LIBRO CON CD

SULTAN KENNY, BLUES GUITAR LEGENDS. SGEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA BLUES, CON CD. 

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ACCORDI, PENTAGRAMMA, TABLATURE. 

METODO 

Blues Guitar Legends in the styles of Lightnin' Hopkins, Blind Blake, Mississippi John Hurt, Blind Boy Fuller, and Big Bill Broonzy.

Series: Guitar
Publisher: Centerstream Publications
Format: Softcover with CD
Artist: Kenny Sultan

Inventory #HL 00000181
ISBN: 9781574240153
UPC: 073999011586
Width: 9.0"
Length: 12.0"
48 pages

This book/CD package allows you to explore the styles of Lightnin' Hopkins, Blind Blake, Mississippi John Hurt, Blind Boy Fuller, and Big Bill Broonzy. Through Sultan's arrangements, you will learn how studying the masters can help you develop your own style. 48 pages

Well, here we go again for you. It's time for our third volume in a series of blues books for Centerstream Publications. If you have any of the earlier editions welcome back, if you are new I'm glad you are here. The concept for this book is unique. I'll be attempting to teach you my loose interpretations of five legendary bluesmens music. In the end I hope this enables you to develop an original style of your own. In my many years of teaching I've discovered an abundance of publications that have exact note for note transcriptions of original blues songs. Attempting to play these was a nightmare. I found that in order to do things exactly, there was no feeling or emotion left in the music. Come on, can anyone really play like Lightnin' Hopkins? The best you can do is take the emotion from the original and do your own thing. How many of you have spent hours trying to learn that one mystery note and have never gotten it to sound right? I say relax, get as close as you can, and go from there. I've taken some liberties with the music in this book. These songs are not even close to being note for note renditions of the originals. I know some blues purists are going to freak out but again, this is primarily a book to help you develop your own style. If I haven't bothered to be precise, I don't expect you to either. Feel free to add and subtract licks when you want. This isn't classical music or brain surgery. Live a little! Finally, I must give credit where credit is due, and that's to the original blues artists. I would never think of taking anything away from them. Without seeing, listening, and learning from them, I would probably still be playing "Last Train to Clarksville" by the Monkees. This is why you should listen to as much original music of these artists as possible. It's the only way to see what's really happening. Remember they are the legends!

LONNIE JOHNSON, STEFAN GROSSMAN'S EARLY MASTERS OF AMERICAN BLUES GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO DI MUSICA BLUES, CON 2 CD. 

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ACCORDI, PENTAGRAMMA, TABLATURE. 

Stefan Grossman's Early Masters of American Blues Guitar: Lonnie Johnson
Lonnie Johnson / transcr. Stefan Grossman

ORIGINAL RECORDINGS

SERIES: Stefan Grossman’s Early Masters of American Blues Guitar
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 16 songs, transcribed exactly as performed by legendary blues master Lonnie Johnson. In addition to Stefan's expert transcriptions, the book includes a CD containing the original recordings of Lonnie Johnson so you can hear the music as he performed it.

One of the most influential blues artists of the 20th century, Lonnie Johnson began his 50-year music career in the early 1920s, and continued to perform and record until his passing in 1970. Recording both as a soloist and with legends like Louis Armstrong, Duke Ellington, and Eddie Lang, Lonnie Johnson's influence can still be heard today, from the work of blues guitar greats like T-Bone Walker and B.B. King, to a whole new generation of blues players.

