Complete Electric Guitars Vol.3 CD Tab PDF

Please forward this error screen to xray. Follow the link for more information. So complete Electric Guitars Vol.3 CD Tab PDF the fifth studio album by English singer-songwriter Peter Gabriel, released on 19 May 1986 by Charisma Records.


Le meilleur de la guitare électrique en 4 volumes Volume 3 : Le must pour le guitariste qui cherche à rentrer en douceur dans la sphère des pros. Méthode 128 pages avec CD + Play-backs Par JJ RÉBILLARD Harmonie et connaissance du manche (construction des gammes majeures et mineures en toutes tonalités, accords de septième). Contretemps , syncopes, riffs et rythmiques syncopées en blues, rock, funk, reggae, metal, fusion, technique des cot-cot. Technique main gauche main droite (logique de l’alterné, vélocité, gammes brisées, finger et flat picking). Improvisation avec la gamme majeure, la gamme mineure et la gamme blues dans son extension la plus vaste. Arpeggios, croisements, modes grecs…

Although Gabriel continued to use the pioneering Fairlight CMI synthesizer, songs from these sessions were less experimental than his previous material. Nevertheless, Gabriel drew on various musical influences, fusing pop, soul and art rock with elements of traditional world music, particularly African and Brazilian styles. Often considered his best and most accessible album, So was an immediate commercial success and transformed Gabriel from a cult artist into a mainstream star, becoming his best-selling solo release. The album received positive reviews from most critics, who praised its songwriting, melodies and fusion of genres, although some retrospective reviews have criticised its overt commercialism and 1980s production sounds. 500 Greatest Albums of All Time.

So was remastered in 2002, partially re-recorded for Gabriel’s 2011 orchestral project New Blood and issued as a box set in 2012. Rehearsals began in May 1985 and consisted of Gabriel, Lanois and guitarist David Rhodes. Gabriel had begun work on some songs and provided Lanois and Rhodes with chord structures, around which they improvised compositions. Lanois recalled they had « a nice starting point in that kind of scenario, it’s not a good idea to have a lot of people around because you get nervous that you’re wasting other people’s time ».

The studio’s basic equipment consisted of « two analog 24-track machines, a Studer A80, and a Studer A80 shell that had been modified by a local electronics wizard, with its own audio cards and transport controls ». Gabriel would record a piano demo on a modified « B machine » and play this to the band. Gabriel’s demo would also be transferred to the A machine at this stage. Other equipment included the « groundbreaking » Fairlight CMI synthesizer, which Gabriel said in an interview for Billboard meant « more human imagination is involved ». He added, « the creative decision-making process has become more important than technique. You have a wider range of tools, a wider range of decisions ». Towards the end of recording, Gabriel became « obsessed » with the track listing and created an audio cassette of all the song’s beginnings and ends to hear how the sounds blended together.

The songs are highly influenced by traditional world music, particularly African and Brazilian music, with Gabriel using the distinctive drum beat from these styles. Opening with the shakuhachi bamboo flute, Gabriel uses a prominent horn section inspired by the music of American soul singer Otis Redding. Gabriel wanted the album to « crash open at the front » and despite disliking « metal » percussion instruments, he was persuaded by Lanois to allow The Police’s Stewart Copeland to play cymbals and hi-hat on its opener, « Red Rain ». Don’t Give Up », was fuelled by Gabriel’s discontent with rising unemployment during Margaret Thatcher’s premiership and Dorothea Lange’s photograph « Migrant Mother ». In Your Eyes » has been described as Gabriel’s greatest love song. Inspired by the Sagrada Família and its architect Antoni Gaudí, Gabriel sings over a drumbeat of only feeling complete in the eyes of his lover.

Mercy Street » after « 45 Mercy Street », a poem released in another posthumous collection. Mercy Street » is set to one of several Forró-inspired percussion compositions that Gabriel recorded in Rio de Janeiro. The dance song « Big Time » has funk influences and is built on a « percussive bass sound ». So is Gabriel’s first non-eponymous album. Gabriel has noted his dislike for titling albums, mainly because it distracts from the sleeve design. So was released on 19 May 1986.

It topped the charts of seven countries worldwide, including the United Kingdom, where it became Gabriel’s second number one album. In the United States, So became one of Geffen Records’ most commercially successful releases, peaking at number two and remaining on the chart for ninety-three weeks. Two high-charting singles followed, « Don’t Give Up », which rose to number nine on the UK Singles Chart and a less successful seventy-nine in America, while « Big Time » peaked at number thirteen in the UK and number eight in America. Bono contacted Gabriel to perform at A Conspiracy of Hope, a series of Live Aid-inspired concerts that intended to spread awareness of human rights issues in light of Amnesty International’s twenty-fifth anniversary. So received mostly favourable reviews from music critics. Jon Pareles of The New York Times wrote « only a handful of Western rock musicians have managed to use exotic rhythms and instruments with so much ingenuity and conviction ».