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Author: Adam Kadmon Publisher: Hal Leonard Publishing Corporation ISBN: 9781480337664 Category : Guitar Languages : en Pages : 0
Book Description
Chord diagrams, scale pattern diagrams, and 2-octave scales notated in both staff notation and guitar tablature, for all keys and chords.
Author: Hal Leonard Corp. Publisher: Hal Leonard Corporation ISBN: 1476858934 Category : Music Languages : en Pages : 542
Book Description
(Guitar Educational). The most comprehensive guitar chord resource ever! Beginning with helpful notes on how to use the book, how to choose the best voicings and how to construct chords, this extensive source for all playing styles and levels features five easy-to-play voicings of 44 chord qualities for each of the twelve musical keys 2,640 chords in all! For each, there is a clearly illustrated chord frame, as well as an actual photo of the chord being played! Includes info on basic fingering principles, open chords and barre chords, partial chords and broken-set forms, and more. Great for all guitarists!
Author: Adam Kadmon Publisher: Carl Fischer Music Dist ISBN: 9780825821721 Category : Guitar Languages : en Pages : 220
Book Description
"Every chord of every key and mode is presented with thousands of diagrams and charts. Includes polychords, chord substitutions, inversions and movable voicings."--Cover.
Author: Brian Balthazor Publisher: Mel Bay Publications ISBN: 1609745736 Category : Music Languages : en Pages : 161
Book Description
This book provides a clear and concise way to increase your guitar chord vocabulary across the entire fretboard. the book outlines a movable chord system which allows you to both understand chord construction and provides the necessary tools to create chords on-the-fly in a playing situation.
Author: MILES OKAZAKI Publisher: Mel Bay Publications ISBN: 1619114860 Category : Music Languages : en Pages : 166
Book Description
This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique andthe exhaustive tables of melodic and rhythmic possibilities.It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation.Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing twosimultaneous tempos. The book concludes with a study of polyrhythm, playingone rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to beinclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else?s. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma,method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.