JAMES SKIP BLUES COLLECTION Hal Leonard Guitar Recorded Versions TABLATURE Crow Jane-I'm So Glad


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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

Price: €149,99


INTROS, ENDINGS & TURNAROUNDS FOR GUITAR. Essential phrases for all styles. Dale Turner. Le cadenze, gli intro, frasi conclusive e tournaroud nel Blues, Country, Jazz. 99 Esempi. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Author: Dale Turner

In this book/CD pack, Dale Turner, the West Coast Editor of GuitarOne magazine, teaches invaluable intros, endings and turnarounds that all the pros know and use, in jazz, blues, rock and country styles. The book includes examples in standard notation and tab, and the CD features 99 demonstration tracks.
48 pages.

Have you ever been on the bandstand when somebody called out a blues, country, or jazz standard,
and you weren't armed with a pre-established way to introduce the tune? The resulting
"dead air" in front of an eager audience (while your band members argued over what to play)
may have been enough to put you into cardiac arrest!
Do you have a sufficient vocabulary of tasty licks to "fill in the holes" left behind a vocalist's phrases at
the end of a basic blues-the last four bars of the 12-bar form, referred to as a "turnaround?" If not, your
days as a guitarist may be numbered. Can you navigate your way through the last string of changes in a
32-bar jazz standard?
Finally, do you have the material to effectively bring a blues, country, or jazz tune to a close? Even if you
just played the best solo of your life, if the tune ends up fizzling to a stop (because nobody took the initiative
and coughed up a "proper" ending), you may end up leaving the stage frustrated, your tip jar a little
less than full.
The purpose of this book is to provide you-the multi-faceted guitarist-with a flexible collection of intros,
turnarounds, and endings for each of these genres. Though many of the following figures speak for
themselves, all are fully annotated and contain everything from chord progression analysis and technique
advice, to tips for the application of each passage (including song-specific scenarios, in the case of jazz)
and ways to maximize their usage. Some readers may even bypass the written text altogether and just listen
to the accompanying audio tracks, then flip to the appropriate page to pick off the transcription. The
choice is yours. The bottom line: If you're in need of a solid collection of riffs and licks that'll make you
sound like an established authority in virtually any section of your average blues, country, or jazz tune,
you've come to the right place. - Dale Turner

About the Author DaleTurner
has authored numerous guitar instructional
books for Hal Leonard Corporation and Cherry Lane
Music, and transcribed dozens of note-for-note album
folios for most of the nation's major publishers. He is currently
the West Coast Editor of GuitarOne magazine, where he contributes
everything from interview features and instructional
pieces to performance notes and song transcriptions. Dale's written
work has also appeared in Guitar World, Guitar (For the
Practicing Musician), Guitar School, Maximum Guitar, Guitar
Techniques (a UK publication), and Guitar Player magazines.
A member of David Pritchard's Acoustic Guitar Quartet (and featured
on Pritchard's CD on Zebra Acoustic, Unassigned Territory),
Dale has also performed with an array of renowned playersincluding
Billy Cobham (Mahavishnu Orchestra/Miles Davis),
Larry Klein (Joni MitchelVShawn Colvin), Eric "Bobo" Correa
(Cypress Hill), and Josh Levy (Big Bad Voodoo Daddy), among
others. He uses D' Addario strings and picks exclusively, and has
featured the Line 6 POD Pro on numerous recordings.
In 1991, Mr. Turner received his Bachelor's degree in Studio Guitar Performance from the University of
Southern California where he later went on to teach as a part-time pop/rock guitar instructor/lecturer
(1993-95). Currently, he is a part-time instructor at Musicians Institute.
For more information ask. 

About the Author .
Introduction .
Creating "V-I" Cadences .
Tuning .

Chapter One: Essential Introductions .
  Blues .
  Country .
  Jazz .

Chapter Two: Essential Endings .
  Blues .
  Country .
  Jazz .

Chapter Three: Essential Turnarounds .
  Blues .
  Jazz .
Guitar Notation Legend .

Price: €14,99


KING B.B. . Bad Luck Soul -Five Long Years -Please Love Me -Sweet Little Angel -The Thrill Is Gone -Three O'Clock Blues. Includes original recording! CD-ROM TAB.

iSong (9 x 12 Pack)
Series: CDROM Product
Artist: B.B. King

iSong is the only teaching tool that actually syncs to the original recordings of legendary musicians and today's top stars! Each iSong pack includes arrrangements ranging from very simple to note-accurate transcriptions, a performance video, and a virtual fretboard or keyboard, all in one wholly interactive environment. No matter what your skill level, or whether or not you read music, iSong is a great way for you to learn songs you've always wanted to play!

