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USGM--FAQ's 9-17 100%

 How long does it take to complete a handmade acoustic guitar?

https://www.pdf-archive.com/2017/10/27/usgm-faq-s-9-17/

27/10/2017 www.pdf-archive.com

GuitarSim Pitch Deck 98%

GuitarSim Turn your smartphone into a mini guitar and rock on GS Technologies LLC | Feb.

https://www.pdf-archive.com/2018/02/28/guitarsim-pitch-deck/

28/02/2018 www.pdf-archive.com

build a shuitar 98%

1 Get any acoustic guitar.

https://www.pdf-archive.com/2018/03/26/build-a-shuitar/

26/03/2018 www.pdf-archive.com

Free Bird 96%

Free Bird Expert Pro Keys Lynyrd Skynyrd               4                                                                                                                                                                                                                                                                                                                                                                       2 11 3 Intro 4 5 6 7 Slide Solo 1 8 10 12 13 14 15 16 17 19 9 18 Verse 1 21 3 3 3 3 3 22 3 23 24 25 31 3 20 26 32 33 Chorus 1 34 35 27 36 37 38 Verse 2 28 39 29 30 40 41 Slide Solo 2 Verse 3                                                                                                                                                                                                                                                                                                                                                                                              42 43 44 45 46 47 3 3 48 3 50 51 52 53 3 3 3 54 57 55 Verse 4 58 59 60 66 74 78 Guitar Solo 63 Chorus 2 64 68 72 Fast Part 75 79 65 69 71 77 2 62 67 73 86 56 61 70 82 49 80 76 81 83 84 85 87 88 89                                                                                                                                                                                                                                                                                                                                                           90 91 94 99 95 100 105 111 92 96 97 101 106 102 107 112 113 93 98 103 Guitar Solo A 104 108 109 110 114 115 116 Guitar Solo B 117 118 119 120 121 122 123 124 125 126 127 128 129 130 135 141 149 131 136 142 132 137 Guitar Solo D 143 150 144 151 133 138 152 134 139 145 140 146 153 Guitar Solo C 147 154 148 155 3                                                                                                                                                                                                                                                                                                                                                                 156 157 158 160 161 164 165 168 173 177 180 183 186 189 192 4 159 162 163 166 169 174 Guitar Solo E 170 Guitar Solo F 167 171 172 175 178 179 181 184 182 185 187 190 176 188 Guitar Solo G 193 191 194                                                                                                                                                                                                                                                                                                                                                               2          9     195 196 197 198 199 200 201 202 203 204 205 208 209 213 219 224 229 235 241 210 214 218 223 206 225 230 236 231 237 242 Guitar Solo H 211 215 216 220 221 226 232 238 BRE 251 207 212 217 222 227 Guitar Solo I 228 233 234 239 240 252 5

https://www.pdf-archive.com/2011/03/19/free-bird/

19/03/2011 www.pdf-archive.com

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New ES 96%

o Arr TAYLOR GUTTARS TECH SHEET Ihe New laylor Expression System' 0r, !rg Your Taylor guitar features the new Taylor Expression System (ES), a revolutionary pickup design that delivers the latest in Taylor's ongoing innovation in acoustic guitar amplification.

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21/09/2013 www.pdf-archive.com

25 or 6 to 4 95%

25 or 6 to 4 Expert Pro Keys Chicago           2 4                 4                                           3 3 3 2                                                                                                          3 3 3                               2                                                                                                                 3 11 18 35 43 Intro A 73 7 12 19 Verse 1 Chorus 1 Guitar Solo 1 22 26 67 75 Chorus 2 Guitar Solo 2 76 54 32 34 41 42 47 55 68 31 40 46 Verse 2 17 30 39 45 51 16 27 38 44 10 15 37 66 74 9 14 23 50 64 8 13 36 49 63 Intro 69 77 48 58 59 70 62 71 78 72 79                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    80 81 85 82 83 86 90 87 91 95 Guitar Solo 2a Guitar Solo 2b 96 88 92 89 93 97 101 84 94 98 102 99 103 Guitar Solo 2c 104 100 105 Guitar Solo 2d 106 107 110 111 119 2 115 120 109 112 Guitar Solo 2e 114 108 121 116 113 117 122 118 Break 123 124                             125                           126 127 Break a 128 129                          3 3 3                          2                                        130 136 150 131 137 151 132 133 Verse 3 138 152 139 142 Chorus 3 154 155 134 135 143 156 146 157 147 158                                                                                            159 160 164 165 161 166 170 Ending 171 172 163 167                          169 Guitar Solo 3 162 173 168      2 174 175 176 177 3

https://www.pdf-archive.com/2011/03/07/25-or-6-to-4/

07/03/2011 www.pdf-archive.com

Guitar World WA 92%

Thats right, plug in a guitar,bass or even an acoustic guitar.Onboard effects and even a chromatic tuner.

