LIBRO CON CD

COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES. Sid Jacobs. CD TABLATURE

LIBRO METODO DI MUSICA JAZZ, CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE, 

Product Description:
An important addition to the improvising jazz guitarist's library, this thoughtful blend of text and musical examples focuses on the vocabulary of modern jazz and some of the applications of modern harmony. With examples written in standard notation and tablature, Jacobs offers instruction on bebop style phrases, playing fourths, inside-outside playing, pentatonic, whole-tone and symmetrical scales, slash chords, polychords, hip lines, fingerings and much more. The companion CD presents the material in the text played with chord accompaniment.

Product Number: 95737BCD
Format: Book/CD Set
Series: Complete
160 PAGES

Introduction

It has been said that a great composer doesn't borrow, he steals. If this book dealt with memorizing rules, I would certainly place "steal from the best" as rule number one. Some might feel uncomfortable about imitation but there is little to fear if you are judicious in what you steal and don't just "loot one store:' We learn to speak by imitation. We use an existing language to express our thoughts. It is no different for the improviser, using and connecting phrases from an existing idiom. If we substitute the term "line" with sentence and "improvisation" with conversation, we de-mystify the process. The way a person puts his words and phrases together gives him his conversational style and consequently, the more vocabulary he has, the better equipped he is to express himself. Similarly,the way a player connects his musical phrases gives him his improvising style, and the more vocabulary he has, the better equipped he is. The idiomatic phrases of the Jazz language distinguish it from other music. Through use of examples, we hope to illustrate some ideas that are used to create jazz lines and phrases. Improvising is an art. The ability to articulate your ideas clearly is a craft. When you connect your ideas creatively and extemporaneously, the craft is elevated to art. Improvisation is the art of jazz. Observe your own speech patterns and phrasing. You will notice that no two or three words have exactly the same volume. What I'm pointing out is that in conversation, we naturally use one of the first learned and first forgotten lessons in music: dynamics. In good conversation, one idea naturally flows to another. With fluency we make connections. In jazz improvisation, where the subject of our conversation is the chord changes or modulations, we need the ability to melodically imply the chord we are playing over and at any given point in time, smoothly connect to a close available chord tone or note in the key center. (See Example 1.)In this example the modulations and chord changes are made by moving to the closest available note.

About the Author Sid Jacobs

Sid Jacobs grew up in Miami, Fla. and began guitar lessons at the age of seven. As a teenager he became serious about jazz playing and would study and practice by day and sneak into the jazz clubs at night. When the Jacobs family moved to Nevada, he obtained a position as guitar instructor at the University of Nevada, Las Vegas. This made him, at eighteen, the youngest faculty member in the school's music department. While living in Nevada, Sid found work in the hotel pit orchestras, and as touring accompanist to a number of celebrity singers and jazz artists. After moving to Los Angeles, he developed the curriculum for the Jazz Guitar elective at the Musicians Institute (GIT)and the Advanced Bebop and Jazz Guitar course at the Dick Grove SchooL In 1991the CD It's Not Goodnight was released featuring his original compositions and improvisations. Among the many jazz artists Sid has performed with are Eddie Harris, Harold Land, Buddy Montgomery, Red Holloway, Conte Candoli, and in duo concert settings with guitarist Joe Diorio. Through his involvement in education, his personal associations with jazz notables, and his discipline, Sid continues to gain recognition as an influential educator, composer, and performing artist. In reviewing a live performance, Los Angeles Times jazz critic Don Heckman characterized him in this way, "... a highly articulate improviser... Never at a loss for a new phrase his improvisations seemed to unfold with the ever-changing fascination of a set of Bach variations:' Sid currently divides his time among his pursuits as GIT instructor, musical equipment manufacturer's consultant, performance and recording artist, and jazz clinician. Sid jacobs plays a Borys guitar and usesThomastik-Infeld strings.

Table of Contents:

About the Author Sid Jacobs .

Preface 

Introduction .

The Craft .

More Diatonic Sequences .

Smokin' A Half Note (Etude) .

Idioms .

Idiomatic ii or ii - V Shapes .

Idiomatic V - I Resolution Shapes .

Idiomatic I Major Shapes .

Sample II or II - V Lines .

Sample Major Lines .

Sample II - V - I Lines .

Some Additional Notes On the Idioms .

Some Miscellaneous Bebop Style Phrases .

Major 7th Lines .

Miscellaneous Phrases Over Common Progressions .

