GUITAR SIGNATURE LICKS

REINHARDT DJANGO, THE BEST OF, STYLES AND TECHNIQUES OF A JAZZ GIANT. Ain't Misbehavin' -Belleville -Daphne -Dinah -Djangology -Honeysuckle Rose -Limehouse Blues -Marie -Minor Swing -Nuages -Old Folks At Home (Swanee River) -Rose Room -Stardust -Swing 42 -Swing Guitar -Tiger Rag (Hold That Tiger). CD TABLATURE

The Best of Django Reinhardt A Step-by-Step Breakdown of the Guitar Styles and Techniques of a Jazz Giant
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: Django Reinhardt
Author: Joe Charupakorn

Explore the groundbreaking style of one of the most unique and influential guitarists in jazz! This book/CD pack explores 16 of his signature tunes: Ain't Misbehavin' - Belleville - Daphne - Dinah - Djangology - Honeysuckle Rose - Limehouse Blues - Marie - Minor Swing - Nuages - Old Folks at Home (Swanee River) - Rose Room - Stardust - Swing 42 - Swing Guitar - Tiger Rag (Hold That Tiger). The CD includes full demos of each.
Inventory #HL 00695660
ISBN: 9780634034312
UPC: 073999549607
Width: 9.0"
Length: 12.0"
96 pages
 

INTRODUCTION
Just about a half century after his death, Django Reinhardt still remains a towering
figure in the annals of jazz guitar. To this day, his incendiary playing stands up to that
of later virtuoso jazz guitarists such as Joe Pass, Pat Martino, and George Benson. Author
James Lincoln Collier, in his book The Making of Jazz, calls Django "the most important
guitarist in the history of jazz"; when you take into account the hordes of jazz guitarists he
has influenced, he may very well be. His groundbreaking style of playing-marrying
European-influenced scales and harmonies with jazz rhythms-was unheard of during his
time. He was among the first of the European jazz musicians who could cop the jazz feel
correctly, and he left an indelible stamp on the world of jazz guitar. His major influence was
session guitarist Eddie Lang (the first major jazz guitarist). He absorbed Lang's Europeanbased
harmonic concepts and took them one step beyond.
Born Jean Baptise Reinhardt to LaBelle Reinhardt and Jean Vees (his assumed
father) on January 23, 1910 in Liverchees, Belgium near the French border, Django was
raised in true gypsy fashion, travelling around in a caravan and living like a vagabond. He
spent much of his formative years travelling across Europe, eventually settling just outside of Paris.
Django did not attend school and was illiterate-he could neither read nor write.
He did, however, have a passion and a gift for music and eventually received a banjo from
a neighbor named Raclot when he was twelve. He never took formal lessons, but learned
from his father and other musicians in the area, and shortly thereafter began playing with
his father in cafes. By age fourteen he had become a fixture on the Parisian club scene,
and by age eighteen he recorded his first session as a sideman, accompanying an accordion on banjo.
On November 2, 1928, tragedy struck. Django heard some noise and thought it
was a rat scurrying around his wagon. He grabbed a candle, which unexpectedly fell out
of the candleholder and onto a pile of highly flammable artificial flowers that immediately
burst into flames, setting the wagon on fire. Django used a blanket to carry his wife out of
the burning caravan, but his exposed legs and left hand were severely burned. Because
of the severity of the burn, doctors suggested amputating Django's legs, but he vehemently
refused. He would later regain the use of both legs.
His left hand did not have the same good fortune, and his music career appeared
to be doomed. Django was resilient, however, and trudged along, trying to play guitar
again while in the hospital. He eventually regained the use of his thumb, index, and middle
fingers, but never the full use of the ring and pinky fingers. Over a year later, he was
able to play again using his functioning left-hand fingers.
In 1928 Django met Stephane Grapelli, a violinist with whom he would have a
career-long relationship. They were both struggling young musicians trying to make their
way in the jazz scene. In 1933, they finally had the chance to play together in the Quintet
of the Hot Club of France (which also featured Django's brother Joseph on rhythm guitar),
an incarnation of the Hotel Claridge Orchestra. The Ultraphone Record Company gave the
group a record deal in 1934, and their first recording sent shockwaves throughout the
European jazz scene. This spawned a series of group recordings that would elevate the
group's popularity and allow them to play concert halls.
When World War II started, the group was on tour in London. Django and company
retreated to Paris, but Grapelli chose to stay behind in London. As a result of the
German invasion of France, Django became a god in the eyes of the French. He was a national hero who represented a unique and free spirit that stood tall against the repressive, stifling nature of the German invaders.
AIN'T MISBEHAVIN' Words by Andy Razaf
Music by Thomas "Fats" Waller and Harry Brooks
Django Reinhardt's solo on "Ain't Misbehavin' ,"with its motivic and rhythmic development,
is an exemplary model of solo construction. After the opening quote of the theme,
Django weaves through the chord changes with primarily scalar runs based on the D
major scale (D-E-F#-G-A-B-C#). In measure 7 he introduces a triplet motive that is
repeated for three consecutive measures. The motive begins on the root and hammers
and pulls back and forth up a half step. This lick is transposed up a perfect 4th in measure
8 to correspond to the chord change (Bm-Em). In measure 9 the pattern begins on the
9th of the D chord and hammers onto the minor 3rd (Fq), creating a bluesy effect. Notice
how the pattern gets rhythmically displaced in the following measures, starting on beat 3
in measure 7, beat 2 in measure 8, and back to beat 3 in measure 10. This figure is recalled in measures 39-40.
Another motive is introduced in measure 25, comprised of a note followed by a
higher note, which is bent up a half step. Django leaps from A to E and bends up to Fq,
the bluesy b3rd of the D chord. This is followed by a bend from G# to A, the 5th of the D
chord. Some arpeggiated lines follow in measures 30-32, and in measures 33-36 Django
continues to develop the bending motive, this time starting with a bend from E#to F#, the 3rd of the D chord.
Chromaticism is abundant throughout the solo and used primarily in one of two
ways: as neighbor tones and passing tones. For example, the triplet motive (mentioned
above) in measures 7-9 uses a chromatic upper neighbor trill. In measure 58, chromatic
passing tones fill the gap from A down to F#.Measure 59 has an A# passing tone between
A and B, measure 61 also has an A# passing tone between A and B (this time an octave
lower), and in measure 62 there are chromatic passing tones from A# to ct

