Just Kill It

•Centrum Dystrybucji Nut•				System sklepów muzycznych

Introduction
Notation symbols
Chapter 1: Tool, A Perfect Circle
Adam Jones of the Tool
Billy Howerdel of a Perfect Circle
Chapter 2: Rage Against The Machine, Audioslave, P.O.D.
Tom Morello of Rage Against The Machine and Audioslave
Marcos Curiel and Jason Truby of P.O.D.
Chapter 3: Godflesh, Carcass
Justin Broadrick of Godflesh
Bill Steer of Carcass
Chapter 4: Nine Inch Nails/Trent Reznor
Chapter 5: Helmet/Page Hamilton
Chapter 6: Korn, Limp Bizkit
Head and Munky of Korn
Wes Borland of Limp Bizkit
Chapter 7: Linkin Park/Brad Delson and Mike Shinoda
On the CD
Acknowledgements
Photo credits
About the authors

Introduction
CD Track List
Rules of the (Fret)Board
Chapter 1 Harmony Review and Introduction to Voice Leading
Harmony review
Voice Leading in Action: Simple Chord Familes on the Guitar Neck
Voice Leading Chord Tones and Tensions
Other Smooth Moves: Parallel Movement
Drop-2 Voicings
Chapter 2 Major II/V/I Progressions
II/V/I Practice Guide
Practicing II/V/I Progressions
How to Work with Comping Rhythms
Comping Rhythms
II-7/V7/IMaj7 Progressions
Chapter 3 Minor II/V/I Progressions
I-7(b5)/V7(b9)/I-7 Progresions
Chapter 4 Practice Tunes and Rhythms
(None of the Things You Were)
(None of the Things You Were) Variation Using Rhythm No. 1
(Spring Arrives)
(Spring Arrives) Variation Using Rhythm No. 2
(Dear Old Stockmarket)
(Dear Old Stockmarket) Variation Using Rhythm No. 4
(I Smell Catastrophe)
(I Smell Catastrophe) Variation Using Rhythm No. 3
(Turn On Your Headlight)
(Turn On Your Headlight) Variation Using Rhythm No. 5
(If I Knew How to Cook)
(If I Knew How to Cook) Variation Using Rhythm No. 3
(I Should Have Thought About Me) Using Rhythm No. 12
(Rambos Chin) Using Rhythm No. 11
(On Great Love) Using Rhythm No. 9
(Remember Me) Using Rhythm No. 10
Rhythm Changes
Rhythm Changes (Mixed Comping Rhythms)
Blues in F - Try Your Own Comping Thythms
Blues in F Using Rhythm No. 2
Chapter 5 Extra Credit: Advanced Progressions and Turnarounds
The Functions of #IV-7(b5): What It Is and How to Use It
Madal Interchange: What It Is and How to Use It
Interpolative II-7: What It Is and How to Use It
Chromatic Approach: What It Is and How to Use It
Diatonic Turnarounds: What It Is and How to Use It
Dominant Approach: What It Is and How to Use It
Sub V7 Dominant Substitutions
Using Dominant Approach With Blues Changes
Dominant Approach Applied to Dominant 7 and Substitute Dominant 7 Turnarounds
Dominant Approach: Dominant to Dominant 7
Dominant Cycle of Fifths: Mixolydian to Mixolydian
Dominant Cycle of Fifths: Mixed to Mixed Dominants
Dominant Chords: What They Are and How to Use Them
For Further Listening
Glossary
Appendix Modes and Chord Scales
Chord Scale Quick Finder
Scale Syllabus for Improvisation
Modes in Seventh Chords for Guitar
About the Author

Background information
Chord construction
Basic chord voicings
Unaltered chords
The seventh chords
The ninth chords
The sixth and thirteenth chords
Summary of unaltered chords
Altered chords
The altered fifth and eleventh chords
The altered ninth chords
Combination chords
Odds and ends
II V I in Minor
Variation voicings
Triads and dmiminished seventh chords
Practical applications
Comping
Melody playing
Appendix A: Chord voicings in all keys
Appendix B: II V I all major keys
Appendix C: ii v i all minor keys
Appendix D: Common progression with altered chords

Introduction
About the Author
Acknowledgements
Chapter 1 - A Refresher Course on the basics
Chapter 2 - Right - Hand Technique Review
"Whiplash", "Enter Sandman", "Fuel" and "Orion"
Chapter 3 - Left Hand Technique Review
"Seek and Destroy", "No Remorse", "The Four Horseman" and "For Whom the Bell Tolls"
Chapter 4 - Scale Studies - Part 1
"The Gold That Failed" and "Slither"
Chapter 5 - The bass Player's Toolbox - Part 1
"Metal Militia", "King Nothing" and "Orion"
Chapter 6 - The Bass Player's Toolbox - Part 2
"Wherever I May Roam", "Metal Militia", "Seek and Destroy", "Where the Wild Things Are", "No Remorse" and "...And Justice for All"
Chapter 7 - Further Adventurse in Rhythm
"The Four Horseman", "One", "Ride the Lightning" and "The Unforgiven II"
Chapter 8 - Scale Studies - Part 2
"Phantom Lord", "Seek and Destroy", "Master of Puppets", "Wherever I May Roam", "Damage, Inc." and "Through the Never"
Chapter 9 - Arpeggios
"(Anesthesia) - Pulling Teeth" and "My Friend of Misery"
Chapter 10 - Further Adventures in Rhythm
"Welcome Home (Sanitarium)", "The Unforgiven", "Tje Shortest Straw" and "Battery"
Chapter 11 - The Bass Player's Toolbox - Part 3
"Master of Puppets", "For Whom the Bell Tolls", "No Remorse", "Fuel", "To Live Is to Die", "Welcome Home (Sanitarium)", "Where the Wild Things Are", "Until It Sleeps" and "Bleeding Me"
Chapter 12 - Studies in Grooving and Effective Group Playing
"The unforgiven II", "One", "The Unforgiven", "Ride the Ligtning", "Battery", "Through the Never" and "Harvester of Sorrow"
Chapter 13 - Soloing
"For Whom the Bell Tolls", "Orion" and "(Anesthesia) - Pulling Teeth"
Epilogue

Contents
Introduction
You/Your right hand
The Concept
Let's walk the bass
It's your turn
Convenient chord tones
Mixing chromatic and chord tones
It's your turn #3
Scale shapes and the minor 7 chord
It's your turn #4
2 for 1 major triad inversion
More II, V, I examples
It's your turn #5
How about some substitutions
It's your turn #6
Some chord placement options
It's your turn #7
3 full lenght examples
"Bb blues" original progression
"Bb blues"
"Just buds" original progression
"Just buds"
"All the stuff you wanna be" original progression
"All the stuff you wanna be"
Chord reference chapter
Major triad
Minor triad
Major 7
Minor 7
Dominant 7
Dominant 7 altered
Minor 7(b5) (or half diminished)
Diminished 7
Substitution list
Afterthought
About the author
Chromatic approach over chord changes
It's your turn #2

Dostępne opracowania:

Just Kill It znajdziesz w 38 publikacjach wymienionych poniżej: