WOLF MARSHALL

DIRE STRAITS-THE GUITAR STYLE OF MARK KNOPFLER Signature Licks CD TABLATURE Sultans Of Swing-SPARTITI

DIRE STRAITS, THE GUITAR STYLE OF MARK KNOPFLER. BOOK WITH CD & TABLATURE

LIBRO MANUALE DI MUSICA ROCK.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

STUDIO, TECNICA, DIDATTICO, PER IMPARARE A SUONARE I PEZZI DEI DIRE STRAITS. 

 
Serie: Signature Licks Guitar
Copertina morbida con CD - TABLATURE
Autore: Wolf Marshall

Esplora la musica di uno dei più grandi chitarristi svelando passo per passo lo stile e la tecnica di Knopfler. Wolf Marshall da un'analisi pratica di 13 brani, inclusi:

Explore the music of one of the guitar's greatest players with this step-by-step breakdown of Knopfler's styles and techniques. Wolf Marshall provides a hands-on analysis for 13 tracks, including:

- Brothers In Arms
- Expresso Love
- Heavy Fuel
- Love Over Gold
- Money For Nothing
- Once Upon A Time In The West
- Planet Of New Orleans
- Private Investigations
- Sultans Of Swing
- Telegraph Road
- Tunnel Of Love
- Walk Of Life
- You And Your Friend

72 pagine

Prezzo: €29,99
€29,99

CLAPTON ERIC UNPLUGGED-GUITAR SIGNATURE LICKS LIBRO CD TABLATURE RUNNING ON FAITH

CLAPTON ERIC, UNPLUGGED SIGNATURE LICKS. A step-by-step breakdown of his acoustic guitar style and technique. CD TABLATURE

Clapton with acoustic, 12-string acoustic, nylon string and Dobro guitar.

SIGNE
BEFORE YOU ACCUSE ME
HEY HEY
TEARS IN HEAVEN
LONELY STRANGER
NOBODY KNOWS YOU WHEN YOU'RE DOWN AND OUT
LAYLA
RUNNING ON FAITH
WALKIN' BLUES
ALBERTA
SAN FRANCISCO BAY BLUES
MALTED MILK
OLD LOVE
ROLLIN' AND TUMBLIN'

Prezzo: €31,99
€31,99

BEACH BOYS, DEFINITIVE COLLECTION. Guitar SIGNATURE LICKS. Wolf Marshall Hal Leonard CD TABLATURE

BEACH BOYS, DEFINITIVE COLLECTION. SIGNATURE LICKS. CD TABLATURE

A Step-by-Step Breakdown of Their Guitar Styles and Techniques
Series: Signature Licks Guitar
Softcover with CD - TAB

Artist: The Beach Boys
Arranger: Wolf Marshall

Explore the classic guitar work of the pioneers of California pop-rock with this outstanding book/CD pack. Includes transcriptions, lessons, and in-depth analysis of a dozen of The Beach Boys' finest songs: Be True to Your School - California Girls - Dance, Dance, Dance - Don't Worry Baby - 409 - Fun, Fun, Fun - Good Vibrations - Help Me Rhonda - I Get Around - Kokomo - Shut Down - Surfin' U.S.A. 64 pages.

 