Table of contents:

Ain't Misbehavin'
Belleville
Daphne
Dinah
Djangology
Honeysuckle Rose
Limehouse Blues
Marie
Minor Swing
Nuages
Old Folks At Home (Swanee River)
Rose Room
Stardust
Swing 42
Swing Guitar
Tiger Rag (Hold That Tiger)

96 pages

Ain't Misbehavin' - WORDS: RAFAZ – MUSIC: WALLER -BROOKS - 1929
Belleville - DJANGO REINHARTD - 1944
Daphne - DJANGO REINHARDT - 1938
Dinah – WORDS: LEWIS, YOUNG – MUSIC: HARRY AKST - 1925
Djangology - DJANGO REINHARDT, STEPHANE GRAPELLI - 1937
Honeysuckle Rose – WORDS: ANDY RAFAZ – MUSIC: FATS WALLER - 1929
Limehouse Blues – WORDS: FURBER – MUSIC: BRAHAM -
Marie – IRVING BERLIN - 1928
Minor Swing - DJANGO REINHARDT, STEPHANE GRAPELLI - 1938
Nuages – DJANGO REINHARDT, JACQUES LARUE -
Old Folks At Home (Swanee River) – STEPHEN C. FOSTER -
Rose Room – WORDS: HARRY WILLIAMS – MUSIC: ART HICKMAN -
Stardust – WORDS: PARISH – MUSIC: CARMICHAEL - 1928
Swing 42 – DJANGO REINHARDT - 1941
Swing Guitar - DJANGO REINHARDT, STEPHANE GRAPELLI - 1937
Tiger Rag (Hold That Tiger) – WORDS: HARRY DECOSTA – MUSIC: DIXIELAND BAND -

Violin arranged for guitar

AEROSMITH, 1973-1979. LICKS. CD TABLATURE

Aerosmith 1973-1979
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: Aerosmith

Inventory #HL 00695106
ISBN: 9780793569694
UPC: 073999951066
Width: 9.0"
Length: 12.0"
80 pages

