LIBRO CON CD

SERRANO JUAN FLAMENCO CONCERT SELECTIONS LIBRO CD TABLATURE-Rumba-Soleares-Bulerìas-Verdiales

SERRANO JUAN, FLAMENCO CONCERT SELECTIONS. Verdiales, Petenera, Zambra, Farruca, Seguiriyas, Zapateado, Rumba, Guajiras, Soleares, Bulerìas, Danòn; il flamenco in tutte le sue varie tipologie, a seconda delle città, delle regioni, dei popoli, delle influenze arabe e occidentali. Ogni brano è preceduto da una breve introduzione storica e interpretativa, (in inglese e in spagnolo). Il flamenco come la musica blues è la musica di un popolo che suona, balla e canta, ripetendo ritmi, melodie, che si tramandano di generazione in generazione, senza teorie o libri. Tra questi musicisti ci sono degli uomini come, Maruza, Robert Johnson, Muddy Waters, Sabicas, ecc. che con la loro personalità, si distaccano dal "marmellatone uniforme", e creano qualcosa di proprio. Facendo un paragone, con la lingua popolare; possiamo dire che il dialetto è un linguaggio più vero e storico dell'italiano. Il dialetto ha in sé tutte le suggestioni delle genti e delle culture che hanno attraversato o che hanno dominato quella città, ha conservato le cadenze e le sonorità. In ogni dialetto vi è il passato di quella terra. C'è un paesino in Italia, ove per dialetto si parla una lingua molto simile al francese. Perché durante il turbine napoleonico nel 1797 fu invaso, e il linguaggio popolare ne è stato fortemente influenzato. E come ci sono dei poeti bravissimi che si esprimono con il dialetto, così è per la musica. Per chi ha un cognome diverso da De Lucia, e coloro che non possono imbarcarsi immediatamente per la terra Iberica, per frequentare un dispendioso corso di alto livello per chitarra, e per chi non discende da un casato di scatenati consuma-suole di Cordoba, ove i segreti e la cultura si trasmettono come nella migliore tradizione di questa forma musicale popolare, di padre in figlio. 200 Pagine di musica. CD TAB.
in spagnolo e in inglese

Product Description:
Written in Spanish and English, this book contains 12 of Juan Serrano's finest flamenco guitar solos. Selections include: Bella Mar (Verdiales); Ensueno (Petenera); Fantasy (Zambra); Juani (Farruca); Lidia; Majestuosas (Serguiriyas); Munequita (Zapateado); Nancy (Rumba); Nostalgia (Guajiras); Posadas (Soleares); Tentacion (Bulerias); and Verde Selva (Danzon). All solos are scored in notation and tablature.

Format: Book/CD Set

Contents:

Fantasy -- Juan Serrano
Majestuosas -- Juan Serrano
Lidia -- Juan Serrano
Nancy -- Juan Serrano
Bella Mar -- Juan Serrano
Juani -- Juan Serrano
Nostalgia -- Juan Serrano
Ensueno -- Juan Serrano
Posadas -- Juan Serrano
Muniquita -- Juan Serrano
Verde Selva -- Juan Serrano
Tentacion -- Juan Serrano

Price: €33,99
€33,99

SYSTEMATIC STUDIES FOR FLAMENCO GUITAR Juan Serrano 2 CD TABLATURE A FALSETA ANTHOLOGY ALEGRIAS

SYSTEMATIC STUDIES FOR FLAMENCO GUITAR. Serrano. 447 Pagine, 10 sevillana, 10 alegrial por arriba, 10 alegrias por medios, 10 bulerias, 10 colombianas, 10 fandangos, 10 farrucas, 10 granainas, 10 romeras, 10 siguiriyas, 10 soleares, 10 tangos, 10 tarantas. 2 CD TABLATURE

Product Description:
This masterful, comprehensive book presents ten Sevillanas plus ten falsetas of each of the following popular and traditional flamenco forms: Alegrias por Arriba, Alegrias por Medio, Bulerias, Columbianas, Fandangos, Farrucas, Granainas, Romeras, Siguiriyas, Soleares, Tangos, and Tarantas. This landmark text presents the systematic development of Flamenco tech- nique. Each of the dance forms contains performance notes & a brief history. In English & Spanish and written in standard notation and tablature. Includes companion 2-CD set.