INTRODUCTION
The Beach Boys are the most successful and significant American band of the
rock music era. Founded and masterminded by leader-songwriter-producer Brian Wilson,
the group created a unique and unmistakable sound in a period awash with unique and
unmistakable sounds. The Beach Boys band was born during the early 1960s in the quiet
and unassuming middle-class community of Hawthorne, about five miles inland from
Manhattan Beach, just southwest of Los Angeles. The quintet rode in on relentless waves
of hit singles and albums from 1962-1966. Therein they introduced and personified the
mythic California youth culture and lifestyle with guitar-driven story songs about surfing,
girls, hot rods, girls, motorcycles, girls, sports, girls, cruising, girls, school, girls and, well. ..
girls. During these momentum-gathering years, millions of young and not-so-young music
fans were moved and captivated by the group's sound, delivery, and the depth of understanding
in Brian's thoughtful lyrics.
By 1966, the Beach Boys' approach and poetics had evolved and progressed to
the point where they affected the new and uncategorizable styles brewing in the incipient
age of rock. Tracks like "Good Vibrations," a career-defining single culled from the Pet
Sounds sessions, presaged "art rock" and set impressive new standards for recorded
sound, rock orchestration, instrumental arranging, and vocal performance. These elements
became important influences on the global music scene, influencing megalithic
artists like the Beatles as they crafted their future classic, Sgt. Pepper's Lonely Hearts
Club Band. The rest is history. Ever since, the Beach Boys have remained an institution in
rock's hierarchy.
This guitar Signature Licks volume presents a dozen must-know classics from the
Beach Boys' multi-faceted catalog. Here are catchy rock 'n' roll songs from their early "surfband"
beginnings alongside memorable pop masterpieces and later groundbreaking progressive
numbers. Each is a vital piece of the Beach Boys legacy. Each is an invaluable
part of Americana's music landscape. And each now beckons you to join them on a sUrfin'
safari to a land of good vibrations and beyond. Enjoy. -Wolf Marshall
 
THE RECORDING
Wolf Marshall: guitars, Fender Bass VI, synthesizers
Mike Sandberg: drums, percussion
Michael Della Gala: bass
Ted Vaughn: additional piano and organ on "Good Vibrations"
Recorded at Pacifica Studios and Marshall Arts Studios Produced by Wolf Marshall
 


Be True To Your School
California Girls
Dance, Dance, Dance
Don't Worry Baby
409
Fun, Fun, Fun
Good Vibrations
Help Me Rhonda
I Get Around
Kokomo
Shut Down
Surfin' U.S.A.

Prezzo: €24,00
€24,00

KING B.B.,THE DEFINITIVE COLLECTION, GUITAR SIGNATURE LICKS. CD TABLATURE

KING B.B.,THE DEFINITIVE COLLECTION. CD TABLATURE

B.B. King - The Definitive Collection
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: B.B. King
Author: Wolf Marshall

Learn the trademark styles and techniques of the most celebrated guitarist in blues! This book/CD pack by Wolf Marshall is a breakdown of B.B. King's guitar style, sound and techniques, with a brief history and lessons for each piece. Covers 16 signature blues tunes, including: Beautician blues -cryin' won't help you -don't answer the door -five long years -just like a woman -paying the cost to be the boss -please love me -riding with the king -rock me baby -sweet little angel -sweet sixteen -three o'clock blues -the thrill is gone -why I sing the blues -you done lost your good thing now -you upset me baby. 

Inventory #HL 00695635

ISBN: 9780634030574
UPC: 073999209907
Width: 9.0"
Length: 12.0"
64 pages

INTRODUCTION
The credentials that establish B.B. King as the King of the Blues are voluminous and indisputable. He is the music's elder statesman, its most visible global ambassador, and an all-important hero and role model to generations of musicians everywhere. Riley B. "B.B." King came on the scene at a time when electric guitar playing was in its infancy. He picked up the gauntlet thrown down by T-Bone Walker in the late 1940s and went on to redefine blues guitar for all time. He built a highly distinctive single-note style which codified the techniques of string bending and finger vibrato. Furthermore, he was among the first to effectively harness the power and tone of a distorted amplifier for its sustain and vocal quality. These factors epitomize the electric guitar in the modern era and remain part and parcel of virtually every contemporary guitar style. Today B.B.'s music is essential listening in all sectors of modern guitar. Countless aspiring players from Buddy Guy, Otis Rush, and Mike Bloomfield to Eric Clapton, Jimi Hendrix, Carlos Santana, Mark Knopfler, and Stevie Ray Vaughan have transplanted King's licks into their repertory or been influenced by his slinky phrasing, as will tomorrow' s guitar stars. In my teenage years I followed my heroes' leads and spent hundreds of hours listening to and assimilating B.B.'s sounds with rewarding results. It is an illuminating and invaluable experience for all guitarists. To this end the following volume is offered. This definitive B.B. King collection is the first guitar signature licks book/CD to fully explore his music and playing style. It is offered as an introduction, a detailed hands-on study, and a tribute to the great blues master. Enjoy.