One of the most prominent bands of the rock era, Aerosmith Signature Licks 1973-1979 is a step-by-step breakdown of the guitar styles and techniques of the songs that made them famous:

Back In The Saddle
Come Together
Draw The Line
Dream On
Kings & Queens
Last Child
Mama Kin
Same Old Song And Dance
Sweet Emotion
Toys In The Attic
Train Kept A-Rollin'
Walk This Way

80 pages

BLACK SABBATH, THE BEST LICKS. Stetina. Oltre 10 sacchi contenenti i riff più noti dell'hard rock. Accordi pesanti come lenti vagoni carichi si spostano sui binari, scivolando; rapidi scambietti, veloci terzine ne danno la direttoria. CD TABLATURE

The Best of Black Sabbath
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: Black Sabbath
Author: Troy Stetina
Inventory #HL 00695249
ISBN: 9780793587902
UPC: 073999952490
Width: 9.0"
Length: 12.0"
64 pages

INTRODUCTION
Black Sabbath is the original "black metal" band, replete with horror-film
themes and gothic imagery. They pushed music to previously uncharted levels of
heaviness throughout the seventies, and set the stage for the hard-edged styles
of 1980s thrash and death metal, as well as the heavier side of 1990s alternative
rock. Their powerful influence upon countless guitarists throughout the world
cannot be denied.
The story of Black Sabbath began in Birmingham, England in the late
1960s. The quartet-originally composed of vocalist John "Ozzy" Osbourne,
guitarist Tony lommi, bassist Terry "Geezer" Butler, and drummer Bill Wardgained
a fervent local following as a blues band called Earth. After learning that
there was another band going by that name, however, the four renamed
themselves, adopting the monicker Black Sabbath-the title of both an old horror
movie starring Boris Karloff as well as that of a song the group had already
composed. This name perfectly reflected the group's growing interest in
supernatural and occult themes, which would come to dominate their lyrics and
fuel the band's dark image and signature sound.
Their debut self-titled release, Black Sabbath (1970), initially attained only
moderate success. It was their follow-up album later that same year, Paranoid,
which first earned the band international acclaim with such classic metal
masterpieces as "Iron Man," "War Pigs," and of course the title track, "Paranoid."
After extensive touring in both Europe and the United States, a third release,
Master of Reality (1971), cemented the band's growing popularity and commercial
success. Also, on this landmark recording, the band began to experiment for the
first time with ultra-low (C#) tuning, to accompany their dark lyrical sorties with a
deeper and darker tone. This would come to be a dominant and unique
characteristic of the band's sound over the next number of years.
The group's creative powers were still in high gear as the fourth and fifth
albums, Black Sabbath Vol. 4 and Sabbath Bloody Sabbath, were released in
1972 and 1973, respectively. After five ground-breaking albums in just four short
years, their status as the musical voice of the underworld was secured. Further
efforts, including 1975's Sabotage continued to build upon their visionary art-rock
tradition.
As with all important rock, it is as much a social commentary as a musical
force, and Black Sabbath was no exception. Perhaps less obvious than their "evil"
image, one finds upon closer inspection that the majority of lyrics invoke not evil
messages at all, but simply social issues of the time as well as cryptic warnings.
One common theme is to warn of the fate that will befall our evil ways, either as
individuals ("Black Sabbath," "Paranoid") or as a world bent on nuclear
destruction and hatred ("War Pigs," "Children of the Grave")-essentially as if the
band were setting to music the biblical book of Revelation. Another theme is farreaching
science fiction and space travel ("Iron Man," "Into the Void") sometimes
interlaced with mind travel via drug-induced, astral projection ("Supernaut"). The
late sixties psychedelic drug culture morays were also explicitly set forth ("Sweet
Leaf'). In many ways, the band's music was a backdrop reflecting society's
ongoing dialog on priorities, right and wrong, good and evil, and where we are
headed as a culture. Their focus on anti-war, ecology, and mind-expanding drug
themes rode the forefront of controversy and continued to help push these 60s
issues into the next decade.
Looking beyond the black-magic trappings, guitarist Tony lommi is actually
a fairly straight-ahead electric blues-rock player in the vein of Eric Clapton and
Jimmy Page-in particular this is apparent when one examines his lead guitar ...

