REH, BLUES SOLOS FOR GUITAR, Keith Wyatt. CD TABLATURE

Series: REH Publications
Softcover with CD - TAB
Author: Keith Wyatt

Learn lead guitar in the styles of Albert Collins, Eric Clapton, Albert King, B.B. King, Freddie King, Stevie Ray Vaughan and T-Bone Walker! This unique book/CD pack examines the solo concepts of each of these masters. The CD features full demos and rhythm-only tracks, and the book includes phrase-by-phrase performance notes and tips on bending strings, vibrato, tone, note selection and much more. Includes notes and tablature. A must for any blues guitarist! 96 pages.

welcome to Blues Solo for Guitar. I'm going to walk you through the 12-bar blues-a 12-bar slow blues in G, to be exact-that you'll find as track 1 on the accompanying CD. It's titled "Blues Number One," and it's a great place to begin your exploration of the blues. Later in the book, we'll explore varying styles of blues playing that will give you a solid foundation in lead and rhythm blues guitar. I'll explain the key rhythms and solo phrases in styles based on Memphis funk blues, the boogie shuffle patterns made famous by Stevie Ray Vaughan, the vaunted styling of Freddie King, Texas swing blues, and even rockabilly. You'll be able to listen to me solo in all those styles on the accompanying CD, then I'll dissect each and every note so that you can master these styles as well. How 10 Use This Book Inlaying out solos in each of these six blues styles, it turns out that there are a lot of short phrases that you can learn, lift out, and use in your own style of playing. In other words, you don't have to learn each solo exactly the way it was played on the CD. You can listen through the entire CD, hear everything that I'm going to play for you, then go back and pick out the phrases that you like best. Then you can learn those phrases and incorporate them into your own style of playing. It's good practice to take all of these ideas and then mix them in with what you already know how to play. Of course there are things to be learned by playing an entire solo: how the solo builds, how to make a transition from one chorus to the next, how to begin and end the whole thing. Those are elements of style that make the phrases fit together so that they actually sound good. But the individual phrases themselves can be picked out and used in practically any blues solo. These phrases can also be used in blues songs with different tempos and in different keys. In addition to performing the six complete solos on the CD, I'm going to explain each phrase one at a time using "Practice Points" and detailed directions that will help you duplicate my solo phrases. Through these Practice Points, I'll tell you all about the left hand, the right hand, different little tricks, techniques, and where to place your hand on the neck. As you listen to the CD, read the musical notation and tablature for each phrase, t hen refer to the Practice Points that explain the details of each phrase. Then practice along with my examples on the CD. When we get through, you'll know all the phrases and you can play them along with the rhythm-only tracks-the full band, minus-guitar tracks we've included on the ProLicks CD. Playing along with the rhythm-only tracks will give you an opportunity to get a feel for how your phrasing sounds against a rhythm section and whether or not you're playing correctly. Some of the phrases are easier than others. Some are slower; some are faster. Take your time. Practice each phrase as many times as you need to get it right. And most of all, have fun! Remember, take these phrases one at a time. Some of these licks work only over one of the chords in the progression, or in a certain situation. Some of them can be laid over any of the chords. You have to experiment a little bit to see what you can do with them once you get them down. But these are all real solid, traditional, classic licks, and I think once you integrate them into your style you'll have a lot of fun developing them.  

Table of Contents

Introduction

How To Use This Book

Before You Begin

Get In Tune

"Blues Number One"

(In the style of Albert King, Albert Collins, B.B.King, Jimi Hendrix, Eric Clapton, and Stevie Ray Vaughan) 

"Memphis Funk"

(In the style of Albert Collins, Steve Cropper, Freddie King, Lonnie Mack, and Stevie Ray Vaughan) 

"Boogie Shuffle"

(In the style of Stevie Ray Vaughan and Albert Collins)

"King Thing"

(In the style of Freddie King) 

"Texas Swing Blues"

(In the style of T-Bone Walker, Gotemouth Brown, Albert Collins, Wayne Bennett, and Pee Wee Crayton) 

"Rockabilly"

(In the style of Chuck Berry, Scotty Moore, Carl Perkins, and Brion Setzer) .

