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(Guitar Book) Joe Pass - Guitar Chords

(Guitar Book) Joe Pass - Guitar Chords

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Publicado porBerna Fiorentino

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Published by: Berna Fiorentino on Apr 04, 2012
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MEL BAY PRESENTS

M'B94108 $4.95

,y,

MEL BAY PUBLICATIONS, INC .•

PACIFIC, MO. 63069-0066

MEL BAY PRESENTS

cover photo by Phil Stern

©
INTERNATIONAL

1986 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO. COPYRIGHT SECURED. ALL RIGHTS RESERVED. PRINTED IN U.S.A.

. Thi particular text dealswith guitar chord forms as used b) Joe Pa. and Joe Pass/Herb Ellis Jazz Guitar Duets.. It is with gr at pleasure that we present the many books in the Joe Pass guitar seri . 3 " " ...' . 19 Major Sounds Sevenths Substitutions Dimini hed Sounds Minor Seventh to Seventh Sounds . Other works in the Joe Pass series includ : Joe Pass Virtuoso III.Joe Pass is one of the premi r guitarists in the world today. .tanding solo work. CONTENTS INl RODUC1~ION CHO.inish d Minor Seventh Flat Fifth CHORD PASSAGES ' .. " Minor Se enth Flat Fifth to Seventh Sounds Minor Seventh Flat Fifth Augmented Diminish Augm I1t d Pas a (Ie d Sounds Pattern Chord Substitutions Standard 2 . . " "4 4 6 9 10 12 ". '. As a publisher. d ' " . . " Major Seventh Auament Minor Diln. . . . .. The Joe Pass Guitar Style. .. " ' . . .. ." . ' . 14 15 15 . . . Joe Pass Plays the Blues. .RD I'ORMS . 16 .". ' . . 17 . . . . . . " ' . s in his out . Sounds . we feel honored to present the work of this great artist. . 17 18 18 19 20 '. .

The Roman numeral opposite the diagram indicates fret reference. I hope my experience can give the reader some insight for broader use of chords. you should first learn each chord exactly as it. and E.. and how they relate to each other. An "x" means a muted string (stopped. but not played) and "0" means an open string that is played. What comes to mind when you see or hear a Dm?? I have written what I think and hear in terms of chord relationships. Some of the chords will sound incorrect if they are not played as written. Fingerings are indicated by a number in a circle. Much has been left unsaid because this book is not a tutorial on chord theory-it is strictly for ear training on how different chords sound and move. is written before trying partial chords. you can use C. The names of the notes are indicated under diagrams for convenience. These are the chords I commonly use and improvise on when confrontedwith one of the six categories . All chords can be broken down and played in parts for easy movement. You will find some of the spread out chords easier to play if you use both a pick and your second and third fingers Isometimes the fourth also). A? . For example. who spent many 'hours editing my chords and eating my wife's pasta. but to portray their sound in context with the category being played. all of the materia] in this book is written in the key of "C". A special thanks to my good friend. third position. B. G}. Steve Merchant. etc. A curved line indicates a bar with that finger. in Cma7 (G. The heavy vertical line at the top of some diagrams indicates the nut (or first position).INTRODUCTIONI The chords in this book are divided into six major categories of sounds .The purpose of the book is not to identify each chord by name. Except where noted.. JOE PASS 3 . These chord forms are the substitutes and inversions I play when confronted with "basic" chord symbols such as: G. This builds good chord vocabulary. B. All of these chords can and should he transposed into all keys. Observe the notation of each chord box and play only those strings indicated. E.Bb.. However. This is a common practice with guitarists .

