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Rhythmic Lead Guitar: Solo Phrasing, Groove and Timing for All Styles
 
 
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Rhythmic Lead Guitar: Solo Phrasing, Groove and Timing for All Styles [Perfect Paperback]

Barrett Tagliarino (Author)
5.0 out of 5 stars  See all reviews (79 customer reviews)


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Book Description

January 12, 2010
This book/CD pack takes you step by step from beginner to master of the rhythmic aspect of soloing and riff creation. Learn to count beat divisions and subdivisions at every level to contribute the right feel to songs in any style. You'll apply exact timing to bends, slides, legato articulations and grace notes to get your soloing under your complete rhythmic control. No prior music reading knowledge is required, but you will learn a bit about correct rhythmic notation as you go. Over 150 examples are tabbed and notated, and demonstrated at slow tempos on the CD. Later chapters cover motific development; setting up audience expectations with form signaling; odd meters; creating syncopation with displacements, additive rhythms, pedal tones, polyrhythms, and metric modulation.


Editorial Reviews

About the Author

Barrett Tagliarino's previous books include the Guitar Reading Workbook, Chord Tone Soloing, and the Guitar Fretboard Workbook. He's been an instructor at Musicians Institute since 1989, and has two instrumental CDs to his credit: Throttle Twister(2009) and Moe's Art (1998).

Product Details

  • Perfect Paperback: 116 pages
  • Publisher: Behemoth Publishers (January 12, 2010)
  • Language: English
  • ISBN-10: 0980235324
  • ISBN-13: 978-0980235326
  • Product Dimensions: 10.8 x 8.1 x 0.4 inches
  • Shipping Weight: 11.2 ounces
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (79 customer reviews)
  • Amazon Best Sellers Rank: #77,875 in Books (See Top 100 in Books)

More About the Author

Barrett Tagliarino's newest book is the MP3 Edition of the ground-breaking "Rhythmic Lead Guitar: Solo Phrasing, Groove and Timing for all Styles." With this book you progress from beginner to master of the rhythmic aspect of soloing and riff creation, learning to count beat divisions and subdivisions at every level to contribute the right feel to songs in any style. You'll apply exact timing to bends, slides, legato articulations and grace notes to get your soloing under your complete rhythmic control. No prior music reading knowledge is required, but you will learn a bit about correct rhythmic notation as you go. Over 150 examples are tabbed and notated, and demonstrated at slow tempos in 192 kB MP3s. Later chapters cover motific development; setting up audience expectations with form signaling; odd meters; creating syncopation with displacements, additive rhythms, pedal tones, polyrhythms, and metric modulation.

Barrett has been a full-time instructor at Musicians Institute in Hollywood since 1989. His "Guitar Reading Workbook" and "Guitar Fretboard Workbook" are based on MI's curriculum requirements. These and his other books are also popular choices for course syllabi at other universities, vocational, and high schools. Barrett's books are designed to get you playing the music you want with a clear understanding and no time wasted.

The same engaging and lucid teaching style that Barrett uses in his books makes his classes at MI often fill to capacity with a waiting list. His current schedule includes Blues Level II, Guitar Heroes of the 60s and 70s, and Reading Level I. Barrett was Rock department head at Hohner MusikSchule in Vienna in 1995. His traveling work as a performer and clinician has taken him around the world.

Barrett has two CDs showcasing his rock guitar style with blues and jazz influences: "Throttle Twister" and "Moe's Art," both available here on amazon.com, and has made numerous guest recording contributions as an LA session guitarist.

Guitar magazines such as Guitar Edge, Guitar Player, and Guitar World have featured Barrett's full-length article contributions on technique, styles, and phrasing. He also works as an editor for the Hal Leonard Corporation, adding his knowledge and insight to books like "Jazzology: The Encyclopedia of Jazz Theory," and Tom Kolb's "Music Theory for Guitarists: Everything You Ever Wanted to Know but Were Afraid to Ask."

You can find his latest works, video clips, free lessons, and blog posts at his website, www.monsterguitars.com, which he started in 1996.

 

Customer Reviews

79 Reviews
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Average Customer Review
5.0 out of 5 stars (79 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

17 of 17 people found the following review helpful:
5.0 out of 5 stars Neglected subject dissected by a pro, August 15, 2010
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This review is from: Rhythmic Lead Guitar: Solo Phrasing, Groove and Timing for All Styles (Perfect Paperback)
If you're familiar with some of Barrett Tagliarino's other works(Guitar Fretboard Workbook, Chord Tone soloing, etc.) you know that he is one of the finest writers on the guitar instruction book scene. There are tons of books out there with endless transcriptions and diagrams but most lack clear and concise explanations of the thinking, the theory, and the practical application to your own playing and creativity. There's not much use in learning a note for note solo if you have no idea how to create your own.

