HAWAIIAN STEEL GUITAR, THE ART OF. Numerose fotografie sulla storia della musica Hawaiiana, 60 pezzi tradizionali e recenti. CD TAB.

Product Description:
This book is an excellent study of the history and unique musical stylings of the Hawaiian guitar. Stacy Phillips successfully pinpoints the characteristics of Hawaiian guitar solos. A special feature is the inclusion of a superb historical survey of Hawaiian music. Written in tablature only, G tuning. DeWitt Scott comments: "There are two types of Hawaiian music, the 'authentic' style and the 'tourist' style. Stacy is presenting the 'authentic' style and this is much needed to keep the Hawaiian music alive."

Song Title: Composer/Source:
Aloha Oe
Cunha Medley
E Mame E
He Aloha Noa Honolulu #1
He Aloha Noa Honolulu #2
Hilo E
Hilo March #1
Hilo March #2
Honolulu Bound #1
Honolulu Bound #2
Honolulu Stomp
Hue Hue
Hula Blues #1 Johnny Noble And Sonny Cunha
Hula Blues #2 Johnny Noble And Sonny Cunha
Hula Blues #3 Johnny Noble And Sonny Cunha
Hula Medley #1
Hula Medley #2
Indiana March
Kaua I Ka Huahua'i #1
Kaua I Ka Huahua'i #2
Kaui Kahio
Ke Ahi Kuu Ipo
Kewalo Chimes
Kiho' Alu
Kilima Waltz
Kohala March
La Rosita
Lei Ana Ika Makihana
Lei Lehua
Little Heaven Of The South Seas #1
Little Heaven Of The South Seas #2
Little Heaven Of The South Seas #3
Mai Kai No Kauai
Mai Poina Oe Ia'u
Maui Chimes #1
Maui Chimes #2
Moana Chimes
Moani Ke Ala
Na Ali'i
Na Lei O Hawaii
Na Moku Eha
Na Pua O Hawaii
Opihi Moemoe
Pa' Au' Au Waltz C. E. King And I. U. Iosepa
Paahana #1 C. E. King And I. U. Iosepa
Paahana #2 C. E. King And I. U. Iosepa
Patches C. E. King And I. U. Iosepa
Pauoha C. E. King And I. U. Iosepa
Pupu O 'Ewa C. E. King And I. U. Iosepa
Sol Hoopuu Hot Solo C. E. King And I. U. Iosepa
Sweet Lei Lehua C. E. King And I. U. Iosepa
Tickling The Strings #1 C. E. King And I. U. Iosepa
Tickling The Strings #2 C. E. King And I. U. Iosepa
Tomi Tomi #1 C. E. King And I. U. Iosepa
Tomi Tomi #2 C. E. King And I. U. Iosepa
Ua Like No A Like C. E. King And I. U. Iosepa

Price: €32,99

SLIDE GUITAR AND OPEN TUNINGS Doug Cox CENTERSTREAM LIBRO CD TABLATURE explore the basics of open tunings and slide licks chords songs



Slide Guitar and Open Tunings

Series: Fretted
Publisher: Centerstream Publications
Format: Softcover with CD - TAB
Composer: Doug Cox

This book/CD pack for the intermediate player explores the basics of open tunings and slide guitar, covering licks, chords, songs and patterns. This is not just a repertoire book, but rather an approach for guitarists to jam with others, invent their own songs, and understand how to find their way around open tunings with and without a slide. The accompanying CD features 37 tracks.

Inventory #HL 00000243
ISBN: 9781574240689
UPC: 073999929607
Width: 9.0"
Length: 12.0"
56 pages


Slide Guitar and Open Tunings

For the intermediate guitar player to explore the basics of open tunings and slide guitar with licks, chords, songs, and patterns, plus jamming with others. by Doug Cox

Doug uses John Pearse Strings.
Recording for this project was engineered by Mark Wing for Mark's Music in Courtenay, Be.
Cover photo by Steve Halliday - Hand photos by Lawrence McLagen
The author wishes to thank all the photographers who contributed photos/rom their archives:
Dorothea Funk, Arnie Dyker, Allison Green, Neil Russell, Ken Hamm, David Walford, Johnny Hasenovic, Chris Banner.
Cover art: Shawn Brown

Music notation, pasteup and layout. Kenneth Warfield
Production· Ron Middlebrook

SAN 683-8022
ISBN 1-57424-068-4
CENTER STREAM Publishing - Anaheim Hills, CA 92807
All rights for publication and distribution are reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by reviewers who may quote brief passages in review.