E A E AD GC 4 .. xx xx 00 EA CDG D_ill_cD v ~ x @Q DG -. (.cb x G b~~ (j) D CGBD xx -Cb @G D( CGB E »: I---.Major Chord Forms x x x xx o cb @ @ cb C Ell DF~ ~b G ~ GO L---.. CEBD EB DG xx xx cv @ ---(beb Cb GeE B x V ([)(be b (v (4) iD GD ill vn EBDA EA DGB xx G?)@ EADC D BEG Ch VIII xx cD -. x xx CD Q) G~ x x ® G~( D @ -CD II C G B F:t ~D CEADF!.

cD (3) C?)@ GeE A IX B DG C BEG x ..p VII <!) x x x VIII x G DGD ~ .xx <!> _f ~@ _f~ vn x o 0 x 0 00 0 ~D ~c b I AEG C C E ABE CDGBE X cD /' CD cb0 -".. <1) x IX ®~ GeE B 5 ..." ill x cD ~-+-+-+-I x 1Il Gb C G BEG @@@ C GBDG CAD~ x ® CAD Cb G D@) x VII x x ® cb ® VII @ F# C B E F# CAE G x ® C CD @ (..

--.F AbD G G F BEG x x x G FCEA... G F B E A~ 6 ..Seventh Chord Forms x @ (3) o 0 x o x (4) e G @) CD (j) CD G ~ (4) D~ [". @ BFA D~ G B . G F ABE F ACE FA~ x (4) 0 x 00 x 0 3) @@ CD 3) CD @ @ ~ (4) G FAC~E G F AbB E G F AbDb E x x x x x @ 0') cb @ ill Ql Q) @) G F B D~ BFA D BFA DG x x cD @@ (J) L----.

(3) (4) xx CD ill ( III 00 ® G FeE B BFADGB «<.G F B D# A~ G F B D# M G F BFM! x x ill x 4 G F B F.._ r1 @~ b($ c~ x @ G~~D VITI F BEG F BE A~ F B~G x VJ1l F B .. /'!:r G FBE B G F BDttB x )( cD .....----. FeE x x x VITI x x VIII CD @ ~D@ G~ r-..D# G Db F B D#A# F B D~A~ 7 .

..... IX GBF xX IX cv IX (jj @ d) G B F AbD~ B F MD x x X C~ /" IX f--.-.. i» ~~ (3) ~~ XIV -& m <i) @ @ B FAil G IX GBFAilD B F AilDI$G xx xX cVC~ XII @ (4) - D AbC G G AbB E G F ABE 8 ..--. X ® IX G @ cD @ IX Gb $ B F ME B F AbE • @ cD G~ G ~D NlDI$ ..x 1) (]) ((1) - x VIII vm X 0 F B Di:lG F B ~A G BFA E xx CD xX .

.... ~~ x VlII CD @ D~F B D~ G F BD~G F B D~ A~ 9 .. BFA E ns c BDG Au2mented Chord Forms xx GD ®~ (j)ill x @ eve!) L-J xx IV (!) IV @ D~G B D~ <1) B QD C?) G B D~ G Dt*G B x _C 9 CD ......~@ x x III ~b F A C#E Dp.1) eDt!> t.xx (J) XII ... xx G) (3) (4) x x (J CD G) CD G @~D I G~ G ~~ F B D#G FBm~G F A Db cO cD x I (J9® III x xx x ...--....-. G F B D~ G F B D~A F A D~ x (1) - ® CDeD x VIII x CD .

hord Forms C ~ ~ C G BbEb G C G BbEbBb C G Bb F A xx cb x xx e @ cD Gt cb e:.xx xX Cb - @@ III ~D F B DI:!A:!I:Db xx F B DI:! Bb xx CD @@ (4 F B DbG 'HI:! A D~G Mino .ad) I- x xx cue DC!) (4 ~ vm C G Bb F C G Bb Eb BbEbG D xx xx ~ D@ CD IV (4~ xx CDc[) - (]) III ® BbEbG C G C Eb Bb FEb Eb G 10 ....

Cl) cDcD0 VIII xx cOC D .xx Cb »: r-.DC BbEbG ~ Q ) ~D VlII x c'"' (J) (4) xx VIII x 0CU @) ~ x III (D C C C Bb F EO G BI>D xx @ Go cb x xx G ~(3) _0 VI x d)ctcb 0 x c~ (4D EbGPbD 0~ C Eb G BI> G C F BI> D 11 . (J) (3) (3) xx CD @@) CD Eb BbD G Eb BbD F CEbBPDF x CD @ CD $ CD III cb CbcD0 (3) III C G Bb F G C G BbD G C F Bb Eb G C x CD CD me b @ 111 ..-. v (b'D CGBbDA C BbEbGF _@ GCFBb ® x ..n.