https://www.pdf-archive.com/2013/12/10/guitar-world-wa/

10/12/2013 www.pdf-archive.com

2308mucklemouth (1) 91%

  Muckle Mouth ​ presents  Cam Deas​  (12 string guitar, electronics)   Daniel Voigt​  (cassette tapes, electronics)   Isnaj Dui​  (flutes, dulcimer, electronics)  The Sly and Unseen ​ (shruti box, harmonium, flutes, cello, xylophone, guitar)  2­8pm  The Laughing Bell  330 StJames Road SE1 5JX    http://www.wegottickets.com/event/329050            Cam Deas​  (12 string guitar, electronics)    Cameron Deas is an experimental musician based in London. Currently working with electronics, he uses an  integrated array of synthesis techniques that are triggered by, and in turn manipulate, external acoustic  sound sources, in and out of conjunction with pure electronic sounds. Working in an entirely live  environment, Deas creates a kind of real­time musique concrete, resulting in an abstract yet organic  contemporary electronic music. Also known for his work as a guitarist, Deas’s debut LP for his electronic  work, String Studies, is a suite that focuses on using the 12 string acoustic guitar as the sole sound source  of this live musique concrete: a wooden frame to an electronic music.     Daniel Voigt (DE)​  (cassette tapes, electronics)    Augmented by effectpedals & mixer treatments Daniel Voigt blends a Musique Concrète approach (cutting  up tapes and looping sounds with the help of several walkmen) with the cosmic aesthetics of Krautrock to  make his music sound like love child of Delia Derbyshire and Klaus Schulze. His music was released on  various international tape labels, such as Digitalis, Hobo Cult, Skell LLC & Cosmic Winnetou. Voigt is also  the man behind the SicSic Tape label, a home port for a lot of outer limits travelers that are sharing the  vision for deep zoned­out music & DIY culture.    Isnaj Dui​  (flutes, dulcimer, electronics)    Isnaj Dui (real name Katie English) is a classically trained flautist working within electroacoustic music. Katie  uses concert and bass flutes alongside an effects and looping device as well as home made instruments  including the electrodulcimer, a stringed instrument devised by Katie herself. This collection of instruments  and gadgets used to create lush, dense textures that weave in and out of each other providing a  recogniseable sound. Through studies in electroacoustic music, alternative tunings and Javanese Gamelan  as well as her classical work, Katie has fused together many styles to create a unique sound, infusing  tranquil melodies with a dark edge    The Sly and Unseen ​ (shruti box, harmonium, flutes, cello, xylophone, guitar)    a duo between Katie English & Jonathan Lees recording things at weekends using acoustic instruments  such as Shruti box, harmonium, flutes, cello, xylophone and guitar.   

https://www.pdf-archive.com/2015/08/16/2308mucklemouth-1/

16/08/2015 www.pdf-archive.com

EchoSignopenInvent 90%

* Eclipse sound shield - adjustable sound hole cover on guitar -used to change tone/acoustics * ACappello Comber Pickups - pickup design uses 1 wire bent into a comb shape.