Guitar Notation Legend 

TEXAS BLUES, THE ART OF. Toby Wine. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

Series: Guitar Method
Publisher: Cherry Lane Music
Softcover with CD - TAB
Composer: Toby Wine

Learn to play the blues Texas-style! This book/CD pack contains a complete history of the Texas blues style, common blues techniques and ideas for both lead and rhythm guitar, solos by the masters, recorded demos of every example, a suggested reading and listening list, and more! Also includes 10 songs that personify this unique genre:

Be Careful With A Fool
Change It
Dirty Pool
Hide Away
Long Way From Home
(They Call It) Stormy Monday (Stormy Monday Blues)
T-Bone Shuffle
Telephone Song
Tightrope
Wall Of Denial

64 pages

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

JAMES SKIP, BLUES COLLECTION. GUITAR TABLATURE

LIBRO DI MUSICA BLUES.

SPARTITI PER CHITARRA E VOCE .

TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE. 

OUT OF PRINT , LIBRO NON DISPONIBILE.

The Skip James Blues Collection by Skip James. For guitar and voice. Hal Leonard Guitar Recorded Versions. Delta Blues. Difficulty: medium. Guitar tablature songbook. Guitar tablature, vocal melody, lyrics, chord names and guitar tab glossary. 62 pages. Published by Hal Leonard (HL.690167).

ISBN 0793570433. With guitar tablature, vocal melody, lyrics, chord names and guitar tab glossary. Delta Blues. 9x12 inches.

Thirteen great tunes from the highly influential Delta bluesman Skip James. Includes: Be Ready When He Comes - Cherry Ball Blues - Crow Jane - Devil Got My Woman - Hard Luck Child - Hardtime Killing Floor Blues - I'm So Glad - Illinois Blues - more.

Devil Got My Woman

I'm So Glad

Hard Luck Child

Drunken Spree

Be Ready When He Comes

Cherry Ball Blues

Hard Time Killing Floor Blues

Four O'Clock Blues

I'm Gonna Yola My Blues Away

Special Rider Blues

Illinois Blues

Cypress Grove Blues

Crow Jane

GUY BUDDY, The Best of A Step-by-Step Breakdown of His Guitar Style and Technique by Dave Rubin. Guitar Licks.

The Best of Buddy Guy - 2nd Edition
A Step-by-Step Breakdown of His Guitar Styles and Techniques
Series: Signature Licks Guitar
Format: Softcover with CD - TABLATURE
Artist: Buddy Guy
Arranger: Dave Rubin

This updated book/CD pack will teach you to play the trademark riffs and solos from 16 songs by the legendary Buddy Guy: Buddy's Blues (Buddy's Boogie) • Damn Right, I've Got the Blues • Dedication to the Late T-Bone Walker • Five Long Years • I Smell a Rat • Just Teasin' • Mary Had a Little Lamb • Midnight Train • My Time After Awhile • Stick Around • You've Been Gone Too Long • and more. Includes CD demo tracks.

Width: 9.0"
Length: 12.0"
96 pages

16 titoli:

Series: Signature Licks Guitar
Softcover with CD - TAB
Artist: Buddy Guy
Arranger: Dave Rubin