'I( x ® CD ® XlI QJ GEbFBbD EQGDF Diminished Chord Forms x CD ~ @ ~D IV " QD ~~ CD x II IV ~b Fit C D# A C F#A D# x II x _fD @ Q -----(J) II ED xx (J) ~ @ CD @ ill C Fit AD# Git C Fit A D#FtI F B D A# xx d.) ~~ cD <D xx TIl Gu ~b F B D G# cD cb III - F BD G G#B D G 12 .

x (f) x @ (f) xxx (J) m xx I xx . ® BF Gti E GO GU ® @ ill m x CtlE G G~B D cv ~b G) ~~ x ® I A 0 ..~ ~p x IV Ftl C F G~ B D F IV ~) I x cD x @ x TV X CD .<?:> ~D A F# C F G# A F# C F~ ~p @ IV F# C F A 13 .

AbC F D AbC F Bb v V x x (I) III :x x 0 cDC bIb ~ x xa cUcb ~) G~ D f:~ @ D AhC F D AbC C FG G xx @ ~b ® cD VIII ~ x : X x (~ IX @ ~b~D ~D(D ~ x X ED D F .Minor Seventh Flet Fifth Chord Forms x G x @ (4) ill IV x Gb @ ® x V V @ D C F Ah D .AhC F C 14 .G bGb ® I . x ~D X 0_ xx @ C-D X GJ G~ ® ( ..-.Ah C D CFAh D L.CD @ x X DAbCFBb DAbCG D . 10 CD ..

The first three chords illustrate movement around G? The next four chords illustrate a substitute turnaround back to G13.Cma?.G7 . Notice the chords used to obtain these Bounds. For example: (1) Dm7 . utilizing the basic pattern of A 7 .Dm .G7 . SEVENTHS. MINOR SEVENTHFLATFIFTH TO SEVENTH SOUNDS: A7b9 to Dm?b5 resolving finally to G aug. MINOR SEVENTH G13.. @GO xx CD (3) @) G~ /" x t--. DIMINISHED SOUNDS: Resolve the last chord in this sequence into any chord.Db9.CHORD PASSAGES These are examples of chordal movements using the six categories of chord sounds found in the first part of this book. resolving into Ab13 to . Major Sounds xx XIV dJG D _.E G CE B DE 15 . or (2) Em7 . ._ xx Q - CD x (3) ~b E AD G CGBE CGBD VII x ~D m @ m TIl x (2~ 0 6D CD @) (3) EA DG B DbF B .Eb9 . The fifth chord is G13b5 (or Db?+9b5) which reo solves into Cma9.G).C. AUGMENTED SOUNDS: The first six chords are basically G aug. followed by a cycle seventh movement. Movement is used chromatically to get to the basic cycle (A7 . DIMINISHED PASSAGE: Use of diminished chords for seventh flat ninth chord movement. MINOR SEVENTH FLAT FIFTH TO AUGMENTED SOUNDS: Dm?bS chords to G aug... MAJOR SOUNDS: The first four chords illustrate movement in "C". TO SEVENTH SOUNDS: First four chords illustrate movement in Dm?.Dm9 .D7 .

~D J G FBE 16 .._ IV A G C~F DAC G Ab GbCE c15 . v x~ (D x CD CD @ v x G GD _~b~D I_.-. c..- III ( x --.. xx x ( D<D ...Q) (Jj x III ED G Gtl ~) FCEA Ah GDC F FBE xx xx CD __.....-......._ IX G D@ @) cD xx GD® t....----.--..(f) x (3)@ (J t---- ® IV x --.A x CD @ III .Minor Seventh to Seventh Sounds xx G @ _e @ xx XII ( )(J)(J) @ .. X -e~ ® C GbBb F v ! CD Gb® @ v--. IX BFA E BFA E x 0 ( D ®® @ C J.-...- vn (j)~ o AC G C FA E ] GC xx cD .

