120 Arpeggios adapted for Hybrid Picking

The hybrid picking is a particular technique that contemplates the combined use of plectrum and fingers.
Those who might approach this technique could take advantage of certain benefits:
Those who have a classic background or come from the fingerstyle will benefit of the technical and timbre resources offered by the use of the pick, while those who only use the pick (electric or acoustic guitar) will be gratified by the concurrent use of the other fingers to create more complex musical situations that can range from playing multiple voices to, alternating bass and walking bass, from piano comping to dealing with certain musical genres.... This technique will be introduced by my preparatory exercises with the purpose of providing certain basic elements and developing the specific aspects to face the study of “120 Arpeggios” of Giuliani.
We will start by dealing with the combinations of single notes and then move on to formulas that provide for simultaneous notes and finally perform Arpeggios over C Major Chord. If you do these exercises carefully in a short time you will be surprised by the results and you will be able to successfully face the famous “120 Arpeggios”.

Stefano Mirandola: Finger Double-Picking - English Language

Stefano Mirandola: Finger Double-Picking - English Language Language: English Media: Video on line Pages: 140 When I was twelve years old I took my first steps in the study of the classical guitar. I realized that the instrument could produce a big variety of sounds and I began to explore them, playing flamenco, bossa nova, rock-pop, jazz, fingerpicking. In my fingerstyle compositions and arrangements, I felt the lack of the rhythmic groove of the plectrum, but I didn’t want to give up the polyphony, the expressiveness and the physical pleasure coming from the contact of the fingertips and the nails of the right hand on the strings. Inspired by the great Tuck Andress and some flamenco techniques, in the mid-nine-ties I began to include new movements into my music: the Thumb and the Index of the right hand that pluck both downwards and upwards, like two plectrums. This way the picking speed is double compared to traditional fingerstyle techniques; hence the name Finger Double-Picking. The various parts (bass, accompaniment, theme, ghost notes) can be more complete and you can also get the typical groove of the plectrum playing with the fingers. Initially I wrote the method for myself, in order to train on these new movements, then I decided to share it; I hope my work can be useful and a source of inspiration. Stefano Mirandola

Paolo Mari: How to play Brazilian guitar

Paolo Mari: How to play Brazilian guitar Language: English Media: Video on line Pages: 84 This book is aimed at helping guitarists to improve their knowledge of the fascinating world of the Brazilian guitar. Both experienced musicians who want to go deeper into the style and beginners who approach this topic for the first time will find reasons of interest. Talking or writing about Brazilian guitar is not easy, the theme is immense and just one book could never be exhaustive. Brazil is geographically huge, consists of many states, and each of these has its traditions, its culture, its music. There are at least five fundamental ethnic roots, which have resulted in this great human and cultural mixture: - Indios, that is, the people who lived in Brazil before the arrival of Europeans, with their music and dances and rituals; - Caribbean populations, who, especially in the North and Northeast of Brazil, have significantly influenced the music and culture of those regions; - Europeans, with their military marches, folk songs and tunes of Catholic functions; the main influence was Portuguese, but the Italian and German immigration is also important, especially in the Centre and South; moreover, composers such as Antonio Carlos Jobim were inspired by great European classical musicians, such as Claude Debussy; - Africans: it is estimated that in the three centuries of slavery almost three million people were deported by force to Brazil; these men and women did not own anything but their music, and this gave birth to the world’s most famous Brazilian style, samba; - North Americans: in the 1950s, samba and jazz started to mingle and, according to many musicologists, bossa nova, one of the most important musical styles in the last decades, was born from the fusion of samba rhythms with jazz harmonies. Within this great mix of cultures, the most interesting style for us guitarists is actually the bossa nova; it is here that the guitar becomes the absolute protagonist, managing to be self-sufficient, in a melodic, rhythmic and harmonic sense. For this reason, most of the manual will be devoted to analyzing the rhythmic and harmonic forms of this style. The rhythmic patterns of samba and bossa nova are similar, often identical; the difference lies in the harmony (in the bossa nova it is more evolved and processed) and in the interpretation (samba is played more staccato, and faster).

