Oh Lady Be Good

•Centrum Dystrybucji Nut•				System sklepów muzycznych

Budowa gamy durowej
Tonacja C-dur
Budowa gamy molowej
Tonacja a-moll
Tonacja G-dur
Tonacja e-moll
Tonacja F-dur
Tonacja d-moll
Tonacja D-dur
Tonacja h-moll
Tonacja B-dur
Tonacja g-mol
Tonacja A-dur
Tonacja fis-moll
Tonacja Es-dur
Tonacja c-moll
Utwory w różnych tonacjach
Tonacje, gamy klawiatura
Tonacje durowe i molowe
Gamy i trójdźwięki durowe oraz prawidłowe łączenie akordów
Gamy i trójdźwięki molowe oraz prawidłowe łączenie akordów
Gama chromatyczna
Podział klawiatury na oktawy oraz położenie nut na klawiaturze i pięciolinii

Introduction
Selecting an Instrument
Mandolin Anatomy
Playing Positions
Tuning
The Right Hand
The Left Hand
Music Symbols
Open Strings
Eighth Notes
Down-Up Picking
Half Notes / Whole Notes
Notes on the First String
Notes on the Second String
Duet
Notes on the Third String
Rests
Pick-up Notes
Chords and Chord Voicings
Notes on the Fourth String
Mixolydian Mode
C Major Scale
Solo
Double Stops
Half and Whole Steps
F-Sharp (F#)
G Major Scale
Key Signatures
Sixteenth Notes
Endings
3/4 Time
More Chord voicings
Dotted Notes
Bluegrass Chops
High B
Even More Chord Voicings
Tremolo
D Major Scale
6/8 Time
Triplets
A Major Scale
Ties
Dotted Eighth Notes
Slides and Slurs
Doublestops Drones

Foreword
Welcome
A little History
A little Rythm Guitar Theory
The Right Hand
My Story
My Guitars
The Basic Chords
The Tunes
After You've Gone
Aint't Misbehavin'
All Of Me
Along The Navajo Trail
Amber Eyes
Avalon
Level 1
Level 2
Level 3
Compadres In The Old Sierra Madre
Embraceable You
How High The Moon
Idaho
Jesse's Polka (Jesusita)
Limehouse Blues
Lullaby Of Birdland
Miss Molly
Oh Lady, Be Good
Out Of Nowhere
Polka Dots and Moonbeams
Racing With The Moon
Red River Valley
Right Or Wrong
Sally Goodin
Level 1
Level 2
Level 3
Level 4
Suzette's Blues
Tangerine
That's How The Yodel Was Born
Tumbling Tumbleweeds
Level 1
Level 2
Wah-Hoo
(The) Yellow Rose Of Texas
Level 1
Level2

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

Oh Lady Be Good

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