THE GUITAR LICK TIONARY, Musicians Institute. CD TABLATURE

Composer: Dave Hill. Learn the essential lines and techniques of the world's greatest guitarists with this super cool book/CD pack from Musicians Institute! Set up like a dictionary, it provides clear, concise instruction and application tips in standard notation and tab for licks in all styles of music, including rock, blues, jazz, country, pop, acoustic and fusion. The accompanying CD features 99 demo tracks so you can hear how each lick should sound. 72 pages.

The Guitar Lick·tionary
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Composer: Dave Hill

Learn the essential lines and techniques of the world's greatest guitarists with this super cool book/CD pack from Musicians Institute! Set up like a dictionary, it provides clear, concise instruction and application tips in standard notation and tab for licks in all styles of music, including rock, blues, jazz, country, pop, acoustic and fusion. The accompanying CD features 99 demo tracks so you can hear how each lick should sound.

Inventory #HL 00695482
ISBN: 9780634014710
UPC: 073999896435
Width: 9.0"
Length: 12.0"
72 pages

INTRODUCTION
Music is a language, and each language has its own vocabulary. Whether you're speaking
Spanish, French, German, or playing blues, rock, country, or jazz, the richer your
vocabulary, the more creative you can be in expressing your thoughts and ideas. This book
is a tool to help you expand your music vocabulary and provide some insight into the vast variety of
phrases (licks) that make up different styles.
Of course, learning vocabulary alone doesn't teach you the grammar of a language. The skill of
developing and connecting phrases in a spontaneous and inspired way requires a study of the music.
No "one-stop shopping lick book" can substitute for a lot of listening, a lot of transcribing, and a lot of playing. This book, however, can be a great resource, opening your ears to the stylistic tricks and
techniques that can sometimes be elusive.
The Guitar Licktionary will expand your appreciation of music and styles while inspiring new ideas
that will ultimately become your own unique language. Good luck, and enjoy the journey!

HOW TO USE THIS BOOK
Each lick is described and notated alphabetically, and recorded on the accompanying CD, so you
can hear and understand the concepts behind it. Throughout this book, the numbers in the
audio symbols (.) indicate the track where each lick will be found on the CD. (Because of
audio constraints, most licks are doubled up-two to a track.) You can go through them all, find specific licks alphabetically, or use the index to find licks in a specific style.

Learn the Essential Lines and Techniques of The World's Greatest Guitarists
- CD Includes 99 Demo Tracks
- Rock, Blues, Jazz, Country, Pop, Acoustic, and Fusion Styles
- Clear, Concise Instruction and Application Tips
- Standard Notation and Tab

INDEX OF LICKS BY STYLE
Rock
Lick Track
Bach Rock
Blues-Rock
British Blues
Clapton-esque
Classic Metal
Doubled Pentatonic
Early Rock 'n' Roll
Electric Rock
Fast Rock Riff
Flashy Blues
Fours in Threes
Fusion Rock
Fusion Rock
Gigantic Sound
Gain' Off
Hard Rock
Heavy Rock
Heavy Rock
Hendrix-esque
High-Tech Rock
Insane Pentatonic
Interval Idea
Korn-Like
Latin Rock
Metal
Modern Rock
Pentatonic Shifting
Position Shifter
Progressive Rock .
Psychedelic .
Quirky Rock .
Rapid Bends .
Rhythmic Rock .
Rhythmic Rock .
Riffs .
Surf
Technical Rock
Triplet Rock
Two-Hand Tapping
Van Halen-esque
Vintage Rock
Yardbirds
Y2K Rock
Zone Doubles
ZZ Top

Jazz
Lick Track
Altered
Altered Triads
Bebop
Chromatic Jazz
Dorian
Dorian
Dorian Interval
Extended Arpeggio
Extended Dominant
Ending Lick
Ionian Arp
Jazz Altered
Jazz-Blues Turnaround
Jazz-Blues Turnaround
Jazz Sweep
Legato
Major ii-V-I
Martino-Like
Melodic Minor
Melodic Minor
Metheny-Like
Minor ii-V-I
Minor Seventh
Pattern for Dorian .
Sax Sounds
Swing
Utility Jazz
Wes-Like
Wes-Like ii-V-I
West Coast Blues
West Coast Cool
Whole Tone
Whole Tone
Whole Tone Riff
X-Tended Major 7th