SABBATN, BLOODY SABBATN
Words and Music by Frank lommi, John Osbourne, William Ward, and Terence Butler
Figure 20 -Intro, Verse, and Interlude
The recording of Sabbath Bloody Sabbath, the band's fifth effort, was the
occasion of a famous band story. They had set up in an old English casti e to compose
and record a bit. Strange things began to happen right away. A fire spread
unexpectedly from the fireplace, and Ozzy, sleeping nearby, woke at the last moment
and narrowly escaped. Shortly thereafter, several members of the band witnessed an
unknown man walk into a room, and upon following him, found that the room was
empty and the only other door out of it was locked from the inside. They began to tell
each other horrifying stories, and in the end, were ali so scared they had to leave the
castle that same night!
The album was finally completed (in the welcome security of the recording
studio) and released in December, 1973. The title track shows a broadening influence
in terms of arrangement and textures. Acoustic guitars were implemented in a
significant way, and Rick Wakeman (Yes) was brought on board for keyboard duties.
Again played in the slack down tuning, the riff makes clever, Hammering straight, also, palm mutes are maintained entirely on the, natural minor scale (Aeolian mode). Structurally, this tune is somewhat of a departure from Sabbath's norm, as it includes a vocal-driven, chorus-type section which acts as a lower-energy point,
counterbalancing the main riff with acoustic textures. Clean electric guitars (Gtrs. 2 &
3) add relaxed pentatonic-style melodies over the six-string acoustic guitar (Gtr. 4)
which strums a cycling Am9-G/D progression. In measure 33, the G/D chord appears
as a Gmaj7/D, lending a jazz-inspired feel. Measures 39-40 replace the G/D chord
with a revolving D-A progression over a D string pedal tone which functions to build
back into the original riff...

Learn the trademark riffs and solos of one of hard rock's greatest bands, with this excellent book/CD pack that breaks down the guitar styles and techniques of Tony Iommi. Songs include:

Black Sabbath
Children Of The Grave
Heaven And Hell
Into The Void
Iron Man
N.I.B.
Paranoid
Sabbath, Bloody Sabbath
Supernaut
Sweet Leaf
Symptom Of The Universe
War Pigs (Interpolating Luke's Wall)
64 pages

CLAPTON ERIC, THE BLUESMAN. CD TABLATURE

Eric Clapton - Selections from Blues
Series: Signature Licks Guitar
Format: Softcover with CD
Artist: Eric Clapton

This instructional book/CD pack will let players see why Clapton is such a legend! Examines 11 songs: Have You Ever Loved a Woman - Hideaway - I Feel Free - I'm So Glad - Steppin' Out - Strange Brew - Sunshine of Your Love - more.

Inventory #HL 00695040
ISBN: 9780793558032
UPC: 073999950403
Width: 9.0"
Length: 12.0"
96 pages

Song List:

All Your Love (I Miss Loving) - BLUESBREAKERS - OTIS RUSH - 1965
Have You Ever Loved A Woman - DEREK AND THE DOMINOS - BILLY MILES - 1960
Hide Away - BLUESBREAKERS - FREDDY KING, SONNY THOMPSON - 1961
I Ain't Got You - YARDBIRDS - CALVIN CARTER - 1955
I Feel Free - CREAM - JACK BRUCE, PETE BROWN - 1967
I'm So Glad - CREAM – NEHEMIAH SKIP JAMES - 1967
I'm Tore Down - ERIC CLAPTON - SONNY THOMPSON - 1962
Politician - CREAM - JACK BRUCE, PETE BROWN - 1968
Steppin' Out - BLUESBREAKERS - JAMES BRACKER - 1955
Strange Brew - CREAM - ERIC CLAPTON, FELIX PAPPALARDI, GAIL COLLINS - 1967
Sunshine Of Your Love - CREAM - JACK BRUCE, PETE BROWN, ERIC CLAPTON - 1968