Format: Book/2-CD Set

Contents:
01) Introduction --
02) Sevillanas --
03) Alegrias Por Arriba --
04) Alegrias Por Medio --
05) Bulerias --
06) Colombianas --
07) Fandangos --
08) Farrucas --
09) Granainas --
10) Romeras --
11) Siguiriyas --
12) Soleares --
13) Tangos --
14) Tarantas

INTRODUCTION
All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4, 4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compus with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.
The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.
Almost all of the flamenco aficionados know which is the compus of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.
This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms:

Sevillanas, Alegrias por Arriba, Alegrias por Medio, Bulerias, Colombianas, Fandangos, Farrucas,
Granamas, Romeras, Siguiras, Soleares, Tangos and Tarantas

All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is
recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.
There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.
It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.
Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.
SYMBOLS
• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.
• The letters P - I - M - A - S signify the fingers of the right hand.
• The Roman numerals designate the position, I - II - III etc.
• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.
• The numbers in circles designate the strings. For example, a three in a
circle G) means the note played on the third string, a four 4 fourth string etc.
TRANSLATIONS FOR MUSIC AND TABLATURE
Freestroke ----Tirando
Reststroke ----Apoyando
Scale ------Picado


SEVILLANAS
Sevillanasare one of the most popular forms of the flamenco music. One complete Sevillana set is composed of four coplas; that is, four different Sevillanas-ealled 1st, 2nd, 3rd, and 4th. The reason is that the Sevillanas are danceable and each of them is adapted to the choreography of the dance. The complete dance is divided into four parts. The choreography of the dance is based on the rhythm, not the melody, therefore the order of the 4 Sevillanas that are in the composition can be interchanged.
This section is composed of 10 different Sevillanas in tone and melody. The order is in a progressive form in technical difficulty (advancement).
It is recommended learning all of the 10 Sevillanas; then playing the four that are liked best and interchanging them in any order. It is also recommended that the second not be attempted until the first is mastered and so on.
although the compas and the musical form of all of the Sevillanas are the same, the techniques and melodies are completely different in each one of them; therefore when the 10 Sevillanas are learned, it will be much easier to master the rest of the falsetas that make up this book.
The Sevillanas are measured in 3/4. A flamenco compas has 6 beats equivalent to 2 measures of 3/4.

SEVILLANAS
Las Sevillanas son unas de las formas mas populares entre la musica flamenca. Una composici6n completa de sevillanas consiste en cuatro copIas, 0sea, cuatro Sevillanas diferentes que se les llama primera, segunda, tercera y cuarta. La razon es porque las Sevillanas son bailables y cada una de elIas esta adaptada a la coreograffa del baile.
La danza completa esta dividida en cuatro partes. Las coreograffas del baile estan basadas en el ritmo y no en la melodia. Por 10 tanto, el orden de las cuatro Sevillanas que se esten usando en la composici6n puede ser cambiado a la conveniencia del guitarrista que las interprete.
Esta eccion de Sevillanas se compone de diez Sevillanas diferentes en tonos y melodfas. El orden esta en una forma progresiva en dificultad tecnica.
recomiendo que los estudiantes aprendan las diez Sevillanas y asf podran tocar las cuatro que mas les gusten y podran cambiar el orden a su conveniencia y gusto. Tambien recomiendo que hasta que no hayan aprendido bien la primera, no empiecen con la segunda y 10 mismo con todas las siguientes.
Aunque el compas y la forma musical de todas las Sevillanas es igual, las tecnicas y las melodfas son completamente diferentes en cada una de elIas. Por 10 tanto, cuando hayan aprendido estas diez Sevillanas les sera mucho mas facil el aprendizaje de todas las demas formas que componen este libro.
todas las Sevillanas se miden en tiempo de 3/4. El compas flamenco se compone de seis tiempos equivalente ados compases musicales de 3/4. 

Price: €51,99
€51,99

SERRANO JUAN FLAMENCO GUITAR SOLOS LIBRO CD TABLATURE CHITARRA BOLERO TIENTOS FANDANGOS

SERRANO JUAN, FLAMENCO GUITAR SOLOS. CD TAB.

