<p>This in-depth blues rhythm guitar text is core curriculum of the University of Southern California's Studio Guitar Department, which is part of the prestigious Flora L. Thornton School of Music, located in Los Angeles, California. It features eighteen twelve-bar blues rhythm guitar accompaniments in the style of guitarists such as Chuck Berry, Eric Clapton, Jimmy Page and Stevie Ray Vaughan. Nine of the songs use a shuffle feel and nine use a straight eighth note feel. The play along CD contains two versions of each of the eighteen songs in the book. The first version has the guitar part and the second version is without the guitar. This gives you the ability to play along with the guitar part as a guide and also to play along with the track as the only guitarist. The examples are written using traditional musical notation and tablature. Included for each song is a short description of the important points to consider when learning each example. The book presents songs that will expand the guitarist's vocabulary by presenting a variety of different ways a guitarist can play through the twelve bar blues. A number of different chord variations, keys and tempos are used in demonstrating these eighteen idiomatic rhythm guitar parts that have been used by the masters.</p>

Playing The Blues: Blues Rhythm Guitar (USC/Thornton School of Music Guitar Instructional)

Arts & Photography

Nick Stoubis

STEVE TROVATO

Music

Mel Bay Publications,Inc.

<p>This in-depth scale and arpeggio text is core curriculum at the University of Southern Californiafs Studio Guitar Department, which is part of the prestigious Flora L. Thornton School of Music, located in Los Angeles, California. Using a comprehensive approach that includes three different organizational systems, it covers the technical foundation that is necessary for playing any style of music. The CAGED system (five positions), the Finger Stretch system (all twelve keys in one position) and the Three-Note Per String system (seven patterns) are examined. Although each of these three systems is examined, the CAGED system serves as the basis for much of the material covered in this book. Instead of traditional musical notation, the book uses fingerboard diagrams to focus on the visual aspect of the patterns. The goal is to present an approach to understanding and mastering the fingerboard by outlining the best and most practical elements of these different systems. Book One presents patterns for the major scale and its relative modes, the major pentatonic scale, the minor pentatonic scale, and the blues scale. Along with these scale forms, patterns for arpeggios that are for the most part diatonic to (in the key of) the major scale are presented. These include major, minor, diminished and augmented triads, and also major 7, dominant 7, minor 7, minor 7(ó5) , and diminished 7 chords.</p>

Fingerboard Mastery, Book One (USC/Thornton School of Music Guitar Instructional Series)

Frank Potenza

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Books by Nick Stoubis