Fusion
Acid Jazz
Altered Sequence
Altered Trick
Ascending Lydian
Blues Mixolydian
Chromatic Altered
Controlled Bends
Diminished Rock
Diminished Symmetry
Funky Blues
Fusion
Fusion Rock
Groups of Fives
Harmonic Minor
Holdsworthian
Hybrid Picking
Inside Outside
Lydian Arpeggio
Nearly Dorian .
Ninth-Chord Run .
Outside Loop .
Phrygian .
Quirky Blues .
Sco Sounds
Smooth and Fast
String Slider
Suspended Dom. Arp
Symmetry
Tritonal
Two Triads
Unidentified Flying Fingers
Very Smooth
Wide Open Spaces
X-Tended Dominant
X-Tending Scale Shapes

Blues
B.B.-ish
Below-the-Box Blues
Blues
Blues Break
Blues Turnaround
Bouncy Blues
British Blues
Chicago Blues
Down Home Blues
Down Home Blues
Fancy Blooze
Fast and Funky
Jump Blues
Louisiana Blues
Modern Blues
Nearly Blues .
Question & Answer Lick .
Quick Lick .
Retro .
Rock Blues
Rootsy Rock
Slick Blues
Soulful Bending
Texas Blues
Triplet Blues
Unusual Bending
Vaughan-Like
Vaughan, Stevie Ray

Country
Bluegrass .
Chicken Pickin' .
Classic Country .
Country .
Country .
Country .
Country Ending .
Country Rock .
Country Rock .
Fast Country .
Fingers and Pick .
Mixolydian Mix .
Pedal Steel .
Rockabilly .
Southern Rock .
Tri-Tone Twang .
Twangy Thirds .

Rhythm Guitar
Chord Punches .
Cropper-ish .
Dance .
Dom. Chord Inversions .
Motown Rhythm .
Power Pop .
Quartal Chord Lick .
Reggae .
Rock 'n' Roll Rhythm .
Ska .
World Beat .

Acoustic / New Age
Celtic .
Folk Rock .
New Age .
New Age .
New Age Acoustic .
Open Sounds .
Open String Ending .
Ragtime .
Travis Picking .

Slide
Slide Melody
Slide Melody
Slide Melody

Pop
Benson-esque .
Sliding and Bending .
Smooth Jazz .
Smooth Slides .
Soulful R&B .
Utility R&B .
 

FAST FORWARD, ROCK GUITAR IMPROVISATION. CD TABLATURE

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

Description :

So you want to play rock solos improvise like a real pro? This book will show you how, fast! First learn a few basics: which scales and chord patterns to use, the importance of correct phrasing, chord changes, string-bending and slides. Discover how open strings can create a much fuller sound, then experiment with hammer-ons, pull-offs and different chordal/arpeggio ideas. Riffs and licks are included to suit every musical situation, with tips and techniques and playing lead guitar in band.
On the CD you'll find a matching audio track to every music example in the book. Each track is recorded twice: first with the guitar, the with backing track only so you can play the guitar part.

Introduction
Hello, and welcome to FastForward.
Congratulations on purchasing a product that
will improve your playing and provide you with
hours of pleasure. All the music in this book has
been specially created by professional musicians
to give you maximum value and enjoyment.
If you already know how to 'drive' your
instrument, but you'd like to do a little
customising, you've pulled in at the right place.
We'll put you on the fast track to playing the
kinds of riffs and patterns that today's
professionals rely on.
We'll provide you with a vocabulary of riffs and
licks that you can apply in a wide variety of
musical situations, with a special emphasis on
giving you the techniques that will help you in a
band situation.

FastForward Rock Guitar Improvisation
looks at everything from scales, bends, arpeggios
and dynamics, to how to begin and end a solo,
how to use intervals and phrasing, and gives you
a host of other tips for effective rock lead. If
you've been playing for about 6 months to a year,
can change chords reasonably well, and have tried
a few scales, this is the book that will take you
further. If you are a beginner or new to lead
playing, I recommend that you get a copy of
Lead Guitar Licks in the FastForward
senes.