Product Description:
This is a superb collection of 8 original flamenco concert guitar solos and two exciting guitar quartets. The selections feature Juan Serrano's usual technical brilliance and capture the vitality, fire and haunting Moorish moods characteristic of flamenco music. All solos are in notation and tablature. Selections include: Ensueno (Petenera for Four Guitars); Flamenco Dance (Sevillanas for Four Guitars); Canto Minero (Taranto); Mantillas de Feria; Capricho de Huelva (Fandangos); Alma (Bulerias in A minor); Andalucian Dance (Tanguillo); Blazing Guitar (Rumba); Memory of Love (Bolero); Ana Maria (Tientos). All of the solos are on the CD, but the quartets are not.

Format: Book/CD Set

Contents:

Capricho De Huelva (Fandangos) -- Juan Serrano
Flamenco Dance (Sevillanas For Four Guitars) -- Juan Serrano
Ensueno (Petenera For Four Guitars) -- Juan Serrano
Mantillas De Feria -- Arranged By Juan Serrano
Blazing Guitar (Rumba) -- Juan Serrano
Alma (Bulerias In A Minor) -- Juan Serrano
Ana Maria (Tientos) -- Juan Serrano
Andalucian Dance (Tanguillo) -- Juan Serrano
Canto Minero (Taranto) -- Juan Serrano
Memory Of Love (Bolero) -- Juan Serrano

132 PAGES

Price: €24,95
€24,95

BLUEGRASS & COUNTRY MUSIC FOR HARMONICA PHIL DUNCAN CD

BLUEGRASS & COUNTRY MUSIC FOR HARMONICA. Phil Duncan. CD

DIATONIC

CROSS-HARP

CHROMATIC


Product Description:
Attention all harmonica enthusiast! Join in the fun of playing at a bluegrass festival with a bluegrass band. This book brings to you the often performed tunes by every bluegrass and country player of all instruments. Select a few of these tunes and play them on your harmonica and you will be an instant hit! The book contains diatonic, cross harp, and chromatic stylings on 48 country/ bluegrass favorites: Bile 'Dem Cabbage Down; Arkansas Traveler; Wildwood Flower; Old Joe Clark; Roll in My Sweet Baby's Arms; Crawdad Song; and many more. The stereo accompaniment CD has 18 of the songs recorded. All 18 songs are recorded on the beginning tracks with the harmonica, and again without the harmonica included. Shown in standard notation with lyrics, guitar chords & harmonica tab.

Format: Book/CD Set

Song Title: Composer/Source:
All The Good Times Are Past And Gone
Arkansas Traveler
Banks Of The Ohio (Not On Cd)
Big Rock Candy Mountain (Not On Cd)
Bile 'Dem Cabbage Down
Careless Love
Cider Through A Straw (Not On Cd)
Cindy (Not On Cd)
Crawdad Song
Cripple Creek
East Virginia (Not On Cd)
Foggy Mountain Top
Goober Peas (Not On Cd)
Hand Me Down My Walking Cane
Hard, Ain't It Hard (Not On Cd)
I Am A Pilgrim (Not On Cd)
I Wish I Was Single Again (Not On Cd)
Jesse James (Not On Cd)
John Hardy (Not On Cd)
John Henry (Not On Cd)
Little Maggie (Not On Cd)
Lonesome Road Blues (Not On Cd)
Lonesome Valley (Not On Cd)
Long Journey Home
Lord, I'm Coming Home
Mama Don't 'Low (Not On Cd)
Midnight Special (Not On Cd)
My Home's Across The Smokey Mountains (Not On Cd)
New River Train
Nine Pound Hammer (Not On Cd)
Oh, Mary, Don't You Weep (Not On Cd)
Old Joe Clark
Precious Memeories (Not On Cd)
Railroad Bill
Raise A Ruckus Tonight (Not On Cd)
Red River Valley
Roll In My Sweet Baby's Arms
Roll On Buddy
Sally Goodin' (Not On Cd)
Soldier's Joy (Not On Cd)
Sourwood Mountain (Not On Cd)
Sweet By And By (Not On Cd)
The Foggy, Foggy Dew (Not On Cd)
The Roving Gambler (Not On Cd)
This Train (Not On Cd)
Turkey In The Straw
Wabash Cannon Ball (Not On Cd)
Wildwood Flower
Worried Man Blues (Not On Cd)

