Modal Improvisation and Melodic Construction in the Flamenco Environment-The definitive comprehensive explanation of both the harmonic and melodic aspects of flamenco! Flamenco Improvisation - Modal Improvisation and Melodic Construction in the Flamenco Environment by famed guitarist Enrique Vargas. This volume deals with new scales in the flamenco modal language. Some of these scales such as the diminished wholetone overtone or hexatonic symmetrical come from modern classical or jazz. Others come from ethnic modalities which are external to flamenco. The harmonic implications of these scales is analysed and their application in the flamenco environment is explained and illustrated by numerous melodic examples both original and byrenowned flamenco artists. The concept of modal substitutions is introduced and modal polytonality is explained and the notion of replicating dominant scales by minor thirds and tritones is introduced and various ways to resolve a tritone are explained. Appendix I contains a collection of 110 licks in modern penta- hexa- hepta- and octatonic scales. Each lick is harmonized and comes with detailed guitar fingerings. Appendix II is a complete thesaurus of vertical and horizontal guitar fingerings for every modern penta- hexa- hepta- and octatonic scales in flamenco in every flamenco tonality. Each lick is recorded with harmonic accompaniment and bass.

This method os designed to teach a novice the fundamentals of music and guitar playing with an emphasis on the techniques germane to Flamenco. As he learns his first notes and his first melodies he prepares for the extended pieces which are found in the back of the book. He learns the authentic hand positions; he becomes familiar with the ethnic rhythms and his ear becomes attuned to the unusual harmonies and melodic style of Flamenco. Little pieces are interspersed with technical exercises to make the learning process enjoyable.

Par . The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio. / Date parution : 2021-11-03/ Recueil / Guitare

Everything you ever wanted to know about scales but were afraid to ask! This book fills you in on major and minor scales; the modes; the blues scale; harmonic minor melodic minor chromatic whole tone & diminished scales; other exotic and ethnic scales; and more. Includes easy-to-read fretboard diagrams and a bio of Troy Stetina.

The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

Get yourself out of the standard rock patterns and dull beats with this truly global guide to guitar rhythm playing with examples from Europe South America Asia Africa and the Middle East. The rhythms of any culture are unique to its sociological characteristics and by embracing the sounds of the world an endless source of new inspirations and ideas will feed your playing and your imagination.This book and CD set offers a huge range of riffs and rhythms from all over the world. The examples are all supported by a complete set of example recordings to help you capture the idiosyncrasies of each style. Countries featuredinclude:RomaniaMoroccoSierra LeoneArgentinaJamaicaRussiaVietnamSaudi ArabiaSyriaTurkeyEgypt