LIBRO CON CD

THE ROOTS OF SLIDE GUITAR Fred Sokolow CD TABLATURE Come On in My Kitchen Robert Johnson-SPARTITI LIBRO

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

THE SONGS AND LICKS THAT MADE IT HAPPEN
A SURVEY OF SLIDE GUITAR, ITS PIONEERS, AND HOW IT DEVELOPED

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

 

HOW TO USE THIS BOOK AND RECORDING
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.

 

MUSICAL INTRODUCTION

A LOOK AT THE ROOTS OF SLIDE GUITAR
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.

THE COUNTRY CONNECTION
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


BLUES SLIDE PLAYERS PLUG IN
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.

THE '60S BLUES REVIVAL AND BEYOND
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.

 

MUDDY WATERS
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
€39,99

AEROSMITH 1979-1998 GUITAR SIGNATURE LICKS CD TABLATURE Dude (Looks Like a Lady)-Janie's Got a Gun

AEROSMITH, 1979-1998. SIGNATURE LICKS GUITAR. CD TABLATURE

Aerosmith 1979-1998

Series: Signature Licks Guitar
Format: Softcover with CD
Artist: Aerosmith

Inventory #HL 00695219
ISBN: 9780793583324
UPC: 073999952193
Width: 9.0"
Length: 12.0"
80 pages

Explore the music of one of rock's greatest bands with this step-by-step breakdown of the guitar styles and techniques of Joe Perry and Brad Whitford. Teaches licks from:

Crazy
Cryin'
Dude (Looks Like A Lady)
Eat The Rich
Falling In Love (Is Hard On The Knees)
The Hop
Janie's Got A Gun
Livin' On The Edge
Love In An Elevator
Nine Lives
Rag Doll
Taste Of India
What It Takes

 

Price: €29,99
€29,99

AEROSMITH 1973-1979 GUITAR SIGNATURE LICKS CD Back in the Saddle-Dream On-Sweet Emotion-Walk This Way

 

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

Price: €29,99
€29,99

BEACH BOYS, DEFINITIVE COLLECTION. Guitar SIGNATURE LICKS. Wolf Marshall Hal Leonard CD TABLATURE

BEACH BOYS, DEFINITIVE COLLECTION. SIGNATURE LICKS. CD TAB.

A Step-by-Step Breakdown of Their Guitar Styles and Techniques
Series: Signature Licks Guitar
Softcover with CD - TAB

Artist: The Beach Boys
Arranger: Wolf Marshall

Explore the classic guitar work of the pioneers of California pop-rock with this outstanding book/CD pack. Includes transcriptions, lessons, and in-depth analysis of a dozen of The Beach Boys' finest songs: Be True to Your School - California Girls - Dance, Dance, Dance - Don't Worry Baby - 409 - Fun, Fun, Fun - Good Vibrations - Help Me Rhonda - I Get Around - Kokomo - Shut Down - Surfin' U.S.A. 64 pages.

Be True To Your School
California Girls
Dance, Dance, Dance
Don't Worry Baby
409
Fun, Fun, Fun
Good Vibrations
Help Me Rhonda
I Get Around
Kokomo
Shut Down
Surfin' U.S.A.

Price: €24,00
€24,00

BEATLES FROM LIVERPOOL TO ABBEY ROAD: A GUITAR METHOD FEATURING 33 SONGS OF LENNON & MCCARTNEY (CD) TABLATURE

 

BEATLES, FROM LIVERPOOL TO ABBEY ROAD: A GUITAR METHOD FEATURING 33 SONGS OF LENNON & MCCARTNEY. CD TABLATURE

Music by John Lennon and Paul McCartney / arr. L.C. Harnsberger and Ron Manus
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