 

DIATONIC HARMONICA
Each harmonica is designed in a certain "key". When using the harmonica in that
stated "key" it is called standard or straight harmonica, such as the C harmonica is
the key of C, the G harmonica is the key of G and the F harmonica is the key of F,
etc. This also means that the center or "home" tone is the fourth hole of the diatonic
harmonica. Each different key requires a different harmonica. You may be able to
use any key harmonica in this book if you observe the numbers and arrows written
below each musical line. Normally you would use the C harmonica for this book.
In playing straight harmonica, the method for blocking out unwanted tones is called
"tongue blocking". Your tongue should cover and block off two or three undesired
holes on the left of the harmonica mouth piece:
5 6 7 8 9 10
Tongue blocks 2 or 3 holes.
The hole on the right (4) sounds.
To be able to "chord" with melody, just release the tongue covered holes and a chord
(3 or more tones together) will be produced.
on off on off
G tone
DIATONIC 10 HOLE NOTE CHART
C chord
tongue off

Cd Eg Gb Cd Ef Ga bC dE fG aC

FOR FURTHER INFORMATION about the diatonic harmonica refer to:
Mel Bay's DELUXE HARMONICA METHOD by Phil Duncan.


CHROMATIC HARMONICA
The use of the slide button will give accurate half-step tones on the chromatic harmonica.
The 12 or 16 hole chromatic harmonica have been notated in this book. A change of
octaves becomes necessary for variety and ease of playing. (All octaves on the chromatic
harmonica are the same, except the tones are higher or lower in pitch. )
Circled number
 means,
Slide in

Same tone but different octave on harmonica
Slide out

EXAMPLE: same notational level

FOR FURTHER INFORMATIONabout chromatic harmonica refer to:
Mel Bay's Complete CHROMATIC HARMONICAMETHODby
Phil Duncan.
CROSS-HARP
The method for cross-harp is to cross over to hole 2 of the diatonic 10 hole harmonica
and draw. This tone becomes (hole 2) the "key" center or "home" tone and changes the
"key" in which the harmonica plays. Therefore, C harp plays cross-harp (blues harp)
in the key of G. (G is the draw tone in hole -2) F harp plays cross-harp in the key of C.
(C is a draw tone in hole 2 of the F harp) If the music is in the key of C use the F harmonica.
The cross-harp technique allows for half step tones not normally played on the
diatonic harmonica. All draw tones should begin below the pitch: 5 then rise quickly
to pitch level.
To achieve the half steps or more, a blues technique called bending is used.
Notational information:
 = half step
down
f= whole step down ~ = whole step and a half
Octave changes need to take place for ease of playing. The numbers will dictate the changes:
Same written pitch but
different sound pitch level.

Price: €20,99
€20,99

BLUEGRASS HARMONICA Mike STEVENS BOOK & CD TABLATURE ARMONICA LIBRO METODO

BLUEGRASS HARMONICA, S. Mike. CD TAB.

Series: Harmonica
Publisher: Centerstream Publications
Medium: Softcover with CD
Author: Mike Stevens

Extraordinary harpist Mike Stevens has been named Central Canadian Bluegrass Entertainer of the Year five years in a row. In this book, he teaches all the techniques, tips and inside information you need to know to play bluegrass harmonica. He covers: holding the harp, lip pursing, tongue blocking, draw bending, vibrato, attacking the notes, wind chops, and a lot more. The CD features practice tunes for beginning, intermediate and advanced players, including two versions of some of the intermediate and advanced tunes: one at standard tempo, and one slowed down for easier learning. 64 pages

Price: €24,99
€24,99

BEGINNING COUNTRY HARP CHARLIE MCCOY BOOK & CD LIBRO METODO PRINCIPIANTI ARMONIA A BOCCA

BEGINNING COUNTRY HARP. C. McCOY. Per armonica. CD

Price: €52,99
€52,99

BLUES HARMONICA STARTER KIT.

BLUES HARMONICA STARTER KIT. Metodo, CD, manuali, e un'armonica. TAB. per armonica.