About the Author:
Doug is a Canadian musician who has recorded and performed with a who's who of fellow Canadian and International musicians. He has toured in North America and Europe extensively as both a sideman and a frontman. A busy teacher, with his own instructional video series, Doug teaches guitar and Dobro at workshops across North America and has developed his own voice on his instruments. He appears on over 100 CDs as a sideman and has two solo recordings; "Canadian Borderline", and "Bone Bottle Brass or Steel", with a new release in the works! Doug hosts his own weekly TV music show in Canada called "Sittin' in with Doug Cox." His Dobro is heard daily across Canada playing the popular adaptation of CBC National Radios' "Discdrive" theme "Fanfarinette" .

Playing in Open Tunings with and without a slide will add many new dimensions to your musical path. I hope the areas we have explored in this book will open new doors in your playing and understanding of music and the guitar. I would also like to emphasize my belief that everything I teach in this book simply reflects the way I approach the guitar and should not be taken as the right or wrong way to do things. I believe that aside from doing anything that causes you physical damage, there is no right or wrong way to play music. Do what you like and what works for you. I also encourage any music student to study with as many teachers as possible and learn what you can from every musical encounter you have. Thank you for studying with me and I hope to see you down the road! Doug Cox

Table of contents:

About The Author.
CD Tracks.
Open E and D Tuning .
D Scale # 1 .
1st Position .
2nd Position .
Practice Patterns In 3s .
Practice Patterns In 4s .
Arpeggio Pattern .
St. Anne's Reel # 1 .
Melodic Major Scale .
St. Anne's Reel #2 .
Colored Aristocracy .
Further Along .
Dadgad Tuning
Wake Up Lisa .
Mary Greig .
Changing Open D to Dm Tuning .
Major/Minor Chord Construction .
D Minor Tuning .
Buffalo Skinners .
Basic Slide Techniques .
Choosing A Slide .
Damping .
Right hand exercise # 1 .
Right hand exercise #2 .
Elmore James Lick Part 1 and 2 .
Elmore James Full Lick .
The 5 Commandments in The Church Of Slide .
Blues Scale Without / With Slide .
12 Bar Blues Rhythm Patterns .
Don't Bring Me Water.
Black Girl / In the Pines .
Hats Off To Ry .
Crossroads Lick .
Death Letter Lick .
Movable Scales, Chords And Licks .
Harmonized Major Scale Patterns .
Conclusion . 

Price: €18,99

BLUES DOBRO Doug Cox LIBRO CD TABLATURE lap-style Resophonic guitar Bluegrass Rock and Roll

BLUES DOBRO, D. Cox. Comodamente seduti con la chitarra distesa sulle gambe, a suonare in Lap-style, musica Blues, bluegrass, jazz, country. CD TAB.

Series: Guitar
Medium: Softcover with CD
Author: Doug Cox
Blues Dobro gives you proven jamming techniques for lap-style Resophonic guitar in Blues, Bluegrass, Rock and Roll, Country, and Jazz. Companion CD allows you to hear how exercises should sound.

Price: €21,99



Acoustic Masters Series: Bob Brozman's Bottleneck Blues Guitar
By Bob Brozman
SERIES: Acoustic Masters Series
CATEGORY: Guitar Method or Supplement

Topics covered include: turnarounds, bottleneck techniques, blue notes, open G tuning, right-hand techniques, blues licks and phrases, authentic blues rhythms, harmonics, and more. Includes complete transcriptions of "Terraplane Blues" by Robert Johnson, "Moon Goin' Down," and "Rhythm in the Blues."

Bob Brozman is the contemporary master of bottleneck blues guitar. In this book, he guides you from basic licks and techniques through the subtle complexities of country blues rhythm. 


• CD Included
• Turnarounds
• Bottleneck Techniques
• Blue Notes
• Open G Tuning
• Right Hand Techniques
• Blues Licks and Phrases
• Authentic Blues Rhythms
• Harmonics
• Robert Johnson, Willie Brown and Son House Styles
• "Terraplane Blues"
• "Moon Goin' Down"
• "Rhythm In The Blues"
• Standard Notation and Tablature
Bob Brozman performs the music examples on the included CD.
All music is written in standard notation and tablature.
Price: €35,99



Fast Forward - Slide Guitar

Riffs & Tricks You Can Learn Today!
Format: Softcover with CD - TAB
Author: Rikky Rooksby

This exciting series of instrumental instruction books includes complete music plus easy-to-follow instructions, tips and advice. The accompanying CDs allow you to listen and play along to the matching audio tracks. These user-friendly book/CD packs provide riffs, licks, chords & tricks you can learn now, and easily incorporate into your own playing style!