This easy-to-use beginning method teaches everything you need to know to get started playing guitar. Start by learning how to hold the guitar and how to read standard music notation and TAB. Photos are included to clearly show proper fingering position. Great arrangements of songs by Lennon & McCartney are introduced to reinforce new techniques. Once you have completed this book, you will be able to play from sheet music and be ready to play in a band. The CD demonstrates songs and exercises. Songs include: All My Loving; And I Love Her; Eight Days a Week; Eleanor Rigby; The Fool on the Hill; Here, There and Everywhere; Hey Jude; I Am the Walrus; It's Only Love; Michelle; Norwegian Wood; Nowhere Man; Ob-La-Di, Ob-La-Da; Paperback Writer; Penny Lane; Rain; Revolution; Sgt. Pepper's Lonley Hearts Club Band; With a Little Help From My Friends; Yellow Submarine; Yesterday; You've Got to Hide Your Love Away...and many others.

a beginning guitar method featuring 33 songs of Lennon & McCartney
Cover photos: 
The famous zebra crossing outside the 
Abbey Road Studios: © Corbis / Inge Yspeert
Guitars: 
Martin D-28 courtesy of the 
Martin Guitar Company
Model 320  courtesy of 
Rickenbacker International Corporation
Naval Union Jack artwork: © Wood River Gallery
Special thanks to the following for their hard work:
Interior design and engraving:  Bruce Goldes
Cover design:  Ted Engelbart
Editorial assistance:  Kate Westin
Recording production:  Adam Levy
Copyright © MCMXCIX by Alfred Publishing Co., Inc.
All rights reserved. Printed in USA.
ISBN 0-7390-0251-1  Book and CD
ISBN 0-7390-0250-3  Book
table of contents
Holding the Guitar . . . . . . . . . . . . . . . . 
Getting Acquainted with Music . . . . . . 
Getting Acquainted with Tablature . . . 
Chord Diagrams . . . . . . . . . . . . . . . . . . 
Types of Guitars . . . . . . . . . . . . . . . . . . 
Tuning Your Guitar . . . . . . . . . . . . . . . 
Notes on the First String E . . . . . . . . . . 
Mixing It Up, More Mixing. . . . . . . . 
Sound Off: How to Count Time . . . 
Time Signatures. . . . . . . . . . . . . . . . 
Playing Different Kinds of Notes and 
Time Signatures. . . . . . . . . . . . . . 
Notes on the Second String B . . . . . . . 
Two-String Rock . . . . . . . . . . . . . . . 
With a Little Help from 
My Friends . . . . . . . . . . . . . . . . . 
Notes on the Third String G . . . . . . . . 
Aura Lee  . . . . . . . . . . . . . . . . . . . . 
Ties . . . . . . . . . . . . . . . . . . . . . . . . . 
Yellow Submarine . . . . . . . . . . . . . . 
Introducing Chords . . . . . . . . . . . . . 
Meet the Chords . . . . . . . . . . . . . . . 
The Three-String C Chord . . . . . . . . . 
Ode to Joy. . . . . . . . . . . . . . . . . . . . 
Introducing the Quarter Rest. . . . . . 
Rock ’n’ Rhythm. . . . . . . . . . . . . . . 
The Three-String G7 Chord . . . . . . . . 
Down in the Valley . . . . . . . . . . . . . 
Notes on the Fourth String D . . . . . . . 
Incomplete Measures. . . . . . . . . . . . 
Chord Accompaniments . . . . . . . . . 
I’m Happy Just to Dance 
with You . . . . . . . . . . . . . . . . . . . 
The Four-String G Chord . . . . . . . . . . 
Norwegian Wood . . . . . . . . . . . . . . 
Lady Madonna . . . . . . . . . . . . . . . . 
Notes on the Fifth String A. . . . . . . . . 
You’ve Got to Hide 
Your Love Away . . . . . . . . . . . . . 
The Four-String G7 Chord . . . . . . . . . 
Buffalo Gals . . . . . . . . . . . . . . . . . . 
Riddles and Puzzles . . . . . . . . . . . . . . 
Introducing High A . . . . . . . . . . . . . . 
Rockin’ in Dorian Mode . . . . . . . . . 
Rain . . . . . . . . . . . . . . . . . . . . . . . . 
Notes on the Sixth String E. . . . . . . . . 