Another Blues in F (Etude) .

May The Fourths Be With You .

Triads (Fourth Triads) .

The Pentatonic Scale & Fourths .

Some Pentatonic Fourth Shapes .

Fourths Contours and Permutations .

Pentatonic Scales .

Pentatonics Inside Out .

The Madness - The Method

Ideas & Examples Combining Pentatonic Sounds .

Diatonic Fourths & Fifths

Fourths & Intervallic Sequences .

Piccardy Fourths (Etude)

Quartal Harmony .

Symmetrical Scales .

The "Magic Scale" (Augmented) .

Major Triads from the Augmented Scale

Minor Triads from the Augmented ("Magic") Scale

Some Augmented Scale Harmonies .

The Diminished Scale .

Some Diminished Scale Melodic Patterns .

Diminished Scale Harmony .

Whole Tone Scale

Whole Tone Scale Fingerings .

Some Whole Tone Lines

The Chromatic Scale .

Octave Displacement .

Polychords & Slash Chords .

Blues 4 Poly (Etude)

Kernels of Tomorrow (Etude) .

Final Notes .

Acknowledgments .

MEL BAY'S COMPLETE BOOK OF JAZZ GUITAR LINES & PHRASES

By Sid Jacobs

I wholeheartedly recommend this book to anyone who is serious about playing jazz guitar. It is a thorough, comprehensive and organized approach that can only come from someone who is a great musician and teacher.

-Bruce Forman

The plethora of disorganized, trendy guitar "methods" is ultimately confusing and overwhelming even to the most dedicated and devoted of students. Jacobs has brought us back to the simple musical truths that must inform all of our studies and music making. Jacobs' text is simple, clear, concise, and complete-It's the only jazz guitar "method" you'll ever need! -Fa reed Haque, Blue Note Recording Artist, Professor NIU (Northern Illinois University)

The Complete Book of Jazz Guitar Lines & Phrases is a concise, thorough exploration of the modern jazz vocabulary. It takes the mystery out of jazz harmony while stressing its creative applications. The explanations are clear and easy to follow, and the notated examples are fun, challenging, and musically relevant. I highly recommend this book to anyone interested in the study and advancement of jazz guitar. -John Hart

CD CONTENTS

Idiomatic II or II-V Shapes /p. 21 (5:58)

Idiomatic V-I Resolution Shapes /p.24 (2:14)

Idiomatic I Major Shapes /p. 27 (2:07)

Sample Major Lines /p.35 (3:03)

Sample II-V-I Lines /p.39 (1:46)

Some Miscellaneous Bebop Styles /p.43 (2:54)

Major 7th Lines /p.48 (1: 11)

Miscellaneous Phrases Common Program /p.51 (1:23)

Another Blues in F (Etude) /p.54 (1 :06)

May the Fourths Be with You /p.56 (:26)

Triads (Fourth Triads) /p.60 (1:10)

The Pentatonic Scale & Fourths /p.62 (1:25)

Some Pentatonic Fourth Shapes /p.64 (1 :45)

The Madness-The Method /p.78 (:55)

Ideas & Examples Pentatonic Sounds /p.81 (4:32)

Symmetrical Scales /p.95 (3:31)

The Magic Scale /p.100 (1 :50)

Major Triads from Augmented Scale /p.104 (1 :41)

Major Triads from Augmented (Magic) scale /p.105 (3:29)

Augmented Scale Harmonies /p.109 (1 :48)

The Diminished Scale /p.110 (4:04)

Diminished Scale Melodic Patterns /p.114 (5: 12)

Diminished Scale Harmony /p.119 (3:48)

Whole Tone Scale /p.123 (:23)

Some Whole Tone Lines /p.127 (1 :55)

The Chromatic Scale /p.131 (2:26)

Octave Displacement / p.137 (:59)

Polychords & Slash Chords /p.139 (7:52)

Blues 4 Poly (Etude) /p.148 (1:04)

BYRD CHARLIE, BLUES SONATA & JAZZ STANDARDS FOR GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.  

CHITARRA CLASSICA

BY CHARLIE BYRD & JOHN GRIGGS. 

TITOLI:

BLUES SONATA I - POLONAISE POUR PIETRO.

BLUES SONATA II - BALLAD IN B MINOR.

BLUES SONATA III - SCHERZO FOR AN OLD SHOE.

WHISPERING. 

ROSE ROOM. 

STUMBLING. 

