Format : Sheet music
The unique full on style of System of a Down mixes various metal and rock stlyes to create innovative and powerful music. Here are the full transcriptions of all the songs from the LA metallers' second album Toxicity arranged for intermediate to advanced guitarists in standard notation and guitar tablature with full lyrics and chord symbols.
SKU: BT.RSK200079
ISBN 9781789360158. English.
Learn to play rock and pop with Rockschool. These Specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. Rockschool Classics Drums Grade 5 contains eight of the biggestrock tracks from the past five decades arranged for you to play in your Grade 5 exam. You can choose two pieces from Rockschool Classics to play in your Grade Exam or three to play in your Performance Certificate.
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SKU: MB.31103M
ISBN 9781513468792. 8.75x11.75 inches.
Adam Granger self-published the first edition of Granger??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book.
This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles.
There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book.
In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read.
The tunes in Granger??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes.
The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other.
Also included in Granger??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection.
Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.
SKU: M7.AHW-1101
English.
I simply can't say it better than the Doc himself. Read what he says about the Pivot System, then grab some samples, then a physical book shipped right to your home above. From the Forward During the initial or formative years of a player's career, he acquires the mechanical habits which determine the extent of his development invariably by pure chance. If he happens to be numbered among the few fortunate ones who unconsciously utilize their physical factors to advantage, eventually someone will mistakenly refer to him as being a 'natural' or 'born with it.' If, as is more likely the case, he happens to be one whose physical factors clash or function incorrectly, he inadvertently seals his own fate. Either he can give up shortly after high school as most do, or he can continue down the blind alley of his own circumscribed potential. Most of these unfortunates merely resign themselves to a career of mediocrity ('I never had the chops'), shying away (rom the 'lead book' in favor of second, third or fourth parts. A few (even worse) go on mouthpiece jags or scavenger hunts for no pressure systems, etc. , always seeking, but never finding the 'gimmick' which will 'straighten out my chops.' Some, however, after a thorough analysis, adopt the scientific principles which utilize every one of their playing factors with maximum efficiency. These principles are what is called the PIVOT SYSTEM. - Doc Reinhardt.
SKU: CF.BF131
ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.
Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.”Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios. I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.
SKU: MB.94562M
ISBN 9780786693320. 8.75 x 11.75 inches.
This comprehensive study of contemporary flatpicking guitar technique presents numerous solos for the beginning through advanced flatpicking guitarist along with tips on creating your own flatpicking arrangements. The book addresses the tablature system, tuning, right and left-hand technique, use of the capo and the microphone, transposing using the Nashville numbering system, bluegrass back-up, arranging flatpicking solos and instrumentals. If youre into country or bluegrass music, or if you just want to develop outstanding flatpicking technique, this book is for you. Written in standard notation and tablature. Includes access to an online video containing some of the solos and techniques presented in the book and a stereo play-along audio featuring Steve Kaufmans rousing performance of each flatpicking solo.
