 PATITUCCI JOHN, ULTIMATE PLAY-ALONG FOR BASS, LEVEL 1 VOL.1. CD

Euro 26,00

Quantità

PATITUCCI JOHN, ULTIMATE PLAY-ALONG FOR BASS, LEVEL 1 VOL.1. CD

Disponibilità:

4607 PATITUCCI JOHN, ULTIMATE PLAY-ALONG FOR BASS, LEVEL 1, VOL.2. 2CD

Euro 26,00

Quantità

PATITUCCI JOHN, ULTIMATE PLAY-ALONG FOR BASS LEVEL 1, VOL.2. 2CD

The best way to practice is to have fun while you learn; and that is exactly what the ULTIMATE PLAY-ALONG series is all about. Every musician has learned by playing along with records, and now with Ultimate Play-Along you can practice with great recorded music as if you were a member of the band. That's because you get eaach track mixed without your instrument. You also get to hear the music with the featured instrument as well, for reference.
ULTIMATE PLAY-ALONG FOR BASS, LEVEL TWO has been developed so that the beginner to intermediate bassist can practice in different styles along with all-star musicians including Mike Stern on guitar and Dave Weckl on drums.
This book/CD package contains two CDs; the first disc contains the full rhythm tracks and the second CD includes teh rhythm tracks minus the bass. The seven CD tracks cover a wide range of syles including: Straight Eighths, Shuffle (Blues), Sixteenth-Note Feel, Hip-Hop (Jazz Funk), Pop Ballad, Reggae (Shuffle), and Rock.
The book features roadmap charts for each tune, as well as a step-by-step discussion of each section. John also gives you a variety of options you can use for both groove and fill ideas. Each section concludes with a 'talk down' of the chart, similar to what you'd encounter on a session or at a rehearsal. Each chart comes perforated so it can be easily removed for use on a music stand. The play-along charts will help improve your reading, time, feel and confidence.
So, put on some headphones, turn up the music and work out with the ULTIMATE PLAY-ALONG!

Disponibilità:

1182 PROGRESSIVE HEAVY METAL BASS LICKS 1.WITH CD

Euro 15,00

Quantità

PROGRESSIVE HEAVY METAL BASS LICKS 1. CD TAB.

Disponibilità:

0075 PROGRESSIVE HEAVY METAL BASS LICKS 2. WITH CD

Euro 20,00

Quantità

PROGRESSIVE HEAVY METAL BASS LICKS 2. CD TAB.

Disponibilità:

3876 REDDING NOEL, BASS GUITAR METHOD. CD

Euro 15,50

Quantità

REDDING NOEL, BASS METHOD. Metodo dal bassista di Jimi Hendrix. CD TAB.

Disponibilità:

3854 ROCK BASS LINES, BERKLEE GUIDE. CD TAB.

Euro 21,00

Quantità

ROCK BASS LINES, BERKLEE GUIDE. CD TAB.

Series: Berklee Guide
Publisher: Berklee Press Publications
Softcover with CD - TAB
Author: Joe Santerre

Learn the art of creating solid rock bass lines! Whether you're an aspiring or a seasoned bass player, this workshop will help you play with attitude and confidence. It contains a gold mine of riffs and lines found in your favorite rock tunes, exercises to help you develop your own rock bass lines, and strategies for locking in with the drummer and making your line groove. Play along with the killer tracks on the accompanying CD in eight different rock styles. 80 pages.

Disponibilità:

1184 ROCK BASS. J. Liebman. CD TAB.

Euro 20,00

Quantità

ROCK BASS. J. Liebman. 100 Esempi di musica dagli anni '50 agli anni '90. The Who, Led Zeppelin, Sheehan, ecc. CD TAB.

Series: Bass Instruction
Softcover with CD - TAB
Author: J Liebman

Learn essential rock grooves and bass lines in the style of Paul McCartney, John Entwistle, John Paul Jones, Geddy Lee, Sting, Billy Sheehan, Flea and many other bass greats from the 1950s through the 90s. In this historical overview of bass playing, Jon covers shuffle, straight eighth, the "bounce" feel, the Motown sound, funk, hard rock, heavy metal, techno pop, alternative, grunge and much more. The CD includes 99 full-demo tracks and 131 music examples. 96 pages.

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