LIBRO CON CD

REAL BLUES GUITAR Kenn Chipkin T-Bone Walker Stevie Ray Vaughan Eric Clapton CD TABLATURE LIBRO

REAL BLUES GUITAR. Iniziando dagli esempi più primitivi e semplici di Shuffle, l'autore ci suggerisce via via numerose varianti spingendoci ad inventarne delle nostre. Sono esaminate tutte le caratteristiche essenziali del Blues, il modo mixolydian, i ritmi le melodie, la parte solista, le scale minori pentatoniche e le scale maggiori pentatoniche fino ad arrivare alla fusione con queste ultime, con esempi presi da, Eric Clapton, Buddy Guy, B.B King, Albert King, Johnny Winter, T-Bone Walker e di Stevie Ray Vaughan. Interessante la parte dei "turnarounds" (parte finale, iniziale o momento di transizione) ove sono a confronto diretto 14 esempi di diversi Bluesmen nei quali risalta come, anche pur suonando praticamente le stesse note, ognuno esprime il suo carattere. CD di oltre 48 minuti. CD TAB.

By Kenn Chipkin
SERIES: Contemporary Guitar Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

The only blues guitar method that captures the authentic feel of the blues. Beginning with basic rhythm and lead guitar techniques, the book systematically guides you through the styles of blues guitar masters such as Albert King, B.B. King, Stevie Ray Vaughan, T-Bone Walker, Johnny Winter, and more. With tablature.

Price: €26,99
€26,99

TEXAS BLUES THE ART OF Toby Wine LIBRO CD GUITAR TABLATURE CHITARRA HAL LEONARD CHERRY LANE

TEXAS BLUES, THE ART OF. Wine. CD TABLATURE

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
Tightrope
Wall Of Denial

64 pages

Price: €24,99
€24,99

ROBILLARD DUKE CLASSIC GUITAR STYLES OF LIBRO CD BASI TABLATURE Blues-Jazz-Rock 'n' Roll

ROBILLARD DUKE, CLASSIC GUITAR STYLES OF. A Guide to Playing Authentic Blues, Jazz and Rock 'n' Roll. Basi complete con preascolto di 11 blues, R&B, swing, jazz. CD TAB.

Series: Guitar Educational
Softcover with CD - TAB
Author: Dave Rubin
Artist: Duke Robillard

Master musician Duke Robillard provides fans and fellow guitarists an inside look at the techniques and philosophy behind his classic American guitar style. This book/CD pack includes: 11 complete songs; more than 25 photos; tips on choosing a guitar and getting a great sound; country blues chords, modern electric blues chords and swing blues/jazz chords; jazzy turnarounds, jazz/blues accompaniment; and much more! The CD contains original music recorded by Duke exclusively for this project, and the book includes a biography, selected discography, recommended listening list and tablature. 88 pages.

Price: €24,99
€24,99

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
€22,99

101 MISSISSIPPI DELTA BLUES FINGERPICKING LICKS McCabe CD TABLATURE LIBRO CHITARRA SPARTITI

101 MISSISSIPPI DELTA BLUES FINGERPICKING LICKS. CD TAB.

Introduction
Why folks have the blues
How to use this book
The notation of fingerstyle guitar music

Four-Beat Fingerpicking Blues Licks
Patterns for C
Patterns for G
Patterns for D
Patterns for A
Patterns for E
Patterns for B
Patterns for F

Eight-Beat Fingerpicking Blues Licks
Patterns for C
Patterns for G
Patterns for D
Patterns for A
Patterns for E
Patterns for B
Patterns for F

Introductions and Turnarounds
Key of C
Key of G
Key of D
Key of A
Key of E

Price: €59,99
€59,99

ACOUSTIC BLUES GUITAR KEITH WYATT CD TABLATURE LIBRO METODO CHITARRA SPARTITI

By Keith Wyatt
SERIES: Beyond Basics
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Acoustic Blues Guitar teaches blues chord forms, stylistic licks and patterns, blues scales, turnarounds, solo country blues style guitar, independent bass line and melody ideas, and more. The book includes a full-color photo section showing all types of slides. Written in standard notation and tablature.

 

ACOUSTIC BLUES GUITAR, Keith Wyatt. oltre 50 esempi di frasi e assoli, forma degli accordi, turnarounds, fingerstyle blues, lo stile di Lightnin' Hopkins, Muddy Waters, Lonnie Johnson, Robert Johnson. CD TABLATURE
 

INTRODUCTION
Welcome to Acoustic Blues Guitar.
In the 1920's and 1930's, there were some great players, such as Lonnie Johnson, Blind
Lemon Jefferson and Robert Johnson. The style and influence of these players established
a tradition that to this day still appeals to everyone from casual listeners to professional musIcians.
This book presents traditional, roots oriented blues with contemporary training methods
that will allow you to immediately understand and apply these useful, versatile concepts to your style.
Section I covers all the basics you will need to know regarding the acoustic blues style:
chord shapes, progressions, chord embellishments. strum patterns, bass-lines, the shuffle
groove and turnarounds. Section II focuses on solo-style blues guitar, demonstrating
musical examples, scales, melodic patterns, licks and fingerpicking.
If you love the blues, have an acoustic guitar and two hands, then you are ready to go to work.
 