Salvatore Russo: Arpeggio Cadences

Salvatore Russo: Arpeggio Cadences - Plectrum Guitar Method Language: English Pages: 340 Media: Video on line This is the first didactic method which explains the harmonic rules of tonal music through the study of melodic arpeggios on the guitar. Each theoretical concept found in these pages is always supported by a musical example (score, tablature and video). Harmonic cadences are the main rules which show us the possible combinations that may exist between the different chords within the keys of any piece of music built on the tonal music system. It is difficult for any guitar player to manage only with the knowledge of scales and chords to create a well-structured melody or even to improvise a solo on a musical passage which is complex from a harmonic point of view, that is, with several tonal centres. This book is a practical didactic journey which, through the study of arpeggios, runs through five hundred years of the history of tonal music, starting from the exposition of the basic harmonic cadences of the seventeenth century and reaching as far as successions of these in more complex structures present in modern music such as jazz, hence the name of the book: “Arpeggio Cadences”.

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.1

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.1 Lingua: Italiano, English Media: Video on line Pagine: 116 Opera:

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.2

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.2 Lingua: Italiano, English Media: Video on line Pagine: 144 Opera:

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.3

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.3 Lingua: Italiano, English Media: Video on line Pagine: 180 Opera:

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.4

Juan Lorenzo: Escuela de la Guitarra Flamenca Vol.4 Lingua: Italiano, English Media: Video on line Pagine: 148 Opera:

Franco Morone: 10 Original Compositions

Franco Morone: 10 Original Compositions Media on line:Audio Lingua: Italiano, English Pagine: 60 Street Play 
Celtic Dog Blues 
Night Drivers
 Voyage de Giselle 
Mex Passage
 Expectations from a Gentle Plant 
Consuelo 
Windcar Walking 
Lautari 
After the Run Inutile negarlo: per quello che mi riguarda, ma penso tranquillamente di poter estendere questa affermazione a una larga maggioranza dei musicisti che conosco, se mi sono avvicinato a un certo tipo di approccio alla chitarra e se ho imparato ad amare ‘certa musica’ è tutto merito suo. Seguendo in tutti questi anni la carriera di Franco da una posizione quanto meno privilegiata non ho potuto fare a meno di apprezzare, oltre al tocco unico che ha sviluppato sullo strumento, praticamente inconfondibile e riconoscibile di primo acchito, la grande capacità di confrontarsi con molti generi diversi ed essere sempre molto ‘dentro’ quello che suona. Oltre ad avere un talento unico nel saper ‘leggere’ la platea che gli sta di fronte e proporre sempre, attingendo da un repertorio praticamente infinito, la canzone giusta al momento giusto. Un artista che non si è mai fermato, non si è mai seduto su quanto aveva realizzato, ma ha sempre cercato di evolvere e maturare. Franco ripropone qui quelli che sono i suoi brani storici come li suona ora, in alcuni casi a quasi vent’anni di distanza dalla prima stesura. Sempre uguali e sempre diversi, arricchiti e abbelliti da tanta strada percorsa e molto rodaggio su palchi di tutto il mondo. Riconfermandosi, ancora una volta, un punto di riferimento imprescindibile del fingerstyle italiano. E il miglior stimolo possibile per incominciare ad apprezzare ‘certa musica’. O continuare a farlo.

Julio Sagreras: First lesson for guitar

Julio Sagreras: First Lesson for guitar Language: English Media: Video on line Pages: 112

Julio Sagreras: First lesson for guitar

Julio Sagreras: Second Lesson for guitar Language: English Media: Video on line Pages: 84

Fred Sokolow: Ukulele for beginners

Fred Sokolow: Ukulele for beginners Language: English Media: Audio on line Pages: 60 The ukulele has never been more popular. There are uke clubs, festivals and retreats all over the world. A growing number of uke virtuosos have made it clear that you can play any kind of music on this humble instrument and be as impressive as a concert pianist or a rock guitarist. But you don’t have to be a virtuoso to have fun with the uke and play music with other people! This book and CD will start you off on the uke, even if you’re a complete beginner who has never played a musical instrument. You’ll learn several strums and a few picking patterns, and enough chords to be able to play in several keys. Strumming along with the recording will help you get in the groove, and there’s music and tablature to assist you on this journey. Once you can play the tunes offered here, you’ll be part of the growing ukulele community. The songs in this book are more than exercises to help you learn to play the uke; they’re classics that have been performed and recorded by hundreds of artists. That’s why additional verses are included after each song/exercise. If you’re learning part of a song, you might as well learn the whole thing!