) Gb @) EOA CG EO A C Fit 17 .Sevenths Substitutions x x x VI 0 x Gb -0 (b E G#D G cb x ~b G A G ~F C ® IV (4) D F#C F • x Diminished Sounds xx ()) ~ cD<D xx IV CD xx IV QU @ d5 ~ <D 'D ill <b 1\' F# C nee it F# C F A Fit C D# B Cb @ xx VII Qb @ D F#C F1 B ill @ ~~ IV @) 4 A D#F# C F# C Eb A xx C) ® @ ~~ xx (Q (2.

Q _ff.x x --0)(0 CD@ ~ x D .) HI 0 G F B DI* G 18 .Bb D C F Ah cD x CO . I @ IV x 1Il ® G F B Dtt A~ o C F Ab Minor Seventh Flat Firth to Au~mented Sounds xx xx .AbC D AbC F C F Bh Eb xx x (J) G~ r=-. x (}) x <J) @) CD IV @)f) AbDGC o MC F .Minor Seventh Flat Firth to Seventh Sounds x G ~ x II1 ~) x x x V (0 ~ x @ ttl G~ Gp CD @) VI @ C~G & E D AbC F E Bh DbG x x ®@ .

G F B D Al:t x x III A G C#F C 19 . ] GBE Au(Jmented Sounds x ---CD (Jj x ®@ c.Diminished x (1 0 _(3) (4) C# x Bb Ab-D G PaSSa2e x x CO V (2) CoD GO G Bb E A G ~·NBb- DACFA x (~ CD x x 1(3) 0000 Ti5 1:'!j G F B E Ab B F Ab-D L..-- III (jj x x C}) IV III ® ~D G F B D~ Ab GbC F C!5 CD (b iJ) IV III IV ~!) Ah GbCFAJ.

. ~ Om? t Em? t A7 ..z . Bm7-5 •-i . and the raise l Sth 011 top.... Om? ~ ~ ~ .. . Om? t A?+5 E'o?-5 it ~ II: ..z .z . Eb9 . Em? A?+5 I- Om? -i A?+5 r Dm? t E'o9 t :11 II: I Om7 .....Standard Pattern Chord Substitutions In thi ection you will find ba ic hord pattern.D7+9+5 mean" 07 with the raised 9th nex t . :11 II: .. Om? ~ . r :11 ..z ..and uhstitut pall rns utilizing the 'hard' pr sen ted in th first two part of this book..of r .. -i :11 . A13-9 t ~ I :11 Om? t II: .. -i -i t :11 Om? II: t ~ . t ~ t ~ iI- --i ..z t 1r t A7+5 E7+9 t A?+S+9 ~ t :J t ~ :11 II: . :11 4 II: . Om? i t -l r .l r II: ~ ~ t ~ • ~ t -i •.... II: ~ tJ Dm? 'I rp- Go ~ ... ~ . BASIC PATTER.. .of I ~ ~ ~ .z . The chord . :11 4 Om? II: l ~ .~ ~ .~ r .l I ..-I .. i :11 .... . ~ . ~ r ~ ~ ~ .... ~ ~ ~ . B'o13 A7-9 .. Em?-5 ..yrnbol: are written 0 that th order of appf!arall e of notes c incides with the spelling of the chord symbol. r. . E'o9 .~ ~ I p- ~ I' ~ I ~ i ~ .z I I 1. 7 i- ~ t ~ :11 .z . Fm? B'o? Em? A? t ~ t ~ I t -l ... ... For exarnpl ..... ~ ~ II: . enl ~ Dm7 Bb7 Dm7 Om7 I ~ II: I . E7+9 A?+5+9 i I :11 20 .z ..