PREFACE
One nice thing about acoustic blues is that you do not need expensive and complicated tools
or devices. The main thing you need is a guitar that is set up well. There are a few simple
tools and devices that you might like to keep in your guitar case: extra strings, picks, slides
[glass or metal) and a capo.
Strings: It is amazing what a fresh set of strings can do to bring out the best sound of a
guitar. If you play regularly, try not to leave the same set of strings on any longer than a month.
You might want to use light or extra-light strings to reduce muscle fatigue and sore
fingertips. Later, lighter strings will enable you to learn the valuable technique of "bending in
pitch" a lot sooner. After you learn this technique correctly, you might want to experiment
with using heavier strings. Different gauges [thickness) of strings have a different sound
quality, and you will need to experiment until you find the sound you like.
Picking Techniques: There are different techniques for striking the strings that you should
experiment with as you learn the examples in the book:
• Playing fingerstyle [without a pick) produces a warm sound, but it's not as clear and you
have to work harder to produce a wide range of volume. This technique is better for solo
style where you combine bass-lines and melody.
• Using a pick will give you a wider range of volume and it is easier to play single-note lines
and melodies. A pick gives you the option of playing single-note melodies with your fingers
and bass-lines with your pick, but you have to train weaker fingers to play fingerstyle
melody-lines. Playing fingerstyle with a flat-pick is often called hybrid-picking.
• A thumb-pick is primarily designed for down-strokes to play fingerstyle bass-lines, but they
are a little awkward for playing single-note melodies.
• Finger-picks are also available, to be combined with the thumb-pick to get a brighter
sound. This technique is used more for banjo than guitar.
The most important thing to consider when choosing a technique is the sound. While you
might find one of these techniques easier than the others, you should still practice the
technique that will give you the best sound even if it takes a little longer. Flat-picks come in a
variety of sizes, shapes and materials that affect the sound and feel. When using a flat-pick,
experiment with different thicknesses and different materials to learn their effect on the sound.

 

CONTENTS

 

Introduction .
Tuning notes .
 
SECTION I: INTRODUCTION TO ACOUSTIC BLUES .
Preface .
BASICS: Open Position Chords .
Example I: The E Chord .
Example 2: The E7Chord .
Example 3: The A Chord .
Example 4: The A7 Chord .
Example 5: The B7 Chord ,
Example 6: Combine Ali Three Chords ,
Example 7: D & D7 Chords .
Example 8: C7 ,
Example 9: F7 ,
Example I0: Gand G7 Chords .
 
CHAPTER I: BLUES PROGRESSIONS .
Example Il: Bass·Chord Pattern ,
Example 12: Blues Progression In E .
Example 13: Blues In A .
Example 14: Blues In C .
Example 15: The Quick·Change Progression .
CHAPTER 2: RHYTHM .
Example 16: The Shuffle Groove .
Example 17: Left·Hand Embellishments .
Example 18: A7 Embellishment .
Example 19: Whole Progression .
Example 20: E7 Variation .
Example 21: Quick·Change in E .
 
CHAPTER 3: BASS-L1N ES .
Example 22A: E7 to A7 Bass·line .
Example 22B: A7 to E7 Bass-line .
Example 22C:Another A7 to E7 Bass-line .
Example 22D: B7 to A7 Bass·line .
Example 22E: The Whole Bass·line Progression .
Example 23: The Jimmy Reed Progression ,
Example 24: Up.Strokes and Accents .
Example 25: Blues Rhythm Lick '
Example 26: Full Progression .
Examples 27. 28: .
Example 29: Blues in E Turnaround .
 
CHAPTER 4: BLUES IN A .
Example 30 A: A7 Embellishments .
Example 30 B: D7 Embellishments .
Example 30 C: Blues In A .
Example 30 D: E7 to D7/F# .
Example 30 E: Blues In A .
Example 31: Blues In A Turnaround .
 
SECTION Il: SOLO ACOUSTIC BLUES GUITAR .
 
CHAPTER 5: BLUES LICKS .
Example 32A: E7 Blues Lick .
Example 32B:A7 Lick .
Example 32C: B7 Lick .
Example 32D: E7 Lick .
Example 32E:A7 Lick .
Example 32F: Turnaround Variation ,
Example 32G: Whole Progression .
Example 33. More Blues Bass·llnes .
 
CHAPTER 6: BLUES CHORD SOLOING .
Example 34: E7 Inversions .
Example 35: Chromaticism .
Example 36: Blues Chord Solo I .
Example 37 A: A7 Inversions .
Example 37B:A7 Inversions with Chromatics .
Example 37C: Chord Solo Turnaround .
Example 37D: Blues Chord Solo 2 .
Example 37E: Blues Chord Solo 3... .
 