INTRODUCTION
The Golden Age of Rock-generally defined as the mid/late sixties through the early seventies-produced an incredible number of trailblazing guitarists, each possessing a singular and unique approach to the instrument. Together, they set the standard by which rock guitarists will forever be measured. Eric Clapton, Jimi Hendrix, Jimmy Page, Duane Allman, Johnny Winter, and Jeff Beck were the most influential guitarists of this era, and their high-spirited playing styles continue to inspire millions today.
But of this list of rock's greatest guitarists, Eric Clapton stands out as the man who initially inspired all of the others with his dazzling fretwork and cutting-edge sound. Eric Clapton is deserving of recognition for a great many reasons. First and foremost, he is responsible for creating a new, high-powered guitar sound, heard first on the hugely influential Bluesbreakers: John Mayall with Eric Clap ton (London, 1966). At this session, Eric plugged his stock 1959 Les Paul Flametop into a Marshall JTM 45 and turned it "full up." As he told Guitar World in December of '94, "I thought the obvious solution was to get an amp and play it as loud as it would go-until it was just about to burst." With a handful of licks inspired by B.B. King, Albert King, Buddy Guy, Otis Rush, and Freddie King, Eric had by this point developed his own way of speaking on the instrument; he performed beautifully articulated, seamless improvisations fueled by the pure energy of his youth. His mind-boggling performance captured on Bluesbreakers spun the heads of guitarists the
world over, and gave birth to a sound that is still considered "state of the art" more than 30
years later.
Eric skyrocketed past the high watermark of Bluesbreakers as a member of rock's
greatest power trio, Cream, with whom his playing grew by leaps and bounds. Cream's
extended forays into group improvisation brought rock into unchartered territories, and Eric
used this platform to experiment with new sounds and approaches. But, no matter what the
context, at the core of Eric's musical spirit remained his deep love of the blues.
The most impressive distinction held by Clapton is the fact that he has sustained a
prolific, illustrious career over a span of four decades. This type of longevity is virtually
unheard of in the ever-evolving world of pop music. No other rock guitarist has retained as
viable a career for as long as Eric Clapton; incredibly, he is more popular today than ever.
Eric Clapton: The Bluesman Signature Licks focuses on Eric's greatest guitarwork
within the context of blues-based material. Eleven selections are presented in this book,
beginning with examples of his work with the Yardbirds, John Mayall's Bluesbreakers, and
Cream, moving on to Derek and the Dominos, and ending with a tune from his blues-based
album of 1994, From the Cradle.
Each of the selections illustrated in this book is segmented into the individual song
sections, such as intro, verse, chorus, bridge, solo, and outro, enabling one to study each
section individually. Each song segment is presented with all of the guitar parts fully transcribed,
plus accompanying audio on the CD, as performed by a full band. All of the guitar
solos, as well as complex rhythm parts, are also performed slowly to a click track for easier
understanding. Performance notes, outlining chord voicings, scale use, fingerings, and
unusual techniques are included in the text for each song.
On the accompanying CD, an attempt was made to recreate the sound of the original
recordings, primarily in terms of guitar tone and panning. Each tune offers a description
of the guitar/amp combination chosen to emulate Clapton's tone. The overall intent of
this recording is to present a mix that accentuates the guitar more clearly than as it
appears on the original recordings, enabling one to focus on all of the subtle nuances of
each performance.
On the CD, each song segment begins with a four-count ("one-two-three-four") as
sounded by the hi-hat. On the examples that are played slowly to a click track, the fourcount
is sounded by the clicking together of drumsticks.