https://www.pdf-archive.com/2015/03/20/echosignopeninvent/

20/03/2015 www.pdf-archive.com

Killing Moon, The 90%

The Killing Moon Expert Pro Keys Echo and the Bunnymen 4 2                                                                                                                                                                                                                                                                                                              3 14 25 Intro 4 15 16 26 27 31 55 60 6 7 17 37 48 Chorus 1 38 10 20 39 Verse 1 22 50 12 24 30 34 41 51 35 42 52 57 43 53 Chorus 2 58 63 13 23 29 40 62 11 21 28 56 61 19 9 33 Verse 2 49 8 18 32 36 47 5 Bridge 44 45 46 54 59 64 65 66                                                                                                                                                                                                                                                                                                                                                                                                       67 68 76 88 69 77 89 78 90 98 102 103 107 79 80 93 74 84 95 85 Chorus 3 100 105 109 Chorus 4 86 87 96 106 111 115 120 75 101 110 114 119 83 94 104 118 73 82 99 113 Guitar Solo A 72 81 92 108 112 71 Verse 3 91 97 117 70 116 121 122 Guitar Solo B 123 2 124 125 126 127 128 129                                                                                                                                                                                                                                                                                                                                                                2              130 131 138 139 145 152 158 132 140 146 134 141 166 173 174 150 169 163 170 177 183 Guitar Solo D 151 157 162 176 182 144 156 161 175 181 149 155 168 137 143 148 160 167 136 142 154 159 135 Guitar Solo C 147 153 165 180 133 Guitar Solo E 171 178 184 164 172 179 185 3

https://www.pdf-archive.com/2011/04/08/killing-moon-the/

08/04/2011 www.pdf-archive.com

Roundabout 90%

Roundabout Expert Pro Keys Yes Band Enters Verse 1 4 2      4 42  4   42  4  5 10 5     2                   2 4 4     42     4    4                              42   4                                   4         42   4      3                2 4        4                                  42         4 4                                                  42         4                                                  42          4 4                   2                    3 Guitar Intro 4 37 36 5 39 6 7 11 12 14 13 Verse 1A 15 40 44 3 45 21 31 41 3 5 43 16 46 42 3 47 Verse 2 48 52 3 53 54 55 Verse 2A 56 57 3 3 Chorus 1 58 62 59 3 3 64 65 66 67 68 69 70 72 73 71 74 76 77 3 3 3 PostChorus 1 3 75 63 79 80 3 81                                                     4                       2 4        4  42        2 4   4           2 42  4 4                                                   2 4              4                                       42         4 4                                                               2 4                  4                                                                                                                                      82 3 83 3 3 86 3 90 3 84 91 3 3 3 92 93 3 85 3 3 Verse 3 3 Verse 3A Chorus 2 94 95 96 98 97 3 101 100 3 102 104 103 106 105 107 108 109 110 3 111 112 3 116 113 3 3 3 3 117 114 3 3 3 3 115 118 Bridge 3 3 119 3 120 3 3 121 122 3 123 3 124 3 3 125 126 3 127 3 128 3 3 129 130 3 131 3 132 3 3 133 134 3 2 Bridge A                                                                                                                                                                                                                                                                                                                                                                                  42     4 135 3 136 3 3 137 138 3 3 139 140 141 3 142 3 3 143 3 144 145 146 147 3 149 150 151 3 156 3 153 3 3 154 155 3 158 164 3 3 Bridge B 157 163 152 148 159 160 3 3 161 162 3 3 165 3 3 166 3 3 3 20:3 3 167 3 20:3 3 3 3 3 3 3 3 3 168 3 3 169 3 3 3 3 Guitar Break 3 3 3 3 3 3 170 3 23:3 3 171 31:4 172 173 15:2 15:2 14:2 3           4                                                                                                                                                                                                                                                                                                                                              2   4  4 4                            42         4 174 26:4 175 5 176 9 9 9 9 177 34:4 178 33:4 179 30:4 180 41:4 181 6 6 5 5 6 5 182 25 183 184 6 191 4 6 6 192 Organ Solo 193 194 185 186 187 188 189 6 195 196 190    4                                        42 2 4    4                                                   2 4                4                                42        4                                                                                                                                  2 4           4                                       2 4            4                                                                                              5                        24    4          42  197 198 199 3 Organ Solo 1A 200 201 202 203 3 205 204 3 206 207 208 209 3 3 211 210 3 215 3 3 217 3 3 3 3 3 3 219 222 220 221 223 224 225 3 226 227 3 3 231 232 233 Guitar Line 2A 229 3 3 Guitar Line 2 3 3 3 228 3 3 230 3 3 3 Organ Solo 2 216 218 3 3 3 213Guitar Line 1A214 212 3 Guitar Line 1 234 3 3 235 236 3 Verse 4 237 238 243 244 245 Verse 4A 246 3 5

https://www.pdf-archive.com/2011/04/08/roundabout/

08/04/2011 www.pdf-archive.com

alltunings 90%

Why is the standard guitar tuning standard?