Each iSong CD-ROM features six innovative teaching tools in a state-of-the-art interactive environment: Animated score and TAB, Synced instructor video, iLevel arrangements widely ranging in difficulty, Virtual live fretboard or keyboard, Tempo control, Looping with exact cueing. This package includes:

Bad Luck Soul
Five Long Years
Please Love Me
Sweet Little Angel
Three O'Clock Blues
The Thrill Is Gone

Price: €32,99




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

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.

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"

(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.

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.

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

Price: €23,99



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.

Price: €19,95



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

Another highly influential player to emerge in the 1950s was the immortal Albert Collins.
Born in Leona, Texas, Collins was raised in Houston and spent his teenage years hanging out
with and absorbing the music of T-Bone Walker, John Lee Hooker, Clarence "Gatemouth" Brown,
and others. By the late 1950s, he had become a popular local performer and cut his first singles
for the Kangaroo label. Collins' 1962 recording of "Frosty," which would become his trademark
tune, was a smash-hit and helped propel him to wider recognition. He remained in Texas, however,
for the bulk of the 1960s, working day jobs, hitting the club circuit in the evenings, and
recording for small, regional labels. It wasn't until the end of the decade that Albert landed a contract
with Imperial Records and took to the national stage, opening for bands like the Allman
Brothers and reaching the young, white audiences who went crazy for his slashing guitar work
and patented strolls through the crowd. Collins was a true road warrior, touring relentlessly
throughout the 1970s, but did little recording until 1978 when he released Ice Pickin', the first of
seven strong albums for Alligator Records. Albert (along with the Vaughan brothers, Jimmie and
Stevie Ray) helped spearhead the Texas blues revival during the 1980s, but his career was cut
tragically short. Collins fell victim to liver cancer and succumbed in 1993, less than two months
after his 61st birthday.
The great black players of the 1950s helped drive the Texas sound to new heights of
swaggering, head-shaking toughness. Their bravura playing and gunslinger attitudes only served
to strengthen their image as the new cowboys of the Wild West. But the music was changing and
growing all over America. A young white man from Mississippi named Elvis Presley was gaining
national prominence, playing and singing the music of the black masters and, for better or for
worse, introducing it to an entirely new and different audience. The owner of Sun Records, Sam
Phillips, had been working from a rather cynical, if familiar, ideology: A white performer who sang
and moved like the best of the black performers would, potentially, be a huge seller. Phillips of
course was dead-on in his assumption, as Elvis's place in American popular culture is virtually
unmatched, but his impact may have been even wider than Phillips could have dreamed. By playing
the music of the black masters on the national stage, Elvis introduced the world of the blues
to many whites who had never before heard anything like it. There is great controversy over the
value of his contribution, its authenticity, and whether this music was "stolen," appropriated, or
merely re-interpreted, but his enormous success was one major factor in the widening of the
blues audience during the 1950s and 1960s. At the same time, black audiences across the country
continued to embrace the blues and its new, more urban sound. Though the struggle for
equality and civil rights was a still a fledgling movement, blacks did find themselves with relatively
more leisure time and disposable income. Nightclubs and juke joints that featured blues artists
or played blues albums were doing better than ever, and, in Texas, the music was thriving in both
small ensembles and larger, horn-driven groups alike.
The 1960s were years of great tumult in America, and the changes that affected society
as a whole were also felt in the world of the blues. For the first time, the music ceased to grow in
popularity; record sales suffered, or remained, at best, at a status quo. Rock began to capture
the attention and imagination of young audiences, but despite its obvious roots in the blues, did
not cause many younger fans to look further to its source. Two diametrically opposed groups of
blacks-those who sought political upheaval and revolution and those who hoped to achieve
assimilation and financial success in the "white" world-both began to view the blues with scorn.
In the simplest terms, the former group felt that the music was a remnant of slavery and of a time
when the liberty of their people had been trampled and their opportunities denied. The latter
group looked at the blues as something more of an embarrassment, as a representation of their
people as a mostly rural, illiterate, and unskilled group of day laborers and itinerant drunks. This
is not to say that black people had abandoned the blues altogether, but rather that many had
begun to subject the music and its meanings to greater scrutiny than ever before. Some left the
music behind, favoring the infectious sounds of rock and R & B, or caught on to the new movement
in jazz, spearheaded by revolutionary young musicians keenly aware of the struggles for
civil rights and an equal piece of the American pie. Amidst all of this turmoil, the music never
ceased, and a wealth of great blues musicians forged on, spotlight or no. Players like Freddie ...