BUDDY GUY: BLUES GUITAR HERO By Dave Rubin

Ever since the first bona fide blues guitar hero, Lonnie Johnson, recorded a series of amazing duets with Eddie Lang in 1927, the gauntlet has always been thrown down to the tune of, "Okay, let's see you do this!" From T-Bone Walker to Albert and Freddie King, Eric Clapton to Stevie Ray Vaughan, there has been an unmistakable element of machismo. Like the metaphor of the "catfish" that appears in so many classic blues, maybe it has to do with being tough and surviving. George "Buddy" Guy has not only survived longer than many of his main inspirations (like Muddy Waters) and his proteges (like Jimi Hendrix and SRV), but he remains the baddest blues guitarist standing. And as opposed to many of his peers and followers, his brutally-aggressive style is tempered and intensified by dynamic, delicate passages. Now in his seventh decade, Buddy Guy is showing no signs of slowing down. A new fifteen-track album that he co-produced was released in the spring of 2008 and features an all-star cast, including Clapton, Derek Trucks, and Robert Randolph. Also slated to appear is singer Steven Tyler from Aerosmith who "freaked out" when he heard "Show Me the Money," which Guy wrote expressly for him. In January 2008, Martin Scorsese's Rolling Stones documentary, Shine a Light, opened at the 58th Annual Berlin Film Festival, featuring Guy in a sensational guest appearance singing Muddy Waters' "Champagne and Reefer" with Mick Jagger. On top of that, Guy made his dramatic cinematic debut in the flick, In the Electric Mist, starring blues fan Tommy Lee Jones and released in the summer of 2008.

When you moved to Chicago in 1957 to meet Muddy Waters, did you ever imagine that someday you would be the idol of countless others?

No, not at all, because when I came here I didn't even think about being a professional musician. There were so many great ones out there in their prime like Muddy, who had so many great guitar players around him; and Howlin' Wolf, who had Hubert Sumlin, Bobby Bland with Wayne Bennett, and Memphis Slim with Matt Murphy and Earl Hooker was here, too. After I heard them, I said to myself, "What in the hell am I trying to do? There's no way I can play like that." But I was so in love with the guitar that I didn't have sense enough to not keep plucking away at it, and whatever I played, I knew it would be me.

You first made your mark in Chicago at a weekly jam or "cutting session" where the winner would get a bottle of whiskey.

Yes, I think I helped create those when I came here. You know, I was talking to Syl Johnson the other night about that, and he told me, "I was playing jazz then, but someone told me I better check out this little guy from Louisiana, because he's running around stomping the guitar with his feet." And Syl has been playing blues ever since.

What compelled you do those things?

I got that from the late Guitar Slim in Louisiana. I saw him play in Baton Rouge a couple of times before I left, and he was wild! I wanted to be able to shake my wrist like B.B. King and get wild like Guitar Slim, and I was just trying to suck them all in. I was selftaught and I didn't learn from books. So I would say 97-98 percent of the stuff I learned I found it myself by listening...

Learn the trademark riffs and solos behind one of blues guitar's greatest players through the study of 15 of his songs, including:

Buddy's Blues (Buddy's Boogie) - The dollar done fell - BUDDY GUY - 1996
Damn Right, I've Got The Blues - Damn right, i've got the blues - BUDDY GUY - 1991
Dedication To The Late T-Bone Walker - D.J. Play my blues - Buddy Guy - 1996 
First Time I Met The Blues - Damn right, i've got the blues - EDDIE BOYD - 1952
Five Long Years - D.J. Play my blues - BUDDY GUY - 1996
I Smell A Rat - Stone Crazy! - BUDDY GUY - 1993
Just Teasin' - D.J. Play my blues - BUDDY GUY - 1996
Man Of Many Words - Slippin' in - BUDDY GUY - 1972
Mary Had A Little Lamb - A man and the blues - BUDDY GUY - 1988
Midnight Train - Heavy Love - Jon Tiven, Roger Reale - 1998
My Time After Awhile - Hold that plane - Robert L. Geddins, Ronald D. Badger - 1969
Rememberin' Stevie - Damn right, i've got the blues - BUDDY GUY - 1991
She Suits Me To A Tee - D.J. Play my blues - BUDDY GUY - 1969
She's A Superstar - Feels like rain - BUDDY GUY - 1993
She's Out There Somewhere - Stone Crazy! - BUDDY GUY - 1979
Stick Around - Chess Masters - BUDDY GUY - 1996
You've Been Gone Too Long - Stone Crazy! - BUDDY GUY - 1980