A comprehensive guide to slide guitar playing – learn how to play slide guitar in the styles of Elmore James, Muddy Waters, Ry Cooder, Bonnie Raitt and other top musicians. Apply slide techniques to blues, rock and other playing styles. Learn how to use tunings, string damping and vibrato, and play single note melodies and chords. 64 pages

Price: €21,99



Beyond Basics: Electric Slide Guitar
By Keith Wyatt
SERIES: Beyond Basics
CATEGORY: Guitar Method or Supplement
Topics covered include choosing the right slide, open "blues" tunings, stylistic licks and patterns, standard tuning techniques and more. The book contains a full-color photo section showing all types of slides, and it includes 32 music examples in standard notation and tablature.

Price: €16,99


ELECTRIC SLIDE GUITAR. Hamburger. This book/audio method explores the basic fundamentals of slide guitar: from selecting a slide and proper setup of the guitar, to open and standard tuning. Plenty of music examples are presented showing sample licks as well as backup/rhythm slide work. Each section also examines techniques and solos in the style of the best slide guitarists, including Duane Allman, Dave Hole, Ry Cooder, Bonnie Raitt, Muddy Waters, Johnny Winter and Elmore James. CD TAB.

Series: Guitar Educational
Softcover with CD - TAB
Author: David Hamburger

This book/audio method explores the basic fundamentals of slide guitar: from selecting a slide and proper setup of the guitar, to open and standard tuning. Plenty of music examples are presented showing sample licks as well as backup/rhythm slide work. Each section also examines techniques and solos in the style of the best slide guitarists, including Duane Allman, Dave Hole, Ry Cooder, Bonnie Raitt, Muddy Waters, Johnny Winter and Elmore James. 80 pages

Price: €20,99



Price: €20,99

DOBRO WORKBOOK DAVID HAMBURGER techniques lap-style resophonic slide guitar CD TABLATURE

DOBRO WORKBOOK, D. HAMBURGER. 98 Esempi per lap-style, slide, fotografie di tecnica.

Teaches licks, techniques and improvisation for lap-style resophonic slide guitar. Covers: scales, licks, songs and examples; hammer-ons, pull-offs, slides, picking techniques; syncopations, rolls, double stops, playing in different keys; and more. The book is in standard notation and tab, and the CD features 98 full-demo tracks. 80 pages. CD TAB.

Price: €22,99


THE ROOTS OF SLIDE GUITAR. Fred Sokolow. Metodo per suonare e cantare il blues con 3 titoli acustici e 2 elettrici.


This book/CD pack is a complete survey of slide guitar, its pioneers, and how it developed. It includes: 6 note-for-note transcriptions of famous slide tunes :

-Come On in My Kitchen (Robert Johnson)

-Motherless Children (Mance Lipscomb)

-Roll and Tumble Blues ("Hambone" Willie Newbern)

-You Can't Lose What You Ain't Never Had (Muddy Waters)

-You Gotta Move ("Mississippi" Fred McDowell)

-You Shook Me (Earl Hooker with Muddy Waters);

instruction in the essential playing styles; the history and the development of slide guitar; biographies of its representative artists; and recordings on CD of the songs, exercises and licks.

You gotta move -come on in my kitchen -motherless children -roll and tumble blues -you can't lose what you ain't never had -you shook me. CD TABLATURE


It swoops, wails, whines, moans and growls: slide guitar sings. It's a crowd pleaser, and it reaches people because it conveys naked emotion-especially when playing the blues. And most slide guitar heard today, whether in a blues, rock or country song, is played in a style derived from early Mississippi Delta blues.
Modern blues and rock slide guitar evolved from traditional acoustic styles. This book is about the guitarists who made that evolution happen. It takes you to the roots of slide guitar. Each of the six classic blues tunes transcribed here demonstrates a particular style and tuning. Every song is preceded
by information, exercises, scales, licks and chords that are needed for that style.
Timing is such a major part of slide guitar that it's almost impossible to learn from the printed page alone. Listen to the recording that comes with this book before playing a note. Once you know how a tune sounds, then it's time to check out the tablature and/or music notation.
If you want to learn any style of music, it helps to imitate the masters. Whether you're a beginner or an experienced player who wants to get back to the roots, here is the essential guitar stuff. This is an introduction to and an appreciation of great vintage music, and it's a foundation on which you can build your own style.