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
Wall Of Denial

64 pages

Price: €24,99


WATERS MUDDY, DEEP BLUES. Contiene: baby, please don't go -blow wind blow -the blues had a baby and they named it rock and roll -champagne and reefer -close to you -deep down in Florida -evil -good news -got my mojo working -honey bee -I can't be satisfield -I feel like going home -I just want to make love to you -I want to be loved -I'm Ready -I'm your hoochie coochie man -long distance call -Luisiana Blues -mannish boy -my home is on the Delta -my love strikes like lightning -rollin' and tumblin' -rollin' stone -sad, sad day -the same thing -screamin' and cryin' -she's nineteen years old -still a fool -streamline woman -you can't lose what you ain't never had -you schook me. TABLATURE

Series: Guitar Recorded Version TAB
Artist: Muddy Waters

30 tunes: Evil • Got My Mojo Working • Honey Bee • I'm Your Hoochie Coochie Man • more.

Produced in Cooperation with the estate of McKINLEY MORGANFIELD

Inventory #HL 00694789
ISBN: 9780793509553
UPC: 073999947892
Width: 9.0"
Length: 12.0"
184 pages

Through 1953, the small group (sans piano, and sometimes sans bass) persisted
with classics like "Long Distance Call" and "Still A Fool." September of that year
saw the release of "Blow Wind Blow" with Muddy: guitar and vocals, Jimmy Rogers:
guitar, Otis Spann: piano, Walter "Shakey" Horton: harp, and Elgin Evans: drums.
A new element of swinging, rhythmic drive had been added to the down-home feel
of the original group. Then in 1954, "I'm Your Hoochie Coochie Man" was sprung
on an unsuspecting music world (with the magic Little Walter back), and a new
direction in blues was heralded. Master blues composer Willie Dixon wrote the opus
and played bass, freeing Rogers to play rhythm and fill guitar. The first (and
perhaps best) classic Muddy Waters band had arrived, and the music rocked with the
energy of big-city dynamism and real-life country soul.
A hand injury took the guitar out of Muddy's hands in the late fifties and early
sixties. The recordings continued with two guitars, however as a first-class stable of
guitarists was established to fill the positions. Besides Jimmy Rogers, there was Pat
Hare, Luther Tucker, and Andrew Stephens to choose from. Earl Hooker, and
Buddy Guy also left their highly individual stamps on "modern" Chicago blues
standards like "You Shook Me" and "The Same Thing."
Around the mid sixties, Muddy's axe was appearing again in the clubs and in the
studio. He was playing better than ever, as the acoustic sides "Good Morning Little
Schoolgirl" and "My Home In The Delta" and the fierce electric slide of "You Can't
Lose What You Ain't Never Had" attest.
The late sixties saw Muddy riding the crest of the blues revival on stage, but his
recorded output was checkered. Electric Mud and After The Rain were low-water
marks, with their ridiculous sounding wah-wahs and fuzztones. Fathers And Sons,
though, with the young turks Michael Bloomfield, Paul Butterfield, and Duck Dunn,
was a sweetly satisfying, authentic survey of Muddy's choice material. Such a loving,
empathetic approach to recording Muddy would not occur again until Johnny
Winters' successful collaborations from 1977 through 1981 for Blue Sky Records.
Plans were taking shape for more recordings when Muddy died on April 30, 1983.
Muddy Waters' influence on electric guitar music is rivaled only by that of B.B.
King. Though never a virtuoso soloist, he had an intuitive sense of the power and
expressive possibilities of amplifier distortion. Those Aristocrat and early Chess sides
glowed with the thumping, growling bass and fat, sustaining treble licks afforded by
over-driven vacuum tubes. He clearly said it with his sound as well as his choice of
notes. Muddy's guitar's voice was big and bad enough to go toe-to-toe with any
guitar picker who played with him.
Muddy's approach to equipment was as direct and simple as his music. After a
string of hollow-body Stellas, Harmonys, and Gretches, he was seen with a Les Paul
Standard with single-coil pickups. When he got his red Tele in the late fifties, it
became his main instrument for over 30 years. Strung with knuckle-busting
.012-.056 gauge strings, he paired it with a pre-CBS Fender Super Reverb Amp (all
knobs on "9") and the little metal pinky slide made for him by a friend in the forties.
Muddy didn't listen to guitarists other than the men from his generation. He
most certainly was not impressed by fast, flashy players, though he respected those
like Johnny Winter and Bob Margolin who could play his style. \Vhat he looked for
in any blues musician was the ability to play "snap rhythm" - short, fast
embellishments around the chord changes, like Robert Johnson.
When asked, in his later years, if he ever felt the urge to practice, he said, "No,
I've been playing the blues for 50 years; it's in my hands. I don't need to practice it."
Special thanks to Bob Margolin, who played with Muddy for 10 years beforeforming The
Legendary Blues Band and leading his own group, for his invaluable assistance.
Dave Rubin

31 tunes
184 pages

OPEN G TUNING, first position E blues, the backup guitarist

Table of contents :