The Natural Scale . . . . . . . . . . . . . . 
Tempo Signs . . . . . . . . . . . . . . . . . . 
Three-Tempo Rock . . . . . . . . . . . . . 
Tell Me What You See. . . . . . . . . . . 
The Four-String C Chord . . . . . . . . . . 
When the Saints Go Marching In . . 
Eighth Notes. . . . . . . . . . . . . . . . . . . . 
Eighth Note Rock . . . . . . . . . . . . . . 
Speed Drill. . . . . . . . . . . . . . . . . . . . 
Here, There and Everywhere. . . . . . 
Carry That Weight . . . . . . . . . . . . . 
Paperback Writer . . . . . . . . . . . . . . 
Sharps, Flats and Naturals . . . . . . . . . 
The Chromatic Scale . . . . . . . . . . . . 
Chromatic Rock . . . . . . . . . . . . . . . 
Sgt. Pepper’s Lonely Hearts 
Club Band. . . . . . . . . . . . . . . . . . 
It’s Only Love . . . . . . . . . . . . . . . . . 
The Four-String F Chord . . . . . . . . . . 
I’m Down . . . . . . . . . . . . . . . . . . . . 
Ob-La-Di, Ob-La-Da . . . . . . . . . . . 
The Major Scale . . . . . . . . . . . . . . . . . 
Key Signatures . . . . . . . . . . . . . . . . . . 
Baby You’re a Rich Man . . . . . . . . . 
Penny Lane . . . . . . . . . . . . . . . . . . . 
Introducing Dotted Notes. . . . . . . . . . 
Nowhere Man . . . . . . . . . . . . . . . . . 
Eleanor Rigby . . . . . . . . . . . . . . . . . 
Yesterday . . . . . . . . . . . . . . . . . . . . 
The Three Principal Chords . . . . . . . . 
The Three Principal Chords in the Key 
of C Major . . . . . . . . . . . . . . . . . . . 
The Five-String C and F Chords 
and the Six-String G7 Chord . . . . . 
Rhythm Patterns Using the Three 
Principal Chords in C Major . . . . 
Introducing Triplets . . . . . . . . . . . . . . 
The Fool on the Hill . . . . . . . . . . . . 
Key of A Minor . . . . . . . . . . . . . . . . . 
The Three Principal Chords in the 
Key of A Minor . . . . . . . . . . . . . . 
The Five-String D7 Chord . . . . . . . . . . 
Wait . . . . . . . . . . . . . . . . . . . . . . . . 
I Will. . . . . . . . . . . . . . . . . . . . . . . . 
Eight Days a Week . . . . . . . . . . . . . 
New Chords: The Six-String A and 
Em Chords . . . . . . . . . . . . . . . . . . . 
And I Love Her . . . . . . . . . . . . . . . . 
No Reply . . . . . . . . . . . . . . . . . . . . . 
The Three Principal Chords in the Key 
of G Major . . . . . . . . . . . . . . . . . . . 
The Six-String G Chord, and the 
Five-String C and D7 Chords . . . . 
I’ll Get You . . . . . . . . . . . . . . . . . . . 
The Dominant Major Chord . . . . . . .
The Five-String D Major Chord . . . 
Yellow Submarine . . . . . . . . . . . . . . 
Key of E Minor. . . . . . . . . . . . . . . . . . 
The Three Principal Chords in the 
Key of E Minor . . . . . . . . . . . . . . 
House of the Rising Sun . . . . . . . . . 
All My Loving . . . . . . . . . . . . . . . . . 
Preparation for Bar (Barre) Chords. . . 
The Three Principal Chords in the Key 
of F Major. . . . . . . . . . . . . . . . . . . . 
More About Two-Part Writing. . . . . . 
Michael Row the Boat Ashore. . . . . 
Important Open Chords . . . . . . . . . . . 
Most Commonly Used Bar Chords . . . 
I Am the Walrus . . . . . . . . . . . . . . . 
Sixteenth Notes . . . . . . . . . . . . . . . . 
Dotted Eighth and 
Sixteenth Notes . . . . . . . . . . . . . 
Hey Jude . . . . . . . . . . . . . . . . . . . . 
Reading Sheet Music . . . . . . . . . . . . 
Anytime at All. . . . . . . . . . . . . . . . 
Important Small Bar Chords. . . . . . . 
Introducing Quarter Note Triplets . . 
Michelle . . . . . . . . . . . . . . . . . . . . 
Revolution . . . . . . . . . . . . . . . . . . . . 
Chord Chart . . . . . . . . . . . . . . . . . . . 
Guitar Fingerboard Chart . .
Price: €37,99
€37,99