." Fred Sokolow
All guitars and vocals on the recording that comes with this book are by Fred Sokolow. Bass, drums, piano and horns are by Dennis O'Hanlon, and it was recorded at O'Hanlon Recording.



Most musical historians trace slide guitar to Hawaii, but Johnny Shines, friend and accompanist of Robert Johnson, is one of many who claim that blues-style slide developed in Africa, along with open-chord tunings. The first literary mention of blues slide was W. C. Handy's famous 1903 sighting of a singer at a Mississippi train depot who used a knife to slide on his guitar strings. Like most Mississippi blues players, he made his guitar sing and mimic his voice.
Early players slid on the strings with pocket knives or beef bones, and some held the guitar on their lap, Hawaiian-style, but by the 1930s, most blues players held the guitar upright and used a brakenoff bottleneck or a sawed-off length of pipe for a slide. This was a major stylistic development, because if you hold a knife in your left hand, it's impossible to fret the strings with your fingers; fitting a slide on the ring finger or little finger frees up two or three fretting fingers. Most slide players tuned the guitar to a major chord, usually 0, E, G or A, and used the slide to play major chords, as well as individual notes.
There was a blues craze in the 1920s, and by the middle of that decade, major labels began recording blues guitarist/singers. The first crap of slide players who recorded included Sylvester Weaver, Barbecue Bob, Hambone Willie Newbern and Sam Butler. Following them were the Mississippi bluesmen Son House, Charlie Patton, Bukka White, Kokomo Arnold, Sam Collins and Robert Johnson. They played a raw, very rhythmic, emotional style of blues and sang and wailed with passionate intensity. Texans Blind Willie Johnson and B. K. Turner (the Black Ace) were influential early slide blues players, as were Tampa Red and Furry Lewis, who boasted a polished, gentler slide style.

Hawaiian guitarists developed a lap style of playing: the guitar lies in your lap, strings facing up, and you hold a steel bar down on the fretboard. This technique migrated to the mainland and, in the 1920s, with the help of Cliff Carlisle, Jimmie Tarlton and slide players who accompanied Jimmie Rodgers, it became an essential part of country music. By the '30s, Hawaiian and country pickers began using electric, fretless "lap steels." These evolved over the years: they grew legs, more strings, twin and triple necks (in different tunings), and foot pedals and knee levers to bend notes while playing.
Thus was born the pedal steel guitar that is now a signature country sound. But country pedal steel and lap steel bear little stylistic resemblance to blues or rack slide playing.
In the early '50s, the acoustic lap style slide guitar (see Dobro picture, below) began appearing in bluegrass bands. The wooden, acoustic whine of the Dobra is also heard in contemporary country music. Usually played in a bluesy style in open tunings, country Dobra is more related to bottleneck guitar than is its cousin, the pedal steel.
All-metal Dobro
Wooden-bodied squaredneck Dobro

Before instruments were amplified, it was hard for a guitarist to be heard over a piano, horn or even a banjo. In the late '20s, the National Company answered this need by making all-metal guitars, fitted inside with convex aluminum resonators, like speaker cones. Sounds crazy, but it worked: the guitars were louder, with more sustain, and they rapidly became popular with jazz, country and blues players. Lap style players used the square-necked models with a nut that lifted the strings high off the fretboard (better for the metal slide), but bottleneckers favored the round-necked National that could be played like a normal guitar. To this day, the all-metal National and its cousin, the Dobro, are favored by many an acoustic slidester. The Dobro company also makes a wooden, square-neck guitar with a metal resonator fitted into its body (it looks like someone stuck a hub cap over a guitar's soundhole) that bluegrass players use.
However, even the National or Dobro could not cut through drums, saxophones and electric guitars. By the mid-'40s, many Mississippi players had relocated in Chicago, and a new kind of blues was brewing. Elmore James and Muddy Waters led full electric bands, playing screaming, amplified slide.
It was loud and distorted, and single-note solos became the norm-with a whole band for backup, a guitarist didn't need to fingerpick or play chords. You could wail with one note, like a sax or trumpet.
Waters' and James' styles were clearly rooted in the Delta, and so was the playing of electric slide pioneers J. B. Hutto and Hound Dog Taylor. But Robert Nighthawk and Earl Hooker began playing electric, single-note style in standard tuning, which was a new direction for bottleneckers.