https://www.pdf-archive.com/2011/05/31/alltunings/

31/05/2011 www.pdf-archive.com

Very Special Chords 90%

G G F# F E Tonikaku waraeba ii ja nai C D# G Ashita ga aru ja nai Repeat Guitar Riff Verse 1 A (blues shuffle) E (shuffle) Atarashii kutsu wo oroshite F# A C# B Suminareta kono machi aruku A B G# A Itsumo ooki na koe de hoetekuru inu ga A F# B E (shuffle) Kyou wa sukoshi dake yasashii na Chorus G F Very special wo kimi ni E D# F G Kimi wa dare ni?

https://www.pdf-archive.com/2017/12/01/very-special-chords/

01/12/2017 www.pdf-archive.com

Judges 89%

www.sincop8ednoize.com www.sincop8ednoize.com Philippe Jolicoeur (Lead Singer and Guitarist of RESET) Phil is the singer, lead guitar player, songwriter and producer for punk rock band RESET since 1995.

https://www.pdf-archive.com/2016/03/14/judges/

14/03/2016 www.pdf-archive.com

24 28 James V 89%

The wedges are great, and personally as a guitar player I love to hear the sound of the room.

https://www.pdf-archive.com/2014/03/31/24-28-james-v/

31/03/2014 www.pdf-archive.com

Llama 87%

Llama Expert Pro Keys Intro Phish                          3 4 3 4                                                                                                                                                                                                                                  Intro A 4 14 8 15 Verse 1 24 36 25 Chorus 1 37 47 54 13 18 21 26 27 38 28 39 48 Organ Solo 2 40 29 22 30 41 31 32 42 33 43 44 49 50 3 51 Organ Solo 1 17 20 23 46 12 16 19 35 11 52 3 53 55 3 3 34 45                                                                                                                                                                                                                                                                                                                               56 60 57 Organ Solo 2A 58 61 64 59 62 63 65 66 3 67 68 3 72 74 Guitar Solo 73 75 78 76 79 82 2 70 3 71 88 69 3 80 83 89 77 84 90 91 81 Guitar Solo A 85 92 86 93 87 94 Guitar Solo B 3                                                                                                                                                                                                                                                                                                                                    3                95 96 97 98 99 100 3 101 102 103 104 3 107 108 105 3 Guitar Solo C 109 110 3 3 111 112 3 3 116 Chorus 2 121 126 133 143 113 127 134 114 3 115 120 106 135 117 3 118 122 128 136 137 3 123 129 138 119 124 130 139 125 131 140 132 141 Outro 142 144 3

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08/04/2011 www.pdf-archive.com

Me Enamora 87%

Me Enamora Expert Pro Keys Juanes  4 2        42  4                              4                                                                                                                                                                               42  4                                                                                    Guitar Intro 3 4 5 6 7 8 9 Verse 1 10 11 PreChorus 1 15 16 17 18 19 20 21 22 Chorus 1 23 24 25 26 28 29 3 31 27 32 30 Guitar Break Guitar Solo 3 33 34 36 35 37 Guitar Solo A 39 45 40 Verse 2 41 46 42 47 43 44 48 38                                                                              49 50 52 51 53 PreChorus 2 54 55 56 Chorus 2                                                                                                                                          57 60 58 59 61 62 Chorus 3 63 64 65                                                                                                                                      66 69 72 2 67 68 70 71 73 74 75 76 77 78

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08/04/2011 www.pdf-archive.com

Space Oddity 87%

Space Oddity Expert Pro Keys David Bowie      2 4                         4                                                                                                                                   42  4                                                                                                                                                        42       2     2 4 4                      2         Intro 3 Verse 1 7 8 9 10 11 Verse 2 12 13 14 15 16 17 18 19 20 21 Chorus 2 Chorus 1 22 23 34 35 24 25 26 27 28 29 3 3 30 31 32 33 Bridge 1 36 37 38 39 40 41 3 3 3 3 3 3 Guitar Break 1 42 3 3 49 44 43 Guitar Solo 1 3 3 3 50 51 52 46 53 54 55 Chorus 3 61 62 57 58 59 Bridge 2 63 68 48 56 PostChorus 1 60 47 3 3 3 45 64 65 66 67 69 70 3 3 3 3 3 3 3 71 72 3 Guitar Break 2 Guitar Solo 2 73 88 74 76 77 89 78 79 80 90 81 82 83 91 84 85 86 92 87