All the music examples in this book come with
full-band audio tracks so that you get your
chance to join in. Practise and learn the examples
and then take off on your own over the backing
tracks!

All players and bands get their sounds and styles
by drawing on the same basic building blocks.
With FastForward you'll quickly learn
these, and then be ready to use them to create
your own style.

Playing A Solo
Imagine you're in a recording studio. The red
light is on, there's a session in progress. You can
just about make out the faces of the engineer and
the other band members behind the glass. You're
holding a guitar, and through your headphones
you're listening to the tracks for a newly-recorded
song. Verses and choruses pass by, and soon ...
very soon ... it will be time to record a solo. How
confident would you feel about playing the
session?

FastForward Rock Guitar Improvisation
will help you to create fantastic lead guitar breaks
and fills. No-one can teach you how to play an
inspired solo - however, you can learn a lot about
technique and musical sense to give you a better
chance of playing one.
The book is divided into five sections. Each
section represents a different recording session
and a different rock number. Before each solo,
you get to playa few simple phrases at a slow
tempo, practise some scale-type patterns and try
some other ideas that you could use in a solo of
your own. Then it's your chance to learn a solo
(usually 24 bars) that fits the chord sequence.
Later, you can use the backing tracks to
improvise your own lead breaks. Each solo is
accompanied by a 'Spotlight on Technique',
which focuses on the lead ideas featured in the
solo.
Along the way this book will answer some of the
common questions players have about lead guitar:
What scales should I be using?
Do I have to change the scale when the chord
changes?
Which scales go with rock? Are these the same
as for other styles of music?
When should I use string-bending?
Which scales go with which key?
How do I make the scales I know sound more
like a solo?
Each example is given in musical score and in
guitar tablature. With the latter each number
indicates the fret at which the note is played,
each line is a string. If you find it hard to
remember which way up they go, think always of
pitch: high notes are above low notes, therefore
the highest sounding string (1st E) is at the top.
Each musical example is played once with the
lead guitar, and once without. The first is for you
to learn by listening, the second 'play-along' track
is for you to practise with. The examples have a
one-bar count-in on the CD.

Guitar Tablature Explained
Introduction

Playing A Solo
Into The Great Wide Yonder
Pentatonic Scale Shapes
Pentatonic Scale Patterns
Slides And Bends
Spotlight On Techniques
Into The Great Wide Yonder (solo)

Interstate Highway
Major Scale Phrases
Major Scale Patterns
Major Pentatonic Patterns
Spotlight On Techniques
Interstate Highway (solo)

The Outsider
Major Scale Shapes
The Mixolydian Mode
Using Open Strings
Spotlight On Techniques
The Outsider (solo)

Summer Girl
Minor Key Phrases
The Natural Minor Scale
Hammer-Ons And Pull-Offs
Spotlight On Techniques
Summer Girl (solo)

Trucker's Delight
Alternating Key Phrases
Pentatonic Major And Minor Patterns
Arpeggio Shapes
Spotlight On Techniques
Trucker's Delight (solo)  

AMAZING PHRASING GUITAR, 50 ways to improve your improvisational skills. TOM KOLB. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

Series: Guitar Educational
Softcover with CD - TAB
Author: Tom Kolb
This book/CD pack explores all the main components necessary for crafting well-balanced rhythmic and melodic phrases. It also explains how these phrases are put together to form cohesive solos. Many styles are covered - rock, blues, jazz, fusion, country, Latin, funk and more - and all of the concepts are backed up with musical examples. The 50 ideas are divided into five main sections: The Basics - covers fundamental but all too often forgotten techniques, such as slurs and vibrato, that can breathe new life into your phrases; Melodic Concepts - explores various aspects of melodic phrasing, such as motifs, chromaticism and sequences; Harmonic Embellishments - discusses the melodic potential of harmonic intervals (dyads), chords and chord partials; Rhythmic Concepts - explores various aspects of rhythmic phrasing, such as accents, free-time phrasing and metric modulation, and how it pertains to melodic soloing; Solo Structure - all of the topics discussed in the book come together to help form the big picture. The companion CD contains 89 demos for listening, and most tracks feature full-band backing. Also available for keyboard, tenor saxophone and trumpet. 88 pages.