INTRODUCTION

by Stefan Grossman
I grew up in New York City. During the 1960s I had the
unique opportunity to see and study with a host of great
blues guitar players: Mississippi John Hurt, Son House,
Skip James, Fred McDowell, Mance Lipscomb, Bukka
White, and especially Rev. Gary Davis.
I spent several years traveling up to the Bronx every
weekend to learn guitar from Rev. Davis. He had a vast
repertoire of songs and guitar styles and a memory that
was as sharp as a razor. He would talk about recordings
and performers of country bluesmen from the 1920s and
1930s. Usually he was disdainful of their talents-Blind
Lemon Jefferson could play the guitar but he cried when
he sang; Blind Boy Fuller couldn't play the guitar and
needed lessons; using a bottleneck was cheating. But
Rev. Davis had his own guitar heros-Blind Blake had a
sportin' right hand, Willie Walker was a guitar giant and
onnie Johnson was the king of the fretboard.
s a teenager, I absorbed each word and note of Rev.
Davis as the gospel. I bought blues albums, searched for
old 78s, and went to clubs to see blues guitarists. Gerdes
olk City was a center for concerts in New York City and
one week I discovered that Lonnie Johnson would be
playing there. With great eagerness I went down to see
he "king of fretboard."
onnie was playing a cheap electric guitar and using
a plectrum. His blues were a combination of late 1940s
&B tunes and folk blues played in a very diluted
ashion. His singing had a cocktail lounge edge. All in all
I was disappointed. I saw and heard nothing that I would
ant to play.
uring the next few years, I saw Lonnie Johnson in
arious blues festivals and club appearances. I was
ever impressed but in the back of my mind I had Rev.
avis' unequivacable recommendation that Lonnie was
one of the best that had ever played the blues.
Nhat a fool a teenager can be! If only one of my record
ollector friends would have played me some of Lonnie's
great instrumental tracks from the 1920s, I might have
een converted on the spot! As was, I didn't really
delve into Johnson's playing until 20 years later. During
e 1960s, Lonnie's brand of blues was out of fashion
with both record collectors and blues enthusiasts. The
Delta blues was high on everyone's mind and guitar
playing fingers. The steady flow of melodic riffs and
runs that Lonnie recorded in the 1920s/1930s were too
sophisticated and jazz oriented for blues guitarists and
record collectors.
Many of the fingerstyle blues guitarists of the 1960s
eventually got interested in single-line improvisation and
electric blues styles. This usually started with studying
B.B. King and then Albert King and Freddie King. The
road travelled backwards in time from players of the
'60s to '50s (T-Bone Walker) to '40s (Charlie Christian)
and eventually ended in the '30s and '20s with Lonnie
Johnson. The roots of modern electric blues and rock
guitar can be found in the playing of Lonnie Johnson.
Lonnie was sadly overlooked in his later years by blues
and guitar playing historians. He was never interviewed
in depth about either his life or his guitar techniques.
What a crime; especially as his guitar playing has so
many mysteries.
When listening to Lonnie's early great recordings, one
is struck with how spectacular, complex and innovative
they are. What is very unusual is that the tonality and
key is the same for so many tunes. He might have his
guitar tuned low, or play it with a capo, or use a twelve
string instead of a six string but the chord shapes are
always based around the key of D. Document Records
(Eipeldauerstr. 23/43/5, A-1220 Vienna, Austria) have
released a 7-volume CD set Lonnie Johnson-The
Complete Recorded Works (each CD containing over 20
titles) and within those 140 plus tracks, you will only find
3 or 4 tunes in a key other than D! Yet, Lonnie's recording
output in the 1940s and 1950s has little in common
with blues in D, and he in fact rarely played in that key
or style during these years. I personally CCllHlUlcile
another guitarist whose style and technique changed so
dramatically, especially after it was so widely acclaime
and imitated. This is a very strange phenomenon that
only Lonnie could have helped us to understand.
There are a host of great instrumentals and blues
accompaniments that Lonnie recorded in the '20s and
'30s. This book presents a collection of 16 instrumental
 

EDITED AND TRANSCRIBED BY STEFAN GROSSMAN

The Early Masters of American Blues Guitar series provides the unique
opportunity to study the true roots of modern blues. Stefan Grossman, noted
roots-blues guitarist and musicologist. has compiled this fascinating
collection of 16 early blues guitar classics as performed by the legendary
Lonnie Johnson. In addition to Stefan's expert transcriptions, the book
includes a CD containing the original recordings so you can experience
the music as it was originally performed.

Titles:

Mr. Johnson's Blues
Love Story Blues
To Do This, You Got to Know How
Blues In G
Away Down In the Alley Blues
Sweet Woman You Can't Go Wrong
I'm So Tired of Living All Alone
Bitin' Flea Blues
Life Saver Blues
Blue Ghost Blues
Uncle Ned Don't Use Your Head
Cat You Been Messin' Aroun'
There Is No Justice
Go Back to Your No Good Man
Stomping 'Em Along Slow
Woke Up With the Blues In My Fingers

Each book in the Earlv Masters series contains the original artist's performances, transferred
from vintage 78s. These original recordings are a piece of musical history, and the only way to
hear and appreciate the powerful feel and impact of these pivotal, early music giants.

COMPLETE COUNTRY BLUES GUITAR BOOK. STEFAN GROSSMAN. SHEET MUSIC BOOK WITH 2 CD & GUITAR TABLATURE

LIBRO DI MUSICA BLUES ACUSTICO, CON 2 CD.

SPARTITI PER CHITARRA CON: 

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260 pagine per chitarra, 57 classici di blues rurale, come "Crow Jane", "monday morning blues". Delta blues, ragtime blues, alternating bass & open tunings, Texas blues, bottleneck blues. 