DISCOGRAPHY
The titles in this volume came from the following recordings:

KING OF THE BLUES. (Box set: MCA) 'Three 0' Clock Blues," "Rock Me Baby," "Don't Answer the Door," "Paying the Cost To Be the Boss," "Why I Sing the Blues," "The Thrill Is Gone"

SINGIN' THE BLUESfTHE BLUES (FlairNirgin Records) "Please Love Me," "Sweet Little Angel," "Cryin' Won't Help You"

THE BEST OF B.B. KING, Volume 1. (FlairNirgin Records) "Beautician Blues," "Five Long Years"
MY KINO OF BLUES. (EM I-Capitol Special Markets) "You Done Lost Your Good Thing Now"
WHY I SING THE BLUES. (MCA) "Sweet Sixteen"
RIDING WITH THE KING, B.B. King and Eric Clapton. (Reprise) "Riding With the King"


B.B. KING
(All instruments from the collection of the author) A Gibson devotee from the beginning, B.B. King first played hollow-body archtop electric guitars. Various photos from the 1950s have pictured him with an ES-5 with P-90s, a Byrdland with Alnico Vs, and an ES-175D with humbuckers. B.B. acquired his first semi-hollow, an ES-335, in 1958 and was seen with a dot-neck 335 at his momentous 1962 ABC-Bluesway recording debut. By the mid 1960s King was playing the luxurious ES-355. This model became his favorite guitar for two decades. The Gibson B.B. King "Lucille" was introduced in 1980 as the B.B. King Custom. Based on the 355, "Lucille" officially joined the fold in 1988 as the flagship of Gibson's semi-hollow line. It features an ebony fingerboard with block inlay markers, fancy multiple binding around the body and headstock, gold-plated hardware, stereo circuitry with two output jacks, and a six-position Varitone switch. B.B.'s personal refinements on the signature instrument include a fine-tuner TP-6 tailpiece, a semi-hollow body without soundholes in an ebony finish, and the name "Lucille" inlayed on the head. "Lucille" delivers the definitive B.B. King tone, allowing the player to fully mix neck and bridge pickups in the center position, an option not available on most Gibson twin-pickup guitars. Listen for yourself. My "Lucille" is heard on most tracks of the accompanying audio. Pictured in the backline is one of the favorite Fender tube amps used by B.B. during the 1960s: a 2x12 Twin-Reverb. B.B. switched to Gibson Lab Series L5 2x12 solid-state amps sometime in the 1970s. He continues to use these and reissue Fender '65 Twin-Reverbs to the present. B.B. strings Lucille with a Gibson B.B. King heavy bottom- light top 10-54 string set and prefers a medium-stiff Gibson pick.

THE RECORDING
Guitar: Wolf Marshall
Drums: Mike Sandberg
Bass: Michael Della Gala
Keyboards: Ted Vaughn. John Nau plays keyboards on "Just Like A Woman"
Sax and Brass: The Roland Coltrane Orchestra

Produced by Wolf Marshall at Marshall Arts Music
Special thanks to Alex Perez, Del Breckenfeld, and Bill Cummiskey, Fender Musical Instruments.
Extra special thanks to Matt Ferguson, Paul Moses, and David Rohrer, Gibson USA.