. -y n t. r . . i I I I ·ri ~ Crna7 FI3 E7+5 A7-9 Dm? A~13 G13 •. 21 . i . A? Dm? G13 · I I i I ~ Cma9 Em? E~m7 Dm? A?+9 Dm7 G9 · I I ..BASIC PATTERN: c r Om? G7 r -. · ri ~ Crna? FI3 Cma9 (E Bass) Ebm7 A~7 Dm7 A7+9+5 Add 9 Ab9+5 DI3 G13 . !. Crna? Em 7 .

... BASIC PATTERN: Crna? Drna? t Em? t II: . Em? Fma? Em7 Eb13 Om? Obrna7 Crna? . "I !.I Em7 Dm? Cma? t I •"' t " t " I tl :11 Cma7 Dm? G? Em ? F rna 9 Em 7 Am t D9 GI3 Crna9 . 22 . rl !. " . Cma7 FI3 B7+5+9 +11 E?+9 Bb13 Al3-9 Eb9 D7!~ Ab13 G13-9 O?+ll Cma7+11 rl CI3 FI3 Bb13 Eb13 Ab13 Ob13 6 Cma"§" . 6 Cmag f) Crna7 Fma? Em7 Am? Dm? Obma7 !. " Fma7 t" ~ . 'i !. "' A l- " I.. I') Em7 F9 E?+9 A7+5+9 D7+9 G?+5+9 Cma9 !.

BASIC PATTERN: ~ II:" 6_ G7 G7 I r .. I~ Dm7 GI3 I t :11 l :11 BASIC PATTERN: 411:" ..I I f ~ :11 Gb13-9 II Gl3 Ab7+5 Gl3 I I I :11 ~ II:. Om7 I: t GI3 GI3 I r t I l- I t . GI3 GI3 .. . . .I .j Gl3 t :I :11 E7+9 07+9+5 II: . II: .l t 4 II: I .I -I I ....I . tl :11 i " . .I l f .~. Db9 Cma9 I Cma9 t I .j t 1 ~ r- I ..l~'~~t~l~r~~~~~§~J :11 ". G7+5 t . -I F . . . I. Gl3 I t ~ :11 E7+9 A13-9 Dm7 G13-9 t ~ II:. .. II:" Om7 Abm? l I "I" . .. . Eb7-5 ~ t.I :11 "STANDARD" CHANGES BASIC PATTERN A7+5 :~'~II~: .f C A7+5+9 D13 • ~ t " Al3 . I .I C Am7 G7 Dm9 4 .I t ...I t CI3 I: I t .... :11 II Cma7 II Om7 t :11 Db9 .. -II :11 & II:! Bbl3 Eb9 Ab7+5 GJ 3 ' iFl I . Ab7+5 JI :11 AbI3 Gl3 -:: I ~ p- I..' I I I :11 Dm9 GI3-9 I # I I :11 . ..I 1 Dm9 Gl3 ~ .I 1 I t . f ~I 23 . t ....z :11 Emll 4t . ..j 'n .. .

I .II CI3 F9 r t DI3 Ab13 r .I y t F9 4 ... Ab13 t t G13 G7-9add13 C13 E~]3 j DI3add9 Db13add9 r t .I r .6 t _. C 13 I I lit I ..-'11 I Ifllllli/ -t II C13 Gb13 IF F9 t B13-9 .I t I.:l 24 GI3 Db13+9 C13 RbI3 Abl3 . For example..VOTl-:: Try to sustain lead notes from one rhord to the next. BLUE F9 C7 t C9 Gm7 t Cl3 .I . r j t .BASIC PATTERN... 4 C9 FI3 t t E7+9+5 A7+5+9 Dm9 t .f I t I C13 C13 t . Co II Add C13 l ._ Y r Dbi39 I r Cl3Emll A7 Dm7 G7+9+5 Cl3 ." I lI. . sustain the G on top. t I I w f I. . t A7+5+9 t Dm7 G7sus4 t t I .19"11 .I t ._ t C13 Gmll C13 C7+5+9 F9 F f? F9 r.. II . C9 to F 13. C13 F9 Co C13 Gm7 C13 1"9 t Gb13 t F9 tty.I .. ~M39 C13 t • '1' . Co r r . I I.I *' II III . t F9 III . I II CI3 F7+9 C13 CI3 C7+5 " F9 Gb13 F9 CO I .