Baby, Please Don't Go - 1953
Blow, Wind, Blow - 1953
The Blues Had A Baby And They Named It Rock And Roll - 1977
Champagne And Reefer - 1981
Close To You (I Wanna Get) - 1959 
Deep Down In Florida - 1977
Evil - 1957
Good News - 1957
Got My MoJo Working - 1956
Honey Bee - 1950
I Can't Be Satisfied - 1948
I Feel Like Going Home - 1948
I Just Want To Make Love To You - 1954
I Want To Be Loved - 1977
I'm Ready - 1978
I'm Your Hoochie Coochie Man - 
Long Distance Call - 1951
Louisiana Blues - 1950
Mannish Boy - 1977
My Home Is On The Delta - 1963
My Love Strikes Like Lightning - 1963
Rollin' Stone (Catfish Blues) - 1950
Rollin' And Tumblin' - 1944
Sad, Sad Day - 1981
The Same Thing - 1964
Screamin' And Cryin' - 1977
She's Nineteen Years Old - 1979
Still A Fool - 1950
Streamline Woman - 1948
You Can't Lose What You Ain't Never Had - 1964
You Shook Me - 1962

Price: €32,99

TEXAS BLUES GUITAR Musician institute LIBRO CD TABLATURE Stevie Ray Vaughan-Johnny Winter

TEXAS BLUES GUITAR, musician institute. Tra mangiare una bistecca a Dallas, e una scatoletta a New York, c'è una grossa differenza; così è per il Blues. La chitarra ritmica e solista, di S.R.V., Winter, T-Bone, Freddie King, Albert Collins. Con 34 jam. CD TAB.

Robert Calva
Publisher: Musicians Institute Press

Musicians Institute instructor Robert Calva covers rhythm and lead guitar in the styles of Stevie Ray Vaughan, Johnny Winter, T-Bone Walker, Freddie King and Albert Collins. He teaches: 24 common blues licks; common blues "box" positions; shuffle blues, slow blues, Latin blues & straight blues; and more. The book includes standard notation & TAB, and the CD features 34 full-band tracks.

Price: €22,99



Be Careful With A Fool -Dallas -Good Morning Little Schoolgirl -Highway 61 Revisited -Hustled Down In Texas -I Guess I'll Go Away -I'm Yours and I'm Hers -Illustrated Man -Johnny B. Goode -Mean Town Blues -Rock And Roll Hoochie Koo -Rock Me Baby -Still Alive And Well.

Since the 1960s, Johnny Winter has been making his own distinctive blend of blues and rock music. This folio features note-for-note transcriptions with tab for 13 Winter favourites, also features photos, Winter's commentary about each of the songs, and an extensive interview with Andy Aledort reprinted from Guitar magazine. 141 pages.

Price: €29,99


Acoustic guitar magazine, ACOUSTIC BLUES GUITAR ESSENTIAL. 10 lezioni, 6 canzoni. CD TAB.

Series: Guitar Collection
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: Various Authors
Straight from the experts at Acoustic Guitar magazine! The 12 private lessons in this book/CD pack are full of helpful examples, licks, great songs, and excellent advice on blues flatpicking rhythm and lead, fingerpicking, and slide techniques from some of the finest teachers around, including Mike Christiansen, Acoustic Guitar music editor Dylan Schorer, Stefan Grossman and many others. The book shows all examples in both standard notation and TAB, and the CD allows you to play and replay the lessons and songs until you've perfected them.

Around The Bend
Blues In G
Boll Weevil Blues
Fill 'Em Up
Guitar Rag
Keep On Sailin'

72 pages
This book-and-CD package offers ten in-depth lessons for players of all levels, taught and recorded by the master teachers of Acoustic Guitar magazine. The book is divided into four sections: Rhythm, Lead, Fingerpicking, and Slide. Start with Mike Christiansen's concise explanation of chord accompaniment and Dylan Schorer's crunchy rhythm and bass lines. Put some "wail" into your music as you bend strings with Glenn Weiser. Join the Society of the Big Thumb while learning to fingerpick with Kenny Sultan. And log onto Dale Miller's guide to selecting and setting up a guitar for slide. In addition to these great lessons and tips, you'll also get six complete songs to play.



Strumming a 12-Bar Blues - Mike Christiansen
The Blues Shuffle - Dylan Schorer
Boogie-Woogie Bass Lines - Dylan Schorer
Blues Chords up the Neck - Glenn Weiser


Learning to Solo - Mike Christiansen
Bending Strings - Glenn Weiser


Fingerstyle Blues Basics - Kenny Sultan
Your First Guitar Rag - Dale Miller


Acoustic Slide Essentials - Dale Miller
Slide Guitars and Setup - Dale Miller


Boll Weevil Blues
Around the Bend
Fill ’Em Up
Guitar Rag
Keep On Sailin'
Blues in G

Price: €26,99
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