Product Description:
Includes Blues Harp Book/CD set, Harmonicare Chart, Blues Harp Pocketbook, Blues Harp Classics Pocketbook, and a Hohner Bluesband harmonica in the key of C. The book discusses the 12 Bar Blues, a touch of jazz, country fills (licks), and country tunes in blues style. The chart shows in considerable detail procedures for pinpointing and fixing common harmonica problems. All items are contained in a handy, white corrugated carrying case with a plastic handle. 152 PAGES.

Price: €29,99
€29,99

HAL LEONARD COMPLETE HARMONICA CHROMATIC METHOD, Bobby Joe HOLMAN. CD TABLATURE

 

THE HAL LEONARD COMPLETE HARMONICA METHOD CHROMATIC HARMONICA, Bobby Joe Holman. CD TABLATURE

14 Scales and Modes in all 12 keys.
over 20 songs and musical examples 

The Hal Leonard Complete Harmonica Method - Chromatic Harmonica
Series: Instructional
Format: Softcover with CD
Composer: Bobby Joe Holman

The only harmonica method to present the chromatic harmonica in 14 scales and modes in all 12 keys!

This book/CD pack will take beginners from the basics on through to the most advanced techniques available for the contemporary harmonica player. Each section contains appropriate songs and exercises (which are demonstrated on the CD) that enable the player to quickly learn the various concepts presented. Every aspect of this versatile musical instrument is explored and explained in easy-to-understand detail with illustrations. Covers: design and construction; correct breathing and hand positions; how to improvise; styles including traditional, blues, pop and rock; and more. Includes 14 songs to illustrate each scale, and a reference chart for all chromatic harmonicas. 64 pages.

Inventory #HL 00841286

ISBN: 9780793588534
UPC: 073999260519
Width: 9.0"
Length: 12.0"
64 pages

 

The Hal Leonard Complete Harmonica Method - The Chromatic Harmonica takes you from the basics on through to the most advanced techniques available for the contemporary harmonica player. Each section contains appropriate songs and exercises that e able you to quickly learn the various concepts presented. In addition, references are made to the numerous Hal Leonard songbooks, thereby giving you the widest selection of music expressly arranged for the chromatic harmonica. Every aspect of this versatile musical instrument is explored and explained in easy-tounderstand detail with illustrations, including:
Cross-referencing to Hal Leonard Publications Containing harmonica arrangements in all styles of music
Design and construction
Correct breathing and hand positions
Reference chart for all chromatic harmonicas
How to improvise with all the important scales and modes
14 songs to illustrate each scale
Playing traditional, blues, pop and rock songs

 

About the Author
Just for a moment, close your eyes and picture yourself listening to a sweet melodic sound. Listen as the sownd changes into a myriad of gutsy, soulful riffs, slowly easing out into a journey of new imaginative heights. You now have a clear impression of a seasoned, multi-talented musician. His name is Bobby Joe Holman. Those who are fortunate enough to hear him play his harmonica or who jam with him will say "... here is a regular kind of guy who makes you feel good inside and out, every time you see him perform."
While in his early teens, Bobby Joe first heard Paul Butterfield play the blues on the harmonica, and from that moment on, he knew he was destined to play. He began with a $1.25 harmonica, trying to imitate everything that he heard. It took him a few years, but he finally got to the point where he began to play in clubs and at parties.
He has built a career centered around the harmonica - his performances have spanned to albums, CDs, commercials, documentaries and movies. He has performed with various bands from Louisiana to California. He has endorsements with Fender, Hohner Harmonica and C.A.D. Technologies (an astatic harmonica microphone company). He has a publishing agreement with the worldwide sheet music giant, Hal Leonard Corporation.
Bobby Joe has shared his love for the harmonica with countless students over the years, many of whom have gone on to perform. His instructional video Playing Nothin' but the Blues has just been released, and is the next step for the harmonica student who wants to learn how to play "The Blues on the Electric Harp." Bobby Joe brings fun into the classroom and truly believes anyone can learn to play the harmonica.

Believe it or not it is very difficult to talk about myself, but I do want to give you an idea of my experience and background. My name is Bobby Joe Holman, and I am 61 years old. I have been Playing and teaching the "Art of Playing the Harmonica" for 38 years. I sing, play guitar and have been a Professional/Studio Musician for over 35 years. I have experience in Music Composition, Arrangement and Production as well as being an Internationally Published Music author. I enjoy performing but my Passion is Sharing my Love for Music with people while Unlocking their Creative Talent!

