Marcus Warrens book provides a broad coverage of economic theory; analysis and policy relevant to most undergraduate students studying economics as part of their degree. Specifically it is designed for students studying for property and business related courses and is a vital purchase for all first year students and some second year students involved in these disciplines. It is also relevant for accountancy; business and marketing students studying economics as one or two of their modules. The main feature of this book is the inclusion of an application for students on property surveying courses; building surveying courses and rural land management students as well as some pure business examples for the business students. These applications will cover the main markets for this book at the end of each theory section. The text is clear; concise and includes real life examples and case studies to back up the theory presented. It is global in its appeal; especially relevant for the UK; Europe and the Commonwealth.
#2444465 in eBooks 2009-02-16 2009-02-16File Name: B00CTKPBAS
Review
47 of 48 people found the following review helpful. A neglected aspect of soloingBy Travis PierceAfter 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 Barretts 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.7 of 7 people found the following review helpful. Maybe the best book I own.By CMThis is book covers many topics that are missing from most guitar players skills. For me; the first 9 chapters were mostly good review. Chapters 12 13 are pure gold. I have not finished the last 5 chapters; but I expect them to be as good as the rest of the book. I needed help with motif development; specifically rhythmic displacement. Also; building phrases is very important. Most guitarists from local bands are very technically accomplished; much more than I. However; all they can play is fast symmetrical sequences. After 2-3 songs; you hear them playing the same thing over and over. I quickly lose interest. Motif development is why we love the guitar players we love. It is simply the most important skill any musician can have. When I listen to my favorite guitarist; I listen for the motifs. It has changed the way I listen to music. Buy a looper; buy this book; take notes while you read it; you wont be disappointed.2 of 2 people found the following review helpful. Great resource!By Steven M. HamiltonThis is a well written book; I have bought plenty that were not! I really like Barretts approach; starting at the basics and building progressively.I am not new to guitar; so I am beyond some of the basic material at the beginning; however I have gone back and worked through it anyway. It has helped me sharpen my technique.The Kindle version of this book is very handy; as it allows you to read the material and launch the audio files.