THE RECORDING
My car played a major role in the recording of this CD, because I drove allover the
map borrowing guitars to suit each track. On "I Ain't Got You," I used a 1970 Telecaster (with
a killer bridge pickup); on "Hideaway," I used a "historic" mid-90s Les Paul Standard; on
"Steppin' Out" and "All Your Love," I used a magnificent 1952 Goldtop Les Paul Standard,
converted to 1957 specs (oh, the tone); "I'm So Glad" features a 1968 Les Paul Custom
(one-piece body and neck); "I Feel Free," "Sunshine of Your Love" and "Politician" were performed
on a 1961 Les Paul/SG Custom (previously owned by Allan Holdsworth); "Strange
Brew" and "I'm Tore Down" were performed with a 1960 dot-neck 335; and, for "Have You
Ever Loved a Woman," I used my stock 1961 Stratocaster. Strings are D'Addario XL 125s
and EXL 11Os.
For every track except "Sunshine of Your Love" and "Politician," the guitar amp used
was a 1967 "blackface" Fender Super Reverb (purchased from the one and only Gary
Blankenburg of Music Services, Wantagh, NY). This amp is the greatest-thanks, Gary! On
"Sunshine of Your Love" and "Politician," I used a 1978 Marshall MK II 1959 Master Model
100-watt head, into a 300-watt Marshall 1960A 4x12 cabinet. The amps were miked with a
combination of Shure SM-57s, SM-58s, and Beta-58s. The only distortion pedal used, on
a few of the tracks, was an Ibanez TS-9 Tube Screamer.
Two basses were used on this recording: a 1967 Gibson EB-2 and a 1986 ESP J-
Bass, fitted with Seymour Duncan "Bass Lines" pickups. Strings are D'Addario Chromes
(flat-wounds) and XL-170s (roundwounds). The amp used was a 1972 Fender Bassman
135 played through a 1988 Marshall JCM 800 1551 2x15 cabinet. This was miked with a
Shure Beta-58. All bass tracks were transcribed from the original recordings and recreated
as faithfully as possible.
The drum tracks were all transcribed from the original recordings and meticulously
programmed into an Alesis SR-16 drum machine, so what you hear is essentially exactly
what was played (those Ginger Baker parts were, um, time-consuming).
Last but certainly not least, the keyboard and synthesized horn parts were performed
by Steve DiMieri. The harp lick in "I Ain't Got You" was supplied by Eddie Mac.
In recreating the bass and drum parts faithfully, the goal was to bring as much of
the "vibe" of the original recordings into this presentation. This was also the goal in the performance
of Eric's guitar parts. Playing these great guitar parts "correctly" is not only about
where the notes are played on the neck, or the rhythmic syncopations employed. What
makes these guitar parts great is the intense feeling Eric conveys to the listener; it was my
goal to recreate as much of that feeling as possible when recording these transcriptions.
When you play these parts, I encourage you to put as much feeling as you can into your
performance, because that's really what it's all about.
All of the tracks were recorded onto a Tascam DA-88 digital eight-track, using a
Mackie 1604 mixing console and mixed down to a Tascam DA-30 MK II DAT machine.
Signal processing included Alesis Midiverb 4, Microverb III, 3630 compressor, and M-EQ
230 equalizer.

THANKS TO: My family-Tracey, Rory, and Wyatt, and my mom; Brad Tolinski, Dennis
Page, Jimmy Brown, and everyone at Guitar World; Jeff Schroedl, John Cerullo, Karen
Waldkirk, and everyone at Hal Leonard Corp.; the incomparable Flip Scipio; Leroy Aiello
and everyone at Mandolin Brothers. And of course a major thank you to all of the great guitarists
and all-around good guys who lent me their guitars: Nicky Skopelitis, Danny
Begelman, Dave Nesdall, and John Ellis.

SPECIAL THANKS TO: Greg Romano at D'Addario Strings; Larry Brooks at Seymour
Duncan Pickups; Bill Mohroff at TEAC, America; the folks at Mackie Designs; Mitch Colby
and Nick Bowcott at Marshall/Korg; Gary Blankenburg at Music Services.
This book is dedicated to my mother.

This instructional book/CD pack will let players see why Clapton is such a legend! Examines 11 songs, 96 pages

All Your Love (I Miss Loving)
Have You Ever Loved A Woman
Hide Away
I Ain't Got You
I Feel Free
I'm So Glad
I'm Tore Down
Politician
Steppin' Out
Strange Brew
Sunshine Of Your Love

CREAM, THE BEST. CD TAB.

Series: Signature Licks Guitar
Medium: Softcover with CD
Artist: Cream

A thorough breakdown of the guitar styles and techniques of Eric Clapton during his Cream days, including lessons and transcriptions for 12 classic tracks, 56 pages

Badge
Cross Road Blues (Crossroads)
I Feel Free
Sitting On Top Of The World
Spoonful
Steppin' Out
Strange Brew
Sunshine Of Your Love
Swlabr
Tales Of Brave Ulysses
White Room
World Of Pain