 

THE HAL LEONRD COMPLETE
HARMONICA

Introduction

Chapter 1
How the Chromatic Harmonica Works
Notation Chart
Producing a Sound
Playing the Blues on the Chromatic Harmonica
Harmonica Legend
Octaves

Chapter 2
Learning the Scales and Modes on the
Chromatic Harmonica
Ionian Mode Songs
Dorian Mode Songs
Phrygian Mode Songs
Lydian Mode Songs
Mixolydian Mode Songs
Aeolian Mode Songs
Locrian Mode Songs
Harmonic Minor Scale Songs
Jazz Melodic Minor Scale Songs
Major Pentatonic Scale Songs
Minor Pentatonic Scale Songs
Blues Scale Songs
Whole Tone Scale Songs
Chromatic Scale Songs
Octave Scale Song
Appendix
Scales and Modes in All Keys

Price: €15,00
€15,00

SEBASTIAN JOHN, TEACHES BLUES HARMONICA. A COMPLETE GUIDE FOR BEGINNERS. CD TABLATURE

SEBASTIAN JOHN, BEGINNING BLUES HARMONICA. CD TAB. per armonica.

Series: Homespun Tapes
Publisher: Homespun Listen and Learn Series
Medium: Softcover with CD

Please see the Homespun Listen & Learn section of this catalog for a complete description. 32 pages

Price: €27,00
€27,00

SONNY TERRY A SOURCEBOOK LICKS FOR BLUES HARMONICA LIBRO WITH CD WILLIE DIXON ARMONICA A BOCCA

SONNY TERRY, A SOURCEBOOK LICKS FOR BLUES HARMONICA. CD. La tremenda armonica di Terry 1911-1986, ha iniziato a respirare e urlare dagli anni trenta con Willie Dixon, Fred McDowell (you gotta move), Brownie McGhee. TAB. per armonica.

Series: Harmonica
Publisher: Centerstream Publications
Medium: Softcover with CD
Artist: Sonny Terry
Composer: Tom Ball

"Sonny Terry has got to be explained to the people or his art will go over their head. By understanding Sonny Terry, you will learn how to enjoy and live in the real people's music that is on a train that's bound for glory." Woody Guthrie, 1946. This book/CD pack pays homage to Terry and his infamous playing. Besides 70 famous licks from Sonny, this pack gives you some quick harmonica lessons, information on Sonny's style, a discography with key chart, and a bibliography for future research. The CD includes each lick played out by the author. 48 pages.

 

 

INTRODUCTION
A couple of years ago I had the pleasure of putting together a harmonica instructional book and cassette pack entitled Blues Harmonica - A Comprehensive Crash Course and Overview for Centerstream Publications. The response to that book far exceeded my expectations: letters filtered in from all corners of the globe discussing, analyzing and in some cases constructively criticizing the project. 
Although the prevailing tone of the response has been positive, some harmonica players were less than satisfied with the relative lack of specific licks to play. This was by design. With the previous book, the ideas was to present as comprehensive and broad an overview as possible without overly delving into note-for-note transcriptions. This project, on the other hand, is far more specific. Here the intent is to explore, appreciate and hopefully learn from the acknowledged master of the country blues harp: the late, great Sonny Terry. 
What you now hold in your hands is a Lick Book - nothing more, nothing less. 
For those of you wishing to learn more about Sonny's life, let me heartily recommend Kent Cooper and Fred Palmer's The Harp Styles Of Sonny Terry (Oak Publications,) which contains not only an explanation of Sonny's style, but also an often hilarious oral autobiography.
The purpose of this project is simply to supply players with transcriptions (and a CD) of licks from Sonny's repertoire. Think of it as source material. Each lick is both played on the CD and mapped out in easy-to-read harmonica tablature. 
Naturally it would've been ideal to have Sonny's own playing on the CD, but licensing nightmares precluded that obvious approach, so the licks are played by me. 
At the risk of sounding hypocritical, it is important to remember that no musician ever truly makes a statement by copying anyone else note-for-note. Eventually, all players need to develop styles of their own, but in so doing we also all must initially learn from others. It is difficult to become a master without first digesting the masters, but it is hoped that players will learn from and then vary upon these licks.
Improvisation is the nature of the beast, and the bottom line is to have fun. Please also note that this is not a method book per se. Although there are ten pages of remedial harp lessons provided, and a look at Sonny's style, it is assumed that the reader is already somewhat accomplished on the instrument. If, for example, you do not already know how to play single notes at will, or cannot bend notes fluently, this book may be a bit advanced .... in that case, I might recommend either my aforementioned Blues Harmonica or one of the other fine beginners books on the market.
Above all, please go out and buy some Sonny Terry CDs. Even if you do learn some of these individual licks, it does little good if you don't know where to put 'em. And another thing: carry your harp with you wherever you go. It's small and portable, and you never know when some well-played blues might result in a free beer! As Sonny has said: "The blues seemed to give me more room for my moods. If I felt good, there was a way of fitting that in. Or, if I was more low, I could get it off me by playing it away. Music was something you could take with you, you know, without no bother." Tom Ball
 