Barrett is a writer who not only cuts through all of that, he offers up precise and practical explanations of the concepts and their application. In short he teaches you to fish and doesn't just hand you one.

"Rhythmic Lead Guitar" is no exception to his already well-established reputation for writing great guitar books. What is completely different about this book is that it delves into areas virtually untouched by any other author. It starts simple, but ends up in very complex territory. For example, if you are into "math" rock you will find detailed explanations on how to work and count odd meter rhythms (7/4, 5/8/ 7/8, etc.) When first learning these, I was lucky enough to stumble on a you tube video for drummers. Barret's book offers practical and hip examples and CD tracks demonstrating the techniques.

There's enough material to keep even advanced players busy for a long time. It starts simple, but quickly progresses into new territory. If you want to move your playing to the next level and start leveraging rhythmic concepts along with scale/chord tone soloing concepts, this is the book for you. Highly recommended!
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9 of 9 people found the following review helpful:
5.0 out of 5 stars `A MUST' FOR EVERY DEDICATED GUITAR PLAYER, August 22, 2010
This review is from: Rhythmic Lead Guitar: Solo Phrasing, Groove and Timing for All Styles (Perfect Paperback)
If you want to take your improvisation and rhythm awareness to a higher level than this is a must have book for you. This book takes you from the total beginning of rhythm, tapping your foot while playing and counting to a really advanced metric modulation, displacements and polyrhythms.

The beginning exercises may be simple but I took them seriously and really did every assignment at the end of the chapters and my improvising and over all sense for phrasing, phrase length is growing rapidly. There are lots of efficient exercises that are easy enough to understand. They really helped me with my soloing, they showed me how to really start feeling the rhythm and what's going on around you in music. This book definitely helped me with a lot of issues I had regarding rhythm and playing, I'm starting to feel what's happening around me in music in more detailed way as I did before. This book also comes with the CD with all recorded exercises played by the author so you really get the whole picture and you have a good comparison and instructions how the exercises should be done.

Even if you don't like learning thru books, this book will convince you the opposite, and it will give a you a much wider, new look and perspective on music itself.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars A neglected aspect of soloing, March 13, 2011
By 
Travis Pierce (Pana, Illinois USA) - See all my reviews
(REAL NAME)   
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This review is from: Rhythmic Lead Guitar: Solo Phrasing, Groove and Timing for All Styles (Perfect Paperback)
After reading Rhythmic Lead guitar, I am twice the lead player I was this time last week. I must confess, I am not painstakingly going through the book and doing all of the exercises, but let me briefly tell about the insight this book has given me.

I am a pretty good chord-tone guy (check out Barrett's Chord-Tone Soloing book), and unlike most pretenders, I do reasonably well over diatonic progressions, especially major key stuff. My problem was really the opposite of most players--my theory is rock solid and my fretboard mastery is good--but for some reason unknown to me, my phrasing was always a choppy train wreck when it came to everyday minor pentatonic wanking. Well, no more.

Rhythmic Lead Guitar made me really sit down and analyze the different available beat subdivisions, and it also helped me realize the differences between a shuffle (my band plays a lot of three-chord boogies) and a straight feel, and more specifically, between straight and swung 8th notes. I have a Fender G-Dec amp and first practiced all of these subdivisions with a metronome at different tempos and then practiced soloing over a looped shuffle for hours. Like a lightbulb coming on after 15 years of frustration, I literally and figuratively found my groove like a seasoned pro. I think I had been trying to play straight eighth notes over shuffles, and my use of triplets was underutilized.

From there, I moved on to songs with a straight feel, which too have always given me fits. My main problem with these songs is that my 8th-note phrasing stunk because I tried to use too many notes. I thought great players just "played faster" than the rest of us. Well, they do, but I realize now that it is all about fitting those faster notes into each beat in a rhythmically even way.

Another side effect of analyzing different beat subdivisions is that when playing fast triplets or sixteenth notes (still very difficult) that could only be accomplished with hammer-ons and pull-offs, I was forced to examine all of my pentatonic boxes for different options, and within a day, I was seeing and connecting all of the shapes like never before. Unbelievable!

Some of the material in this book is beyond my scope and my interest, but by just focusing on the beat subdivisions (and hearing examples of them) and by learning the difference between a swung eighth note and a regular one, I have started on the fast track to becoming the lead guitar player I have always wanted to be. Thank you very much, Barrett.


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