CLASSIC ROCK INSTRUMENTALS 2ND EDITION. GUITAR RECORDED VERSION. TABLATURE

LIBRO

Format: Softcover - TAB
Artist: Various

This second edition features nearly 30 tunes that have become classics because of their searing guitar riffs. Includes: Eruption - Frankenstein - (Ghost) Riders in the Sky - Green Onions - Hawaii Five-O - Misirlou - Peter Gunn - Pipeline - Raunchy - Rawhide - Rebel 'Rouser - Rumble - Scuttle Buttin' - Sleepwalk - Tequila - Wipe Out - and more. Also includes an introduction and song notes by Fred Sokolow.

160 pages

Apache
Beck's Bolero
Dee
Eruption
Frankenstein
Green Onions
Guitar Boogie Shuffle
Hawaii Five-O Theme
Hide Away
Jessica
Just Like A Woman
Misirlou
Peter Gunn
Pipeline
Ramrod
Raunchy
Rawhide
Rebel 'Rouser
Red River Rock
(Ghost) Riders In The Sky (A Cowboy Legend)
Rumble
San-Ho-Zay
Scuttle Buttin'
Sleepwalk
Tequila
Walk Don't Run
Wham
Wipe Out

PRIMA EDIZIONE

CLASSIC ROCK INSTRUMENTALS. GUITAR TABLATURE

LIBRO DI MUSICA ROCK.
SPARTITI PER CHITARRA.
ACCORDI, PENTAGRAMMA E TABLATURE

30 Songs ove lei è tutto, solamente lei. E' lei che canta, che ritma, è lei che urla, ti parla con dolcezza senza dire verbo, è lei con le sue corde che ti rasserena, e da brio, gioia. Apache -Beck's bolero -Bo's guitar -Dee -(ghost) riders in the sky -guitar boogie shuffle -Hawaii five-0 -hideway -Jessica -misiriou -mumblin' guitar -pipeline -put it where you want it -ramrod -raunchy -rawhide -rebel 'rouser -red river rock -rumble -sabre dance -san-hu-zay -scuttle buttin' -slaughter on tenth Avenue -sleepwalk -tequila -walk don't run -wham -wheels -wipe out. 144 pagine. TABLATURE

IT's ONLY NATURAL THAT INSTRUMENTALS WERE HITS AT THE DAWN OF ROCK HISTORY. ROCK WAS ALWAYS DANCE MUSIC, AND THE MUSICAL STYLES IT DREW UPON - BLUES, R&B, COUNTRY AND SWING - HAD STRONG BEATS AND ENGENDERED DANCEABLE INSTRUMENTALS THEMSELVES. BECAUSE ROCK IS ECLECTIC, MANY INSTRUMENTS CAN TAKE THEIR PLACE IN THE SPOTLIGHT. SAXOPHONE PLAYERS - THOSE HEROES OF JAZZ AND SWING - WERE THE STARS OF MANY EARLY ROCK INSTRUMENTALS ("RAUNCHY" AND "TEQUILA," FOR EXAMPLE). ORGANISTS AND DRUMMERS WERE LEADERS OF SOME COMBOS (IN "RED RIVER ROCK" AND "TOPSY II"). HOWEVER, GUITAR PLAYERS WERE IMPORTANT SOLOISTS IN COUNTRY, BLUES AND R&B, SO IT DIDN'T TAKE LONG FOR ROCK TO CREATE A NEW POP HERO, THE ELECTRIC GUITAR PLAYER.