Sonny Terry, the undisputed king of the country blues harmonica, had a number of careers in music: local street musician, blues recording artist, dramatic and concert artist, R&B session man, film extra, and folk musician. 
Throughout it all, he maintained his instantly recognizable rural harp style; to this day, no one sounds like Sonny.
Born into a Georgia sharecropping family in 1911, he was christened Saunders Terrell (or Saunders Teddell, or Sanders Terrell, or Sanders Teddell, depending on whose "research" you care to believe.) He began to play harp at the age of 8, sneaking his father's instrument from it's hiding place and blowing away in secret. Two separate childhood accidents robbed him of his sight, and soon thereafter it became evident to both he and his family that if he were to make a go of it in the world, the harmonica might be his only way. After his blindness, "I wouldn't go out of the house because I was ashamed," Sonny said. "The only thing I had any interest in was playing my harmonica, and I kept on it night and day ... it was a friend who didn't give a damn if I could see or not".
Although Terry never specifically mentioned him as an influence, almost certainly he must have been exposed to the playing of Henry Whitter, a white Virginia textile worker who recorded several 78s for the Okeh label in the mid 1920's. A few of Whitter's pieces show up in Sonny's early repertoire, including 'Lost John,' 'Fox Chase,' 'Shortnin' Bread' and 'Lost Train Blues,' a solo which Terry later recorded nearly note-for-note as 'Train Whistle Blues' for an obscure release in Columbia's classical series in 1938.
When asked, Sonny usually credited DeFord Bailey as his major source of inspiration.
A gifted player and the only black member of the Grand 01' Opry, Bailey also played in a distinctively rural style, concentrating both on first-position and on cross-harp. Among Bailey's early recordings are yet other versions of 'Lost John' and 'Fox Chase,' which, coincidentally were the first two titles released under the name of Sanders Terry by the Library of Congress in 1938. "He was good!" said Terry of Bailey, "I learned Alcoholic Blues from him, and some other licks."
By the mid-'30's Terry was also good, winning local harmonica contests and working with medicine shows. His main income, however, came from playing the streets, and as a young man he took off for North Carolina. He soon found out that the most lucrative locations for playing were in front of the tobacco warehouses, where men congregated before and after work. It was in front of one of these warehouses in Wadesboro - that he met the great blues guitarist Blind Boy Fuller.
 
 
CONTENTS:
 
About the Author .
Introduction .
 
Sonny Terry 1911-1986.. .
Remedial Blues Harp - some quickie lessons .
How To Hold Your Harp .
The Tablature System .
Single Notes ... 
Straight Harp and Five Little Ditties .
Cross Harp .
Bending .
 
Sonny's Style .
A Dozen Intro Licks (1-12) .
A Dozen Slow and Easy Licks (13-24) .
Nineteen Fast Licks (25-43) .
Ten Shuffle-paced Licks (44-53) .
Five Backup Licks (54-58) .
Seven Tricky Licks (59-65) .
All Talk And No Action (66) .
Four Verses From Tater Pie (67-70) .
Bonus Track - Salty Holmes' "Talking" Harmonica .
Bonus Track #2: Amplified Instrumental. 
Selected Discography and Key Chart.
Bibliography .
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