CHAPTER 7:THE BLUES SCALE .
Examples 38A-381: E Blues Licks 1-9 .
 
CHAPTER 8: FINGERSTYLE BLUES .
Examples 39 A-3 9H .
Example 391: Muddy Waters Progression .
Example 39J: Muddy Waters Turnaround .
 
CHAPTER 9: PUTTING IT ALL TOGETHER .
Examples 40-4 2 .
Price: €26,99
€26,99

Acoustic guitar MAGAZINE ACOUSTIC BLUES GUITAR ESSENTIAL CD TABLATURE LIBRO CHITARRA

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.

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

72 pages
Description
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.

Lesson

RHYTHM

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

LEAD

Learning to Solo - Mike Christiansen
Bending Strings - Glenn Weiser

FINGERPICKING

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

SLIDE

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

SONGS

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

Price: €26,99
€26,99

BAKER DUCK, FINGERSTYLE BLUES GUITAR 101. CD TABLATURE

Baker Duck, FINGERSTYLE BLUES GUITAR 101. 11 distinti Blues in 26 minuti, solo per chitarra. CD TAB.

Duck Baker's Fingerstyle Blues Guitar 101,
80 PAGES
Product Description:
A collection of 12 great acoustic blues guitar solos by Duck Baker in notation and tablature. The solos are intermediate to advanced in difficulty and successfully capture the earthy myriad of influences comprising classic American blues guitar stylings. Chords, scales, keys and turnarounds for the blues are taught in this method book. Standard notation and tablature. All songs from the book are included on the CD.

Format: Book/CD Set

Song Title: Composer/Source:
Baby Let Me Follow You Down
Blues In A
E Blues #1
E Blues #2
Make Me A Pallet On Your Floor
Seven Point One
Sister Kate
Still Staggerin'
The Deep Blue C
The Dirtman Cometh
The Jackson Stomp
The Mighty Midget

Price: €20,99
€20,99

BEGINNING FINGERSTYLE BLUES GUITAR, Arnie Berle, Mark Galbo. CD TABLATURE

BEGINNING FINGERSTYLE BLUES GUITAR, A. Berle. CD TAB.

About Beginning Fingerstyle Blues Guitar For guitar. Instructional and Blues. Beginner. Instructional book and examples CD. Guitar tablature, standard notation, chord names, guitar chord diagrams and instructional text. 96 pages.

With guitar tablature, standard notation, chord names, guitar chord diagrams and instructional text. Instructional and Blues.

A step-by-step method for learning this rich and powerful style. Takes you from the fundamentals of fingerpicking to five authentic blues tunes.

Contents
Origins Of The Blues
Preparing To Play Our First Blues
Preparing To Play A Blues In G
Preparing To Play A Blues In E
Melody Notes
Eighth Notes, Dotted Notes, And Syncopation
Blue Notes
Fretting-Hand Techniques
Picking-Hand Techniques
Playing Chords In The Higher Positions
Vamps
Singing The Blues
Five Blues Pieces

Price: €22,99
€22,99

Acoustic guitar magazine ROOTS AND BLUES FINGERSTYLE Steve James CD TABLATURE SPARTITI BOOK

Acoustic guitar magazine, THE ROOTS AND BLUES FINGERPICKING GUITAR. Steve James presenta 25 tradizionali American blues guitar styles, per imparare il fingerpicking (suonare con le dita, senza il plettro) e la tecnica slide suonando le canzoni del repertorio di maestri come Furry Lewis, Blind Willie McTell, Sam McGee, and Mance Lipscomb. Il canto, le parole, fotografie, e altro. Take Me Back -Sugar Babe -Milwaukee Blues -Sebastopol -John Henry, e altre. CD TAB.

Acoustic Guitar Private Lessons
Series: Guitar Collection
Publisher: String Letter Publishing
Softcover with CD - TAB

Arranger: Steve James

Steve James presents a treasure trove of traditional American guitar styles in this unique book/CD pack. Guitarists will learn fingerpicking and slide techniques not through dry exercises but by playing 25 songs from James' own repertoire and from such masters as Furry Lewis, Blind Willie McTell, Sam McGee, and Mance Lipscomb. Drawing on his extensive research and first-hand experience with these guitar pioneers, James tells the stories behind the songs, too. Features authentic arrangements in notes & TAB, vocal melodies and lyrics, historic photos, and more. Songs: Take Me Back - Sugar Babe - Milwaukee Blues - Sebastopol - John Henry , more! 96 pages

Amos Johnson Rag
Bear Creek Hop
Blues In A
Buckdancer's Choice
Guitar Rag
I Got To Cross That River Of Jordan
I Will Turn Your Money Green
Jack O' Diamonds/Rye Whiskey
John Henry
Judge Harsh Blues
Liberty
Milwaukee Blues
Railroad Bill
Railroad Blues
Roll And Tumble Blues
Sebastopol
Spanish Fandango
Stack Lee's Blues
Sugar Babe
Take Me Back
Things About Comin My Way
Way Out On The Desert

Price: €24,99
€24,99
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