101 MUST KNOW JAZZ LICKS. BOOK WITH CD & TABLATURE

LIBRO MANUALE DI MUSICA JAZZ, CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

A Quick, Easy Reference for All Guitarists

Series: Guitar Educational
Format: Softcover with CD - TAB
Author: Wolf Marshall

Now you can add authentic jazz feel and flavor to your playing! Here are 101 definitive licks, plus a demonstration CD, from every major jazz guitar style, neatly organized into easy-to-use categories. They're all here: swing and pre-bop, bebop, post-bop modern jazz, hard bop and cool jazz, modal jazz, soul jazz and postmodern jazz. Includes an introduction by Wolf Marshall, tips for using the book and CD, and a listing of suggested recordings.

Inventory #HL 00695433
ISBN: 9780634013713
UPC: 073999315271
Width: 9.0"
Length: 12.0"
48 pages

Jazz is a musical language with a variety of dialects. To speak jazz on the guitar with authenticity
and eloquence requires more than finger dexterity, a facile mind, or a creative impulse. It requires
a sense of tradition and a seemingly endless well of ideas. In non-literary cultures, the act of communication
and the art of conversation are learned through what is known linguistically as "oral
tradition"-a practice passed down from generation to generation by listening, imitating, mastering,
and ultimately reinterpreting with personal expression. So it is with jazz. The great jazz players
of history have, largely by ear, studied, absorbed, and reassembled the contributions of their
forebears. Picture George Benson repeating Charlie Parker licks until they were part of his vocabulary.
Or imagine Barney Kesselstruggling to get Charlie Christian's phrases under his fingers. Pat
Martino memorized and reinterpreted Johnny Smith's and Howard Roberts' signature licks to formulate
his own innovative style. Joe Passemulated and respun the stylings of great jazz wind and
piano players. And new voices like RussellMalone, Ron Affif, and Jimmy Bruno currently lead
today's straight-ahead movement with inspired reinventions of Wes Montgomery, John Coltrane,
and Hank Garland. The process largely entails the learning and mastery of specific phrases, or
licks, that are akin to sentences in a spoken language. This can be a daunting task considering the
vast number of musicians and styles in the genre.
Enter 101 Must-Know Jazz Licks. This book is a lexicon of essential phrases in a wide variety of
styles within the jazz genre. Each lick is a self-contained phrase with a central idea or focal point
and is an indispensable piece of the jazz vocabulary. The 101 licks are presented in rough chronological
order beginning with the late 1930sand continuing to the present. If you're already a jazz
guitar aficionado, this book may revive some delightful memories and inspire you to take your
current playing down some familiar old paths. If you're coming to this guide with an interest that
outweighs your knowledge of the jazz genre, expect to be taken on a trip through musical
Americana, with a soundtrack to match, from which you will emerge a more conversant and passionate
player.
-Wolf Marshall

Introduction
This volume is designed for all guitarists. Arranged for quick, easy reference, it contains 101 stylistic
phrases, commonly known as "Iicks"-those essential, self-contained instrumental figures utilized
by the great masters. Licks are part and parcel of the jazz tradition and the jazz experience.
Charlie Parker used 'em, so did John Coltrane and Wes Montgomery, and so does virtually every
player on the current scene. Licks are short, meaningful passagesskillfully tucked into tunes and
riffs, and laced through the improvised solos of the repertory. The audience may not hear them
or even be aware of them, but they can always be felt. A well-turned lick can make the difference
between a cold, mechanical statement and a communicative, engaging performance; and
the right lick driven by the energy and conviction of a seasoned player can bring the audience to
its feet.
Now you can add an authentic jazz feel and flavor to your playing. Here are 101 definitive licks
from every major jazz guitar style neatly organized into easy-to-use categories. They're all here:
swing jazz, pre-bop, bebop, hard bop, modal jazz, cool jazz, soul jazz, postmodern jazz, free jazz,
chord licks, and more. Browse to your heart's content, and feel free to tap into the feeling of
each lick that speaks to you. As you do, you'll be taking that vital first step of reinvention that
connects you to the spirit and the essenceof America's most emotional and transcendent
art music.