. EZ WAY.METHOD.. DELUXE BLUEGRASS/FLAT PICKING GUITAR METHOD .tI.Mel Bay Guitar Books CC.• " GUIT.APPR0ACH GuiTAR II DELUXE GUITAR CHORD PROGRESSIONS DELUXE GUITAR PRAISE BOOK GOSpeL GUITAR GUlTARHYMNAL SACRED GUITARIST HYMNS fOR CLASSIC GUITAR 'CHILDBENS GUITAR HYMNAL EASYWAYCHRISTMAS GUITAR GUITAR CHRISTMAS CAROLS TONY MOTTOLA HOLIDAY GUITARS .. 2 JOHNt'JY SMITtj APPROACH ~UITAR I 'JOHNNY SMITH. . 2 GUITAR POSITION STUDIES •GUITAF. GUITAR CHORD .SOUNDS OF CHRISTM!!.ssic GlJHAR METHOD I" CLASSIC GUITAR METHOD II CLASSIC GUITAR MET. BASS. 1 ELECTRIC BASSVOL. ~.jTAB BOOK GUITAR.RE.GUITAR CHORD CHART GUITAR CHORDoWALL'CHART+ FUN WITH ELECTRIC BASS FUN WITH GUITAR FUN WITH STRUMS-+GUITAR THE COMPLETE CARCASSI ELECTRIC BASS VOL.1 SOLO fOLIO NO.E:TWO a.ADED GUITAR DUETS HOW TO PLAY GUITAR IN A BIG BAND DEVELOPING MELODIC SIGHT READING TECHNIQUE IVOR MAIRANTS' COMPLETE GUITAR EXPERIENCE JUAN SERRANO CONCERT FLAMENCO SELECTIONS 101 ROCK GUITAR LICKS 101 FINGERSTYLE GUITAR LICKS FIDDLE TUNES AND BREAKDOWNS FOR DOBRO CLASSICAL G. It GUITAR DUETS ON CLASSIC THEMES IMPRESSIONIST PERIOD GUITAR GUITAR ENSEMBLES GUITAR VIRTUOSO JAZZ & COMTEMPORARY GUITAR DUETS RICHARD PICK FAVORITE SOLOS RENAISSANCE LUTE MUSIC ROMANTIC P!:RIOD"GUITAR "SELEOTED GO. " GEORGE VAN EPS "HARMONIC MECHANISMS" FLATPICKING GUITAR SONGBOOK THE LITURGICAL GUITARIST GUITAR SCALE & ARPEGGIO CHART ROCK GUITAR CHORD CHART CHORD STRUM MIN' SONGS FOR GUITAR ADVANCED ROCK GUITAR STUDIES .STUDIO GUITAR PLAYING BUILDING LEFT HAND TECHNIQUE BUilDING RIGHT HAND TECHNIQUE GUITAR DAILY . • . . ANTHOLOGY OF FINGERSTYLE GUITAR AUTHENTIC BLUEGRASS GUITAR BASIC FINGERSTYLE GUITAR CHET ATKli\lS .STUDIES POCKETBOOK THEORY AND HARMONY' FOR I=VERYON'E" . 1 STEEL GUITAR METHOD VOL. GUITAR CHORDS.GA CLASSICAL PERIOD GUITAR MUSIC DELUXE CLASSIC GUITAR ALBUM EASY CLASSIC SOLOS ENGUSHLUTECOMPOSERS" FLAMENCO GUITAR STYLES GREAT CLASSIC SOLOS GUITAR BAND VOL..f_A:SyWAY GU'TAR"A'~ EASYWAYGUITAR "B" EASYWAY GUITAR "C.' GUITAR CLASS METHOPVOLUfi1.lIR WOR~SHOP' JUNIORGUITAR COMPLETE MODERN METHOD FOR GUITAR MODERN GUITAR METHOD I MODERN GUITAR METHOD II MODERN GUITAR METHOD III MODERN GUITAR METHOD IV MODERN GUITAR METHOD V MODERN