BLACK SABBATH THE BEST LICKS Signature Licks Guitar CD TABLATURE-Sabbath Bloody Sabbath-War Pigs

 

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

Price: €27,99
€27,99

BLACKMORE RITCHIE EXTRA 08-Smoke On The Water-MACHINE HEAD-DEEP PURPLE CD TABLATURE NOTE

BLACKMORE RITCHIE, SPECIAL. 36 tracce audio, e solamente nel libro: smoke in the water -highway star -burn -spotlight kid. CD TABLATURE

Smoke On The Water, from MACHINE HEAD, DEEP PURPLE
Highway Star, from MACHINE HEAD, DEEP PURPLE
Burn, from BURN, DEEP PURPLE
Spotlight Kid, from DIFFICULT TO CURE, RAINBOW

The cover features
RITCHIE BLACKMORE!

The Contents are as follows:
Discography
RITCHIE's Main Guitar Gallery

Chord Progression and Playing

Chapter 1 CD Track No. 1-20
Chapter 2 CD Track No. 21-36

The Best Score Selection (Sheet Music)

Smoke On The Water (Deep Purple)
Highway Star (Deep Purple)
Burn (Deep Purple)
Spotlight Kid (Rainbow)

Price: €99,99
€99,99

BLACKMORE RITCHIE GUITARMASTERS CD TABLATURE SPARTITI LIBRO CHITARRA NOTE MANUALE

BLACKMORE RITCHIE, GUITARMASTERS. CD TAB.

Price: €89,00
€89,00

CLAPTON ERIC ORIGINAL CD TABLATURE GUITAR LIBRO-white room-crossroads-badge-Hammer-ons-Pull

CLAPTON ERIC, ORIGINAL. Esamina e spiega lo stile chitarristico di Eric Clapton, il suoi Hammer-ons e Pull-offs; con alcuni dei suoi assoli più famosi. Good morning little schoolgirl -steppin' out -ain't got you -sunshine of your love -white room -sitting on the top of the world -crossroads -badge -nobody know you when you're down and out -I don't want do discuss it -lay down Sally. CD TAB.

Price: €49,95
€49,95

CLAPTON ERIC THE BEST OF GUITAR SIGNATURE LICKS CD TABLATURE badge-before you accuse me-cocaine-SPARTITI

CLAPTON ERIC, THE BEST LICKS. Contiene estratti da: -after midnight -badge -before you accuse me -cocaine -crossroads -have you ever loved a woman -I shot the sheriff -knockin' on heaven's door -lay down sally -Layla -little wing -pretending -sunshine of your love -tears in heaven -white room -wonderful tonight. CD TAB.

Series: Signature Licks Guitar
Medium: Softcover with CD
Artist: Eric Clapton
This terrific book/CD pack in Hal Leonard's acclaimed Signature Licks series provides a step-by-step breakdown of Slowhand's playing techniques through hands-on analysis of 14 of his best songs. Includes: After Midnight - Badge - Before You Accuse Me (Take a Look at Yourself) - Cocaine - Cross Road Blues (Crossroads) - Have You Ever Loved a Woman - I Shot the Sheriff - Knockin' on Heaven's Door - Lay Down Sally - Layla - Little Wing - Pretending - Sunshine of Your Love - Tears in Heaven - White Room - Wonderful Tonight. 88 pages

After Midnight
Badge
Before You Accuse Me (Take A Look At Yourself)
Cocaine
Cross Road Blues (Crossroads)
Have You Ever Loved A Woman
I Shot The Sheriff
Knockin' On Heaven's Door
Lay Down Sally
Layla
Little Wing
Pretending
Sunshine Of Your Love
Tears In Heaven
White Room
Wonderful Tonight

Price: €32,99
€32,99
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