Tips for Using this Book and CD
1. Play these licks allover the fingerboard. If a lick is positioned at the eighth fret, move it down
to the third fret and play it in that area; you will notice that the string feel, tension, and fret
distances have a bearing on how the lick feels. Then move it up chromatically as a drill, playing
it in every position from the third to the seventeenth fret. This will depend on the range of
your guitar's fingerboard. Note the key changes as you move the licks to different positions.
2. Put several licks into the same key. For example, if a lick is presented in C and another is in G,
place them both into C, and then into G. This is the musical equivalent of using all your linguistic
phrases in one conversation.
3. Take that collection of phrases into various keys. Once you have grouped a number of licks into
the same key, move that grouping to new positions.
4. Make notes, mental or written, about the feel of each lick. Your visceral, emotional reaction to
a lick is part of the ad-lib selection processwhen improvising. This processcould involve forming
a visual image of the lick's physical shape-how it sits on the fingerboard.
5. Add at least one new lick per week to your vocabulary. Memorize and use it in your current
musical situation-playing with a band, adding it to an existing solo or song, or when jamming
with your friends.

About the Recording
Each lick is played twice on the accompanying audio: first at the normal tempo and then, after a
two-and-a-half-second pause, at a slower tempo.
Licks 1-98 are found at the corresponding CD counter numbers. Licks99, 100, and 101 are presented
as a single track on number 99. Within that counter number (99), use the following time codes
to find the three licks: Lick 99 occurs at 0:00, Lick 100 occurs at 0:45, and Lick 101 at 1:04.
These licks were played using authentic Gibson archtop electric guitars and miked amplifiers
including vintage Gibson and Fender tube amps and modern Polytone amps. The sounds, settings,
and particular instruments are cited in the accompanying performance notes.

TF=Target figure. This three-note melody pattern typically approaches a selected (tar-
get) tone by beginning on its upper neighbor, jumping to its lower neighbor, and then
moving to the target. See Lick 20.
VLF=Voice leading figure. A specific four-note pattern endemic to bebop and modern
jazz styles. The all-important figure involves approaching a particular note first from a
half step above and then from below (always by two half steps in succession).See
Lick 20.
SUB=Substitution. This refers to an alternate scale or melody substituted for a primary
relationship. It is followed by a scale or chord name, such as "SUB Abm" (AI, minor
instead of a more typical Bbl scale or harmony). See Lick 27.
Q: and A:=Question and answer phrases.The "call-and-response" procedure is an
important aspect of applying licks to form a larger melody structure.
Every lick is defined by an overall context; this can be a "basic scale" or "basic tonality." Most jazz
licks are defined by their harmonic setting and use a variety of scalesto convey melodic motion
through chord changes. In this case,a single basic scale would not be a sufficient label and could
present an incomplete and erroneous picture. Melodies such as these are labeled as having a
"basic tonality" though they are comprised of single notes as in Lick 10. Many jazz licks have a
plural harmonic application. For example, Lick 1 can be thought of as originating from either the
AI, major scale or the AI, Mixolydian mode (dominant seventh sound) as it does not contain the
crucial seventh in its melody. Similarly, Lick 5 has a plural application and could be used over an
FmGor Bb9chord background.
A suggested tempo is provided for each lick-Fast Swing, Moderately, Slowly (Rubato), etc.-to
further guide you in applying these phrases in your music. All licks marked with a swing feel
(Fast Swing, Moderate Swing, etc.) are to be perceived as occuring against a triplet feel background
and are generally to be played with swing eighth-note rhythm. This means that each twoeighth-
note rhythm unit is to be played as a quarter-eighth grouping of an eighth-note triplet

After getting these licks under your fingers, try taking them apart by playing them in pieces,
inside out and backwards. Each lick can be thought of as having several melodic or harmonic
"cells" of varied sizes in its structure. Eachcell is akin to a thought or group of words in a sentence.
These can be grafted to other cells from other licks to form new phrases.This processof
developing original music from fragments is a viable strategy for building a new musical statements
of your own.
Finally, once you have grasped the essentials of these licks, begin your own investigations. To this
end, a list of suggested recordings is offered in the back pages of this volume. Pick your favorite
jazz improvisations, and listen for these devices at work in the music of the great players. Be on
the lookout for imitative procedures and sequential activity in melodies and riffs, question-andanswer
phrases, harmonic extensions and alterations, unique turnarounds, and other thematic
development strategies. This sort of listening and thinking opens the door to a deeper understanding
and assimilation of the jazz language.