GUITAR METHOD VI MODERN GUITAR METHOD VII PRIMER COMPLETE METHODFORCLASSIQ..SONG .2 SOLO GUITAR" 1i' TONY MOTTOLA GUITAR $TYL'ES BASS GUITAR IMPROVISING BLUES GUITAR STYLES 'BLUES.BOOGIE & BLUES GUITAR EZ WAY ROCK GUITAR NEW SOUND.S FOR'GUITAR 100 EZ'fLATPICKING'GUITAR SOLOS EZ WAY "HOW TO TUNE A GUITAR" EZ WAY FINGERSTYLE GUITAR SOLOS EZ WAY COUNT.GlIITA:'F!AR~EG'GIO STUDIES DELUXE GUITAR SCALE BOOK GUITAR FINGERBOARD HARMONY GUITAH CHOHD'WRITING BOOK GUITAR"IMPROjVrSING~VOl.LEADGUITAR.. BASIC BASS LINES ·TOM BRUNER . MERLE TRAVIS GUITAR METHOD TWELVE STRING GUITAR STYLES BAROQUE GUITAR MUSIC BEST OF BACH BEST OF CARULlI BEST OF GIULIANI BEST OF SOR BEST OF TAR.HOD I. HART C DELUXE ELECTRIC BASSC"HORDS DELUXE GUITAR CHORDS .~ fOR Ei.SS ROCK..N. 1F GUITAR IMPROVISING VOL.:TECHNIC JAZZ GUITAR VOL. RICK FOSTER HYMNS FOR CLAsSICAL GUITAR RICK FOSTER MORE HYMNS FOR CLASSICAL GUITAR JAZZ GUITAR LINES JAZZ GUITAR SCALES ART OF SOLO JAZZ GUITAR HARRY VOLPE MASTER CLASSICAL GUITAR COLLECTION DELUXE ROCK GUITAR METHOD GR..UITAR. AMERfCAN HISTORY I.GUITAR.. BLUES GUITAR COUNTRY DOBRO GUITAR' COUNTRY GUITARPICKIN' COUNTRY RAGTIME GUITAR . STRUM GUITAR FLAT-PICKIN' GUITARtTYLES' FOLK GUITAR ::>TYLES GUITAR TUNINGS & SOLOS LEARN TO PLAY BLUEGRASS GUITAR . EZ BLUES GUITAR SOLOS EZ WAY BLUEGRASS GUITAR SOLOS EZ WAY PICK S.ECTRIC E\f. 2 JUAN SERHANO!FLA~ENCOG. ROCKIN' RHYTHMS FOR YOUNG GUITARISTS BASS GUITAR POSITION STUDIES PLAY BASS fROM CHORDS DELU:>H':. 1 JAZZ GUITAR VOL.RY STYLE GUITAR . I GUITAR BAND VOL.ITAR 5'o(OS SOLO FOLIO NO. CONTEMPORARY BASS SOLOS EZ WAY BASS SOLOS.lli " .OFF THE RECORD CHORD STRUMMIN' GUITAR CONTEMPORARY SLIDE GUITAR COUNTRY. PEDAL STEEL'GUITAR STEEL GUITAR METHOD VOL.UITAR DUETS IN 1ST AND 2ND POSITIONS CLASSICAL GUITAR SOLOS IN 1ST AND 2ND POSITIONS DElUXE JAZZ AND ROCK BASS METHOD CHILDREN'S GUITAR METHOD VOLUME ONE CHILDREN'S GUITAR METHOD VOLUME TWO CHILDREN'S GUITAR METHOD VOLUME THREE CHRISTMAS SONGS FOR CLASSIC GUITAR CHRISTMAS SOLOS FOR FINGERSTYlE GUITAR FUSION BASS .SING ". DUELING GUITARS. GUITAR'CHORD CHART MELODY GUITAR CHORDS RHYTHM CHORD SYSTEM PEDAL STEEL.GUITAR IMPROVI.

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