INTO ROCK CAME GUITAR HEROES FROM AN R&B BACKGROUND, LIKE CHUCK BERRY AND Bo DIDDLEY, COUNTRY-INFLUENCED STARS LIKE CARL PERKINS AND DUANE EDDY, AND MAVERICKS WHO BRIDGED THE GAPS BETWEEN STYLES, LIKE LONNIE MACK. THEN AT THE BEGINNING OF THE '60s THERE WAS THE VENTURES, A GUITAR INSTRUMENTAL BAND THAT SPAWNED COUNTLESS GUITAR/BAR BANDS ALL OVER THE COUNTRY. A FEW YEARS LATER, DICK DALE, THE BEACH BOYS AND OTHER SOUTHERN CALIFORNIA GROUPS TURNED THE WHOLE COUNTRY ON TO SURF MUSIC, WHICH, INSTRUMENTALLY, WAS JUST LIKE THE VENTURES: A COMBINATION OF POP INFLUENCES WITH GUITAR IN THE FOREFRONT AND POUNDING DRUMS BEHIND.

SOME OF THE EARLY ROCK INSTRUMENTALS WERE RECORDED BY GROUPS WHO WERE THROWN TOGETHER BY A STUDIO PRO OR PRODUCER ("TEQUILA" AND "RAUNCHY" WERE TWO EXAMPLES). OTHERS WERE THE PRODUCT OF TEEN HIGH SCHOOL BANDS LIKE THE CHANTAYS OR JOHNNY AND THE HURRICANES. OTHERS CAME FROM POWERHOUSE INNOVATORS LIKE DUANE EDDY AND LONNIE MACK WHOSE PLAYING WOULD INSPIRE FUTURE GENERATIONS OF GUITARISTS. TOGETHER, THEY ESTABLISHED A ROCK TRADITION, AND THEIR ROCK INSTRUMENTALS STILL APPEAR ON THE CHARTS OVER THREE DECADES LATER.

IT's INTERESTING THAT MANY OF THE CLASSIC INSTRUMENTALS IN THIS COLLECTION CAME NOT FROM HOLLYWOOD OR NEW YORK CITY, BUT FROM TOLEDO, CINCINNATI AND SEATILE ... AND ANYWHERE FOLKS DANCED TO ROCK AND ROLL IN BARS! MANY CLASSIC HITS ("TEQUILA," "WIPE OUT," "HIDEAWAY") WERE THROWAWAYS, B-SIDES RECORDED HASTILY IN ONE OR TWO TAKES, AS BIG A SURPRISE TO THE RECORDING ARTIST AS THEY WERE TO THE PUBLIC-WHICH ONLY PROVES THAT THE PUBLIC LIKES A SIMPLE, UNPRETENTIOUS GROOVE TUNE!

I HOPE YOU ENJOY THIS COLLECTION OF CLASSIC ROCK INSTRUMENTALS. THE TRADITION OF ROCK INSTRUMENTALS IS ALIVE AND WELL, AND INCLUDES A WIDE RANGE OF GUITAR STYLES, AS THIS BOOK PROVES. IT ALSO INCLUDES ESSENTIAL KNOWLEDGE FOR YOU ROCK GUITAR ADDICTS: YOUR MUSICAL EDUCATION IS FAR FROM COMPLETE IF YOU CAN'T PLAY "WIPE OUT," "REBEL 'ROUSER," "WALK DON'T RUN" OR "PIPELINE!"

Series: Guitar Recorded Version TAB
Artist: Various

A big collection of 29 songs that have become classics because of their guitar riffs, including:

1960 - Apache - Jerry Lordan
1967 - Beck's Bolero - Jimmy Page  
1959 - Bo's Guitar - Ellas McDaniel e Clifton James
1985 - Dee - Randy Rhoads
1946 - Guitar Boogie Shuffle - Arthur Smith
1968 - Hawaii Five-O Theme - Mort Stevens
1961 - Hide Away - Freddy King e Sonny Thompson
1973 - Jessica - Dickey Betts
1941 - Misirlou - N. Rubanis
1959 - Mumblin' Guitar - Ellas McDaniel
1962 - Pipeline - Bob Spickard e Brian Carman
1972 - Put It Where You Want It - Joe Sample
1957 - Ramrod - Al Casey
1957 - Raunchy - William Justis e Sidney Manker
1958 - Rawhide - Link Wray e Milt Grant
1956 - Rebel 'Rouser - Duane Eddy e Lee Hazlewood
1959 - Red River Rock - Tom King, Ira Mack e Fred Menfelsohn
1949 - (Ghost) Riders In The Sky (A Cowboy Legend) - Stan Jones
1958 - Rumble - Link Wray e Milt Grant
Sabre Dance - Aram Khatchaturian
1961 - San-Ho-Zay - Sonny Thompson
1984 - Scuttle Buttin' - Stevie Ray Vaughan
1936 - Slaughter On Tenth Avenue - Richard Rodgers
1959 - Sleepwalk - Santo Farina, John Farina, Ann Farina
1955 - Tequila - Chack Rio
1960 - Walk Don't Run - John Smith
1956 - Wham - Lonnie Mack
1960 - Wheels - Norman Petty
1963 - Wipe Out - The Surfaris

144 pages

Song List:
Apache
Beck's Bolero
Dee
Eruption
Frankenstein
Green Onions
Guitar Boogie Shuffle
Hawaii Five-O Theme
Hide Away
Jessica
Just Like A Woman
Misirlou
Peter Gunn
Pipeline
Ramrod
Raunchy
Rawhide
Rebel 'Rouser
Red River Rock
(Ghost) Riders In The Sky (A Cowboy Legend)
Rumble
San-Ho-Zay
Scuttle Buttin'
Sleepwalk
Tequila
Walk Don't Run
Wham
Wipe Out

GUITAR INSTRUMENTAL HITS. Passo per passo, 14 passeggiate soli con lei, la vostra chitarra.

GUITAR BOOGIE SHUFFLE
(As Performed by The Virtues featuring Jimmy Bruno Sr.) By Arthur Smith
Figure 4 - Intro, Head, and First Guitar Solo
Rewriting history can be a daunting and problematic business. Such is the case with "Guitar Boogie Shuffle." History incorrectly credits Frank Virtue as the guitarist on the track and further ascribes the tune to Arthur Smith. Its inclusion in this collection provides us with an ideal opportunity to set the record straight. Here is the real story as recounted and substantiated by his son, Jimmy Bruno Jr. (who incidentally is one of the most compelling jazz guitarists on the scene today-check him out). In the 1940s and 1950s, guitarist Jimmy Bruno Sr. played with a bassist named Frank Virtue. Virtue was not an accomplished musician but had an uncanny knack for obtaining work. As times were tough, Bruno stayed with this band. In the 1950s, Virtue built a small recording studio in his house and there they recorded "Guitar Boogie Shuffle" as the Virtues. The members on the date were Jimmy Bruno Sr. (guitar), Tom Friday (drums), Ralph Federico (piano) and Frank Virtue (bass). Contrary to popular belief, Bruno Sr. was the composer of the music but failed to copyright his work, thinking that the boogie-woogie riff was public domain and not realizing that his arrangement granted him ownership rights. A self-made millionaire, Arthur Smith, who had recorded a different version on acoustic earlier, wound up with the rights and the credit. Virtue's lawyers and the record company saw to it that Bruno received 10% of 1% for his efforts. Bruno discovered this while on tour and quit on the spot, vowing never to record again and further stating that Virtue would never have another hit song. "Guitar Boogie Shuffle" reached #5 on March 23, 1959 and remained in the Top 40 for twelve weeks. It was the Virtues' one and only hit.
"Guitar Boogie Shuffle" is a 12-bar blues in E (which sounds a half step lower in Eb)
founded on a swing-inspired triplet feel. In the intro, Bruno plays a ground-finding pattern
in eighth-note rhythm on the open low E string to get things rolling. His sound during the
head is treated with generous amounts of slap-back echo. The head [A] is based on a fournote
ascending-descending melody (E-G#-B-C#: root-third-fifth-sixth) which is the quintessential
boogie riff of the period-in essence, a left-hand boogie-woogie piano pattern
transferred to the bass register of the electric guitar. Variations of this figure are moved
through the I-IV-V changes of a simple 12-measure, three-chord blues progression. Note
the use of G (the seventh) over the A chord in measure 7, and the use of 0 (the sharp
ninth) over the B7 chord in measure 10.
The interlude [B] is based on a catchy ostinato riff made of a quarter note and an
eighth-note triplet. The triplet contains the ascending chromatic motion B-C-C#, which
strengthens the sixth (the goal of this motion) in the figure. This riff, like the main theme, is
taken through the 12-rneasure blues form with slight variations.
Bruno's improvised solo choruses in [C] and [0] reveal the close relationship of late
1940s swing jazz and early rock 'n' roll. You could describe these phrases as "Charlie
Christian licks in a jitterbug context." His lines are certainly jazz-oriented, based primarily
on the E Major scale (E-F#-G#-A-B-C#-D#), with characteristic passing-tone chromaticism
in measures 26, 28, 41-43, and 45-47, and arpeggios in measure 32-34. Specific
references to Charlie Christian's style are heard in the explicit use of the sixth tone (C#) in
measures 27-29 and measure 45, the inverted mordent embellishing figure in measure 31
(a Lester Young motive popularized by Christian on the guitar), the staccato rhythmic
motive in measures 34-35, and the dominant-ninth lick in measures 42-43. Unlike
Christian's style, Bruno's licks are devoid of string bends and contain no overt references
to Texas and Oklahoma blues guitar styles.
On the recording, Jimmy Bruno Sr. played a honey blonde Gretsch hollow body
(probably a 6120) with DeArmond pickups, and plugged into an Ampeg Gemini II amp.
[Before playing along with Figs. 4 and 5, tune down 1/2 step with track 7] ...