THREE O' CLOCK BLUES
Words and Music by 8.8. King and Jules 8ihari
Figure 1-lntro and Verse 1
"Three 0' Clock Blues" was Riley B. King's breakthrough hit and is a cornerstone of his legacy. This auspicious track has humble origins. A reworked Lowell Fulson tune, it was recorded in 1951 using portable tape equipment and the local Memphis YMCA as a makeshift studio. The resulting performance was released as an RPM single, reaching #1 on the R&B charts in 1952. "Three 0' Clock Blues" captures B.B. as an emerging blues artist in transition. It was during this period that he first named his guitar "Lucille" and was still very much under the spell of T-Bone Walker guitaristically. The phrasing, tone, and several key mannerisms clearly reflect Walker's approach. Nonetheless, this is a landmark B.B. moment marking an important evolutionary point in blues guitar history and presaging future classics like "Sweet Little Angel" and "Five Long Years." "Three 0' Clock Blues" is a smoldering slow blues in Bb.It begins with a four-measure intro entering on the V chord, a device commonly found in blues arrangements. In the verse Lucille adopts the dialoguing role, playing off vocal phrases with terse answering guitar fills typical of B.B.'s question-and-answer style. Throughout the intro and verse fills, most of B.B.'s lines are based on a mixture of the B~ Mixolydian mode (B~-C-D- E~-F-G~-Ab) and Bbminor pentatonic scale (B~-Db-E~-F-A~) resulting in a familiar juxtaposition of dominant seventh and minor sounds. The microtona! quarter-step bend, an important chromaticism of blues, is used freely in B.B.'s guitar lines, generally to color the third and seventh degrees of the scale. The prominent E note in measure 2 indicates use of the Bb Blues scale. Measures 3 and 4 contain swing lines reminiscent of Charlie Christian. In many characteristic phrases, as in measures 3, 12, and 16, the Db note acts as a C# leading tone into the 0 note, the major third of a Bb arpeggio figure. Here it is heard in two specific forms: an ascending arpeggio in measure 12 and a descending arpeggio in measure 16. The latter is a frequently-used cadence lick. Both forms remain B.B. King trademarks to the present. The slur in measure 7 is attributable to T-Bone and provides an early clue as to the genesis of a classic B.B. King lick. In the coming years B.B. often incorporated the practice of sliding into a unison tonic note on adjacent strings as a phrasing mannerism and a position-shifting tactic. It will henceforth be named The BB. Shift Lick in this volume to avoid redundancy. The tone is typical of B.B.'s sound in the early 1950s and emanates from an archtop electric guitar (probably his Gibson ES-5) with heavier strings mated to a slightly overdriven tube amp. 

Beautician Blues - Words and Music: B.B. King, Jules Bihari - 1964
Cryin' Won't Help You - Words and Music: B.B. King, Jules Bihari - 1955
Don't Answer The Door - Words and Music: B.B. King - 1995
Five Long Years - Words and Music: B.B. King - 1966
Just Like A Woman - Words and Music: B.B. King - 1966
Paying The Cost To Be The Boss - Words and Music: B.B. King - 1968
Please Love Me - Words and Music: B.B. King, Jules Bihari - 1952
Riding With The King - Words and Music: John Hiatt - 1983
Rock Me Baby - Words and Music: B.B. King, Jules Bihari - 1964
Sweet Little Angel - Words and Music: B.B. King, Jules Bihari - 1956
Sweet Sixteen - Words and Music: B.B. King, Jules Bihari - 1967
Three O'Clock Blues - Words and Music: B.B. King, Jules Bihari - 1952
The Thrill Is Gone - Words and Music: Roy Hawkins, Rick Darnell - 1951
Why I Sing The Blues - Words and Music: B.B. King - 1969
You Done Lost Your Good Thing Now - Words and Music: B.B. King, Jules Bihari - 1960
You Upset Me Baby - Words and Music: B.B. King, Jules Bihari - 1954