https://www.pdf-archive.com/2011/04/08/space-oddity/

08/04/2011 www.pdf-archive.com

Murderous Instinct March 2014 87%

Murderous Instinct Fraserburgh, Scotland 2010 Pedro Arsenio – Guitar &

https://www.pdf-archive.com/2014/03/12/murderous-instinct-march-2014/

12/03/2014 www.pdf-archive.com

Production Plan 87%

“Figure  something  out”    Production  Plan                                                          Esteban  Cortés     Track  List  Chart,  Toolset  and  Timeline     Track  List  Chart     Track                                                  Type                                Source                                                Tools     Lead  vocal                                  Audio                              Acoustic                                          Mic/audio  interface   Bass                                                          Audio                              Direct                                                    Audio  Interface   Electric  Guitar                    Audio                              Acoustic/Direct              Mic/audio  interface   Acoustic  Guitar                Audio                              Acoustic                                          Mic/audio  interface   String  quartet                    Virtual  inst.

https://www.pdf-archive.com/2015/11/09/production-plan/

09/11/2015 www.pdf-archive.com

AlonPeretzCV (1) 87%

Co-Producer, Mixer, Guitar​s,​ ​2013 ARRANGEMENTS//ORCHESTRATIONS Arrangements for a String Orchestra​ for The Hadas Balas and Dan Solomon Duo​, 2016 Symphonic Orchestration​ ​for acclaimd Israeli singer Arkadi Duchin // Commissioned by The Jerusalem Theatre​,​ ​2014 Arrangements for a String Orchestra ​for Singer Songwriter Eli Soorani​, ​2014 Symphonic Orchestrations​ ​for Beer Sheva Symphonic Orchestra,​ ​2010-2012 TEACHING Music For Film Instructor ​ ​At the International ​Jerusalem Film Workshop​,​ ​2014-2016 Ensemble Instructor ​ At the ​Drum-Base Music School​ ​ ​2015-2016 District Manager ​At the Yuvalim Organization for Musical Education,​ ​2011-2014 Private Lessons In Composition, ​Piano, Guitar And Production ​in My Private Studio in Tel Aviv,​ ​2014-2016 MILITARY SERVICE Commander Of The Armored Corps Band ​2001-2002 Tank Commander in the Armored Corps ​2000-2001 SKILLS Software ​Proficiency In Cubase, Max, Pro Tools Finale and Sibelius Languages ​Hebrew, English 11 Harkavi Street ap,25 Tel Aviv (+972) 50770516 alonperetz.com allonperetz@gmail.com

https://www.pdf-archive.com/2017/01/18/alonperetzcv-1/

18/01/2017 www.pdf-archive.com

For The Record's EPK 85%

Original Songs Time Will Tell Train to Nowhere Cover Song Jet – Are You Gonna Be My Girl Introducing FTR Guitar/Vocals John Vaughan has been playing bass since the 4th grade and has picked up guitar, ukulele, and piano along the way.

https://www.pdf-archive.com/2014/10/22/for-the-record-s-epk/

22/10/2014 www.pdf-archive.com

goldenbrown 85%

La Folie ( 1982 ) Wikipedia | Studio | Live acoustic guitar version on YouTube To adapt a song to guitar can be quite a challenge sometimes Especially, when the leading instrument is a keyboard, or as in this case, a harpsichord A cute little guitar solo towards the end is Hugh Cornwell's only instrumental contribution to the song The song features a catchy little phrase ( hookline ) with a tiny descending bassline changing from 3/4 time to 4/4 time and vice versa Hugh Cornwell's strummed acoustic guitar version on YouTube isn't really convincing So I googled for a while to see if I could find something really useful Now, this tab is the quintessence of all the videos, tabs and lessons I have found in the WWW concerning this song The song starts with the hookline, followed by the first verse I suggest to skip the introductory phrase and start with the verse immediately ( beginning the song with Em and D ) thumb:

https://www.pdf-archive.com/2019/11/11/goldenbrown/

11/11/2019 www.pdf-archive.com