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(Guitar). The sliding first finger technique presented in this book will give players a new and broader outlook on the guitar. This book explores a variety of scales - major, minor, half-tone/whole-tone - and includes an introduction.
An encyclopedia with over 6,000 diagrams, charts and graphs. Complete explanation of all 5,6,7,and 8 tone scales and modes.
This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.
This collection of etudes, written during the 1970's, was composed as a result of Jimmy Wyble's explorations into the musical worlds of counterpoint, harmony and chord melody improvisation for the jazz guitar. the right and left hand fingerings presented in this book were also developed as techniques needed to improvise jazz in two lines. Jimmy uses very standard jazz guitar chord shapes in these etudes; however, these shapes move through the harmony in lines rather than block chord structures. This broken chord technique creates a unique contrapuntal sound that separates Jimmy from the rest of the fingerstyle jazz guitar world. It is hoped that jazz and classical guitarists playing and working through these etudes will see many familiar chord shapes moving in new ways and creating new sounds. These new harmonic sounds combined with beautiful melodies will inspire any quitarist to new levels of musical creativity. Written in notation and tablature. 92 pages.
(Guitar Educational). This book for both acoustic and electric guitarists is designed to be a handy guide to the two most important components of playing: chords and scales. More than just a reference, it will also help you understand how chords and scales are created, named and used, and how they are related to each other. Includes over 1,400 chord diagrams; major, minor, pentatonic, blues and diminished scales; and modes. Teaches how to understand intervals and build major, minor, augmented, diminished and extended chords.
Guitarskole.
I actually wrote this book as a practice guide for myself because I wanted a way to get different and outside sounds using pentatonic scales, as well as to improve my chops and have a huge variety of new sounds at my fingertips to play over the chords you see 90% of the time such as major/major7, minor/minor7, and dominant chords, among others. As well as being a scales book Alternative Pentatonics is also a method to practice improvising over common chords using uncommon groups of five notes. Five notes are somewhere between an arpeggio and a scale, as well as being the ideal number of notes to craft some really nice phrasing (in my opinion), as I’m sure you realized when you first learned your minor pentatonic scale and started jamming over a 12-bar blues. This book contains 28 new pentatonic scales divided into chord types so that you’ll know exactly what chords you can use them over. For the intermediate player: this book will give you plenty of new and interesting options for playing over common chords and force you out of standard pentatonic scales and/or the major scale modes. For the more advanced player: this book could be more about exploring possibilities than learning scale patterns; in fact, I would suggest that advanced players avoid even remembering the patterns in this book. Instead, they can be used to explore the improvisational terrain and find new sounds, then filed away in your subconscious and allowed to seep into your playing while you’re in the throes of improvisation. So, if you’re stuck in a soloing rut or are looking for new sounds, outside sounds, exotic sounds, or even a few downright weird sounds, this is the book for you.
Guitarists face a sometimes overwhelming number of choices as to where to play a given note or phrase and what fingering to use. While a given fingering for a scale or phrase may be possible, it may not be practical. In this book, jazz guitarist Jimmy Bruno lays out six fingerings for the major scales which he has found to be the most efficient in his thirty years of professional playing. These patterns are then used to derive fingerings for the dorian mode, mixolydian mode, natural minor, harmonic minor, and melodic minor scales. Illustrations are provided in notation and tablature with fretboard diagrams aiding visualization. By using these fingerings consistently, the guitarist will eliminate all unnecessary fingerings and remove a major obstacle to his or her development as a musician.