-Raunchy

-rumble

-Lenny (S.R.V.)

-guitar boogie shuffle

-walk don't run -pipeline

-just like a woman (B.B. King)

-rebel 'rouser

-sleepwalk (come suonata da Santo and Johnny) 

-sleepwalk (come suonata da Larry Carlton) 

-Jessica -frosty

-hide away (come suonata da Freddy King)

-steppin' out (Clapton)

-song of the wind (Santana).

Tutti gli esempi di assoli possono anche essere usati come per Jam. CD TABLATURE

Santo & Johnny era il nome di un duo di chitarristi formato dai fratelli newyorkesi Santo (24 ottobre 1937) e Johnny Farina (30 aprile 1941). Il loro primo singolo, Sleepwalk, pubblicato nel 1959, era un brano strumentale composto con l'aiuto della madre, che riscosse un notevole successo balzando al primo posto delle classifiche statunitensi. Ad esso fecero seguito altri singoli e numerosi album che raccoglievano soprattutto brani easy-listening e colonne sonore. Furono molto popolari durante gli anni sessanta e settanta, anche in Italia, dove registrarono molti dischi e guadagnarono il disco d'oro per la loro versione della colonna sonora de Il Padrino (1973) del compositore Nino Rota. Il duo si sciolse nel 1976, ma Johnny Farina ha continuato per moltissimi anni ancora a esibirsi come solista e a incidere dischi.

The Farina brothers, Santo & Johnny, were born in Brooklyn, New York. Santo, October 24, 1937 and Johnny, April 30, 1941. The boys were young when their Dad was drafted into the Army and stationed in Oklahoma. There on the radio he heard this beautiful music, it was the sound of the steel guitar. He wrote home to his wife and said "I'd like the boys to learn to play this instrument". When he returned from the war they searched out to a man who could get them started with the steel. Years later, they formed a band, playing at church dances, weddings and clubs. The Farina brothers began to gather fans from Brooklyn to Long Island.
As their popularity grew locally they recorded a couple of demo tapes. Johnny made the rounds of the New York record companies. One day Johnny decided to try a music publishing company and there is where the history of "Sleep Walk" started, they signed a song writer's contract which later on lead them to Canadian American Records. Their first release in 1959 was "Sleep Walk" which was written by Santo & Johnny. It was the last #1 instrumental of the 50's and earned them a Gold Record. With their unmistakable sound, they appeared on all the top music shows, "The Alan Freed Show", "Dick Clarks' American Bandstand", "The Perry Como Show" etc. etc