During the '60s, white blues fans, many of whom had learned to play by studying old blues records, sought out the first-generation blues artists. Legendary players whose careers had petered out were rediscovered and brought into the limelight, and many excellent artists who had never played outside their own county recorded and performed all over the world. Folk festivals, concerts and coffee houses featured acoustic and electric blues.
American and European audiences loved the aging but passionate blues legends, and by the mid· '60s a blues revival was in full swing on both continents. Besides giving players like Muddy Waters and Howlin' Wolf a bigger audience, the revival encouraged young players to form new blues bands, and to use blues techniques in rock and pop bands. After playing with John Mayall's blues band, enthusiastic blues disciple Eric Clapton brought blues guitar skills to his rock and pop bands (Cream, Derek and the Dominoes, Bonnie and Delaney). While still playing with the Butterfield Blues Band, guitarist Mike Bloomfield backed up Bob Dylan on one of his first electric albums. And slidemaster Duane Allman used his blues chops with the Allman Brothers Band and, as a studio player, infused all kinds of pop recordings with the blues.
In the '70s and '80s, pop audiences were introduced to slide sounds by Johnny Winter, George Thorogood, Eric Clapton, Duane Allman, George (post-Beatles) Harrison, Bonnie Raitt, Little Feat's Lowell George, Ry Cooder, David Lindley and the Rolling Stones. Many Southern rock bands had slide guitarists, and they influenced a new crop of country stars who, in the '90s, used slide on Nashville hits. Slide is heard more and more in movie and television soundtracks. Fortunately, as its audience grows, slide guitar has retained its down home character.


Often called the "father of electric blues," Muddy Waters was the leading force in the post-war
Chicago blues scene and an important figure in the development of rock and roll. The roster of players who learned their craft playing in his band reads like a "who's who" of blues legends: Little
Walter, Junior Wells, Otis Spann, James Cotton and Jimmy Rogers are just a few. While T-Bone
Walker and B.B. King, with their big-band sound, urbanized and streamlined the blues, Waters
brought it back to its funky Delta roots with a small but powerful band whose lineup (two guitars,
piano, harp, bass and drums) would evolve to become the typical rock band format.
Born McKinley Morganfield of sharecropper parents in Rolling Fork on the Mississippi Delta, April 4, 1915, Muddy Waters built his own guitar when he was seventeen. Robert Johnson and Son House
were his main influences; he watched Son House in action when House came to Clarksdale,
Mississippi. House taught him riffs, open tunings and songs, and showed him how to break off and
flame-smooth a bottleneck.
In '41, folklorists Alan Lomax and John Work came to Clarksdale and recorded Waters for the
Library of Congress. In '43, ready for bigger things, Waters moved to Chicago. Though his style of
choice was rough and old-fashioned compared to the reigning blues artists like Tampa Red and
Lonnie Johnson, (of whom he could do a simple imitation) Big Bill Broonzy helped Waters get his
start playing in clubs. In '44, his uncle gave him his first electric guitar, and by the following year he
had teamed up with guitarist Jimmy Rogers. In the next few years, he started to develop his electric
sound and began recording for the Chess brothers.
In 1950, with the release of "Rollin' Stone," (backed with a Robert Johnson-derived version of
'Walking Blues"*), Waters' career was in high gear. In the next several years he had a series of
regional and national R&B hits. He was Chicago's reigning king of the blues, working every night, his style imitated by other bands, and even some of his sidemen had hit records! He recorded blues
classics like "Hoochie Coochie Man," "Honey Bee" and "I Just Want To Make Love To You."
In the mid-'50s, when rock and roll came roaring onto the charts, Waters' record sales dwindled. Still, he held his Chicago fans and his legend grew. In '58 he played in England and then was a hit at
Carnegie Hall and the Newport Jazz Festival. The early '60s British invasion brought him wider
recognition, as the Rolling Stones (who took their name from the Waters tune), John Mayall, the
Beatles and others sang his praises ... and his songs! In the blues revival that ensued, Waters was
acknowledged as the founding father by the British and by American guitar heroes like Mike
Bloomfield, Steve Miller, Johnny Winter and Jimi Hendrix. He played festivals, college concerts and clubs, was filmed for television in England and the U.S., did world tours, starred at the Montreaux Festival, and played stadiums and arenas.
In the late '70s and early '80s, Waters won three Grammys, played for the White House Staff Party,
appeared in the movie The Last Waltz, and toured with Eric Clapton. On April 30, 1983, he died
peacefully in his sleep at his suburban Chicago home.
78 and 45 rpm singles had an "A side" (the featured tune) and, when you flipped them over, a "6 side," or backup song. 

Price: €39,99
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