About the Author
Wolf Marshall is the pre-eminent guitar educator-performer of our time. The founder
and original editor-in-chief of GuitarOne magazine, he is a highly respected and prolific
author and columnist who has been an influential force in music education since the early
1980s.Wolf has worked closely with Hal Leonard Corporation for the past decade,
authoring such highly acclaimed multimedia books asThe Guitar Style of Stevie Ray
Vaughan, Stevie Ray Vaughan, Blues Guitar Classics, The Beatles Favorites, The Beatles Hits,
The Rolling Stones, The Best of Carlos Santana, Guitar Instrumental Hits, Steve Vai: Alien Love
Secrets, Eric Clapton Unplugged, Eric Johnson, The Guitars of Elvis, Aerosmith 1973-1979 and Aerosmith 1979-1998, Acoustic Guitar of the '60s and '70s, Acoustic Guitar of the '80s and '90s, Mark Knopfler, The Best of Queen, The Best of Cream, and many more. His eight-volume seriesThe Wolf Marshall Guitar Method and Power Studies established new standards for modern guitar pedagogy in the early 1990s,as did his Guitar Jammin' authentic song books.
In 101 Must-Know Jazz Licks, and its predecessor 101 Must-Know Blues Licks, Wolf directs his
encyclopedic knowledge of modern guitar music at a unique series designed to improve the
vocabulary of all guitarists. The list of his credits is immense and can be found at his web site:

Swing and Pre-Bop
This group comes from the swing era of the late 1930sand early 1940s.Jazz was at
the height of its popularity in this period. Swing was a dance-oriented jazz style played predominately
in ballrooms by big bands of fourteen or more musicians. The music's harmony centered
around mildly dissonant chords like major and minor triads with added sixths, dominant sevenths,
and dominant ninths. These harmonies supported largely diatonic melodies set in riff-dominated
jazz tunes, 12-bar blues structures, and 32-bar pop tunes.
Swing's leading guitarist was Charlie Christian, who combined elements of earlier classicjazz traditions
as well as blues licks from the southern states and horn licks borrowed from wind players
like Lester Young and Roy Eldridge. The practice of emulating and adapting "horn licks" (largely
from saxophone and trumpet) has been a mainstay of jazz guitar since Christian's time. Christian's
pioneering use of the newly-designed Gibson Electric-Spanish (ES)guitar established the role of
the electric guitarist in jazz. Prior to his appearance, jazz guitarists were mainly confined to
strumming in the rhythm section or forced to play in smaller all-string combos such as Django
Reinhardt's Hot Club quintet.
Christian's work with the Benny Goodman Sextet set the standard for early combos that included
electric guitar. Jazz, blues, and pop guitarists who followed in the 1940swere under the spell of
Charlie Christian and sought to emulate his sound and style. In swing and pre-bop, this included
Oscar Moore, Barney Kessel,AI Casey,Herb Ellis, and others. Sweepingly influential, Christian's
licks were also heard in the subsequent wave of jump blues guitarists and early rock 'n' roll players.
Identifiers of the swing style include an eighth-note-dominated horn-like phrasing, extensive
use of the sixth degree of the scale and chromatic passing tones, blues riffs, and a strong swing
rhythm feel.
To maintain sonic authenticity, I played these licks on my Gibson ES-175/CCwith heavy-gauge
strings. This instrument is equipped with the early Gibson bar pickup (dubbed the "Charlie
Christian pickup") in the neck position. The volume and tone controls were both set at 8. The guitar
was played through a vintage 1952 Gibson GA-75 amp with one 15-inch speaker. The tone of
the amp was set for a warm and moderately clean sound with a hint of tube overdrive; in this
case,treble and bassat the midway point and the volume at just below halfway. This sound is
generally the norm for early jazz guitar, circa 1940s-1950s.
+Basic Scale: Ab Major/Mixolydian
Fast Swing Ab(6)

Contents
Introduction
Tips for Using this Book and CD
About the Recording
Lick Analysis and the Lick Legend
SWING and PRE-BOP
BEBOP
Bird: Charlie Parker
Post-Parker Bop Guitar
POST-BOPMODERN JAZZ
Trane: John Coltrane
HARD BOP and COOL JAZZ
MODAL JAZZ
SOULJAZZ
POSTMODERN JAZZ
JAZZ CHORD LICKS
Suggested Recordings
About the Author
Guitar Notation Legend
 

SONNY TERRY, A SOURCEBOOK LICKS FOR BLUES HARMONICA. CD 

LIBRO DI MUSICA, SPARTITI PER ARMONICA A BOCCA CON CD E TABLATURE PER ARMONICA.

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. TABLATURE 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 . 

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