Prezzo: €23,99
€23,99

BLUES GUITAR CLASSICS, Guitar SIGNATURE LICKS. Wolf Marshall. CD TABLATURE

BLUES GUITAR CLASSICS. Wolf Marshall. Vi è mai capitato di non riuscire a riconoscere un vecchio Blues quando l'avete sentito suonare da Eric Clapton o Gary Moore? In questo libro c'è uno studio su 10 blues songs con personalità a confronto diretto. Albert King e Gary Moore, Lee Hooker, B.B. King e Albert King (i due Re) e Otis Rush, Robben Ford e B.B. King, e Muddy Waters, Clapton e Freddie King, Mike Bloomfield e Jimi Hendrix, Buddy Guy e T-bone Walker, S.R.V. e Slim, altri. CD TABLATURE

Series: Signature Licks Guitar
Publisher: Signature Licks
Format: Softcover with CD
Author : Wolf Marshall

Learn to play 11 classics, including: Everyday (I Have the Blues) - Hideaway - I'm Your Hoochie Coochie Man - Killing Floor - T-Bone Shuffle - Texas Flood - The Things That I Used to Do , and more.

Last stop: Memphis, 1993. Texas bluesman Albert Collins was appropriately known as "the Iceman" or "the master of the Telecaster," and had a well-earned reputation for stopping listeners cold in their tracks. With a chilling ice-pick attack, he gained wide recognition among blues fans and guitar players alike via his namesake instrumental, "Frosty," in 1962. There are numerous versions of "Frosty" in the Collins catalog-this one significant for several reasons. Recorded in May 1993, it is from his last studio album, Collins Mix, and features a guest appearance by B.B. King-one of only two historic pairings of Collins and King on record. The session came about as a result of swapping favors. While in town, Albert sat in with B.B. on his Blues Summit album and, in return, asked King to perform on his record. What we get is a spirited and inspired romp through the Iceman's classic blues tune with remarkable guitar work by both players. "Frosty" is an uptempo 12-bar blues in D. Albert takes the head A and first two solo choruses B and C, followed by B.B. for two D and E.Albert returns with one more chorus F to close out the section with authority. The alternating solos provide a fascinating study of Collins's and King's individual styles. Both swing unbelievably. Collins has a snappy, rhythmic-based style, plays aggressively-slightly ahead or on top of the beat-with a piercing tone, and consistently employs a slick variant of the standard minor pentatonic scale. Found throughout the head and solos, it involves replacing the 7th of the minor pentatonic (C) with the major 6th (B). "Albert's 0 minor pentatonic" is then spelled D-F-G-A-B. This lends a jazzy, diminished sound to the arpeggio lines he favors over the typical pentatonic scale licks of most blues guitarists. The trill figures in measures 17 and 33-34 and the repeating bend passages in measures 23-24 and 61-64 are definitive Albert Collins stylistic traits. By contrast, King plays with a more relaxed-majestic-rhythmic approach and a fatter Lucille (ES-355) tone. Spurred on by "Frosty's" cool environment, he also incorporates the 6th into his minor pentatonic phrases. Notice also the frequent inclusion of the ninth (E) in his lines in measures 37-42 and 49-51. A high point is the energetic, raked arpeggio riff in measures 53-55. He climbs into the "B.B. box" in measures 58-60 to wrap up his solo on a decisive note. Albert Collins had an utterly unique sound and style made from an uncommon combination of ingredients. He tuned his Tele up to an open F minor chord (from low to high: F-C-F-Ab-C-F) [Ed. note: Both fingerings are presented in the Signature Licks music. TAB below Albert Collins' lines includes two staves: one in standard tuning and the second in Fm capoed at the ninth fret.], always used a capo (generally at the ninth fret), and hung his guitar off his right shoulder. He picked exclusively with his fingers for a variety of attacks, nuances, and dynamics. Albert's trademark guitar was a blonde, maple-neck '61 Telecaster with a humbucking neck pickup. He had been playing them since 1952, when "Gate mouth" Brown first turned him on to it, and was one of the first blues legends to playa modified Tele. Collins plugged into mid-70s Fender 4x12 Quad Reverb combo amps-each essentially a "100-watt stack in a box."

This book is a trip-literally. It's your ticket to witness the evolution of modern blues guitar from its early jump-style swing and Delta-based roots to its urban, electrified incarnations via an essential collection of indispensable classic songs. We'll be visiting both the innovators and their gifted disciples, and making stops all over the blues map in Chicago, Memphis, Texas, the West Coast, London, and even Japan. With the music and accompanying audio, it's also your ticket to hear, feel, and play-to experience-the exciting world of blues guitar first-hand. The guitar tradition in blues was begun by such artists as Charley Patton, Son House, Bukka White, Mississippi John Hurt, and particularly Robert Johnson-all of whom were acoustic players and proved influential to the succeeding generations of electric blues guitarists and even the rock players to follow (Eric Clapton, Mark Knopfler, and many others). The electric guitar entered the blues picture in the late thirties with musicians like Charlie Christian, Eddie Durham, and Lonnie Johnson. The first modern postwar blues guitarist was T-Bone Walker, an innovator who simultaneously defined the sound and approach of electric blues guitar and inspired and presaged the work of B.B. King, Albert King, Buddy Guy, Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan, and all to follow. This book is dedicated to a select handfull of the plugged-in innovators and pioneers of the blues-as well as the countless other performers which by their inclusion would necessitate more than ten such volumes. After you rummage through these goodies, be sure to check out the work of other giants like Elmore James, Jimmy Reed, Lightnin' Hopkins, Magic Sam, J.B. Lenoir, Johnny Winter, Lowell Fulsom, Earl King, Clarence "Gatemouth" Brown, Pat Hare, Wayne Benett, Peter Green, Bonnie Raitt, Johnny Copeland, and Robert Cray ...hmmm, maybe in volume two? It's a never-ending process, and aren't we glad. As you will see, blues is a tradition with each successive generation building and elaborating on the accomplishments of their forebears. To place yourself in the blues picture, it is highly recommended that you begin to improvise your own variations as soon as possible. Learn the basics from the printed music and TAB and listen carefully to the audio right side to learn the original guitar parts. Then turn your balance to full left to select the rhythm section only, close your eyes, open your heart and bare your soul-and play the blues.

BUILDING BLOCKS OF BLUES GUITAR
harmony
classic blues scales
pentanonic scale
classic blues shapes
TUNING 
Eb TUNING
A CLASSIC BLUES GUITAR AXOLOGY
DISCOGRAPHY

Song List:

1961 - Hide Away Performed by Eric Clapton, Freddie King
1959 - As The Years Go Passing By Performed by Albert King, Gary Moore
1970 - Boogie Chillen No. 2 Performed by John Lee Hooker
1952 - Everyday (I Have The Blues) Performed by B.B. King, Albert King, Otis Rush
1964 - Help The Poor Performed by Robben Ford, B.B. King
1957 - I'm Your Hoochie Coochie Man By Willie Dixon, Performed by Muddy Waters, Jimi Hendrix
1965 - Killing Floor Performed by Mike Bloomfield, Jimi Hendrix, Albert King, Howlin' Wolf
1958 - Texas Flood Performed by Fenton Robinson, Stevie Ray Vaughan
1953 - The Things That I Used To Do Performed by Guitar Slim, Stevie Ray Vaughan
1959 - T-Bone Shuffle Performed by Buddy Guy, T-Bone Walker
1965 - Frosty Performed by Albert Collins, B. B. King

80 pages

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101 MUST-KNOW BLUES LICKS MARSHALL CD guitar TABLATURE Delta-Memphis-Texas-Chicago-BRITISH

101 Must-Know Blues Licks. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA BLUES, CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

 

Series: Guitar Educational

Publisher: Hal Leonard Corporation
Format: Softcover with CD - TAB
Arranger: Wolf Marshall

Now you can add authentic blues feel and flavor to your playing! Here are 101 definitive licks – plus a demonstration CD – from every major blues guitar style, neatly organized into easy-to-use categories. They're all here, including Delta blues, jump blues, country blues, Memphis blues, Texas blues, West Coast blues, Chicago blues, and British blues. 48 pages

Prezzo: €24,99
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