Tutte le versioni strumentali delle famose canzoni di Blues Acustico registrate da Stefan Grossman.

Product Description:
Over 50 fingerpicking guitar solos in notation and tablature in country blues, Delta blues, ragtime blues, Texas blues and bottleneck styles. An extremely comprehensive blues solo collection. 2 CD's included.

Format: Book/2-CD Set
Series: Complete

INTRODUCTION

There are many ways to approach fingerpicking blues guitar and this is indeed what makes this study so interesting, challenging and exciting. I was lucky. In the early 1960s I began to hear various recordings by Rev. Gary Davis, Big Bill Broonzy, Brownie McGhee and Lightnin' Hopkins. I was hooked! Their energy, sound and feel made it obvious in what direction of guitar playing I was going to travel. I began to hunt for LPs of any bluesman. This expanded to searching for collectors of old 78s. The music of Robert Johnson, Charlie Patton, Son House, Willie Brown. Tommy Johnson, Blind Boy Fuller, Blind Willie Johnson, Blind Willie McTell and others could only be heard via their old 78s and these were quite rare, to say the least. During this exploration I made friends with other guitarists and blues lovers (Nick Perls, Steve Katz, Rory Block, John Sebastian, Marc Silber, John Fahey, ED Denson. Dick Waterman and Tom Hoskins). We jOined together into what Chris Strachweiz (owner of Arhoolie Records) dubbed "the Blues Mafia "!We hunted for old blues records. exchanged ideas on how these bluesmen played their guitars and even started to search for some of these legendary artists.

1963 and 1964 were important years for the country blues. Tom Hoskins, a "Blues Mafia" friend from the Washington, D.C., area, travelled down to Avalon, Mississippi. and rediscovered Mississippi John Hurt. Dick Waterman, Bill Barth and Nick Perls jumped into their old Volkswagen bug in New York City and began their search for Son House by travelling down to Mississippi, only to have his trail end up in Rochester. New York, where Son was alive and well. John Fahey and ED Denson sent a telegram to Aberdeen, Mississippi, addressed to Bukka White - "blues singer." Before long, they received a call from Bukka, who was living in Memphis, Tennessee. John Fahey, along with several friends, started to get tips regarding the whereabouts of Skip James, and after some searching they found themselves standing by Skip's bedside in a Mississippi hospital. Within a 12-month period the bfues exploded. The giants from the 1920s- 1930s were being rediscovered and presented to a new audience of blues lovers.

This was a time of country blues abundance. At a festival you could hear Rev. Gary Davis, Mance Lipscomb, Fred McDowell, Son House, Mississippi John Hurt, Skip James, Bukka White, Furry Lewis, Brownie McGhee, Robert Pete Williams, Lightnin' Hopkins, Jesse Fuller, Gus Cannon, Big Joe Williams, Lonnie Johnson and others. Many missing pieces of the blues jigsaw puzzle were being put together. I was in seventh heaven as far as learning blues guitar. I had been a student of the great Rev. Gary Davis since 1962. He had patiently guided me into blues and ragtime techniques and styles.

He was a master musician and a wonderful teacher. After spending two years with Rev. Davis I became very close to many of the newly rediscovered bluesmen, and they patiently explained and taught me their approaches to playing the blues. Fingerpicking blues guitar spans a wide area: from the gentle pulsating sounds of Mississippi John Hurt to the hard rhythmiC variations of Charlie Patton to the ragtime sportin' right hand of Blind Blake to the complexities of Rev. Gary Davis to the melodic ....

Shake That Thing --
Nobody's Dirty Business --
It Won't Be Long --
Fare Thee Well Titanic --
You Got the Pocketbook, I Got the Key --
Ragtime Mama Blues --
Salty Dog --
Blues Ain't Dry --
Old Country Rock --
Take A Whiff On Me --
A Tribute To Lonnie Johnson --
Crow Jane --
One Kind Favor --
Easy Rider Blues --
Ragged And Dirty --
Return To Little Rock --
Monday Morning Blues --
Spoonful --
Weeping Willow --
Mississippi Blues --
Just A Closer Walk With Thee --
Working On The New Railroad --
Juicy Lucy --
Easy Street --
Vestapool --
Kassie Jones --
John Henry --
Sitting On Top of the World --
Police Dog Blues --
New Pony Blues --
If You Haven't Any Hay Get On Down The Road --
Yonder Comes The Blues --
Moon Goin' Down --
Belzona Blues --
Special Rider Blues --
Hard Time Killin' Floor --
Buck Dancer's Choice --
Bill Bailey --
Ton of Blues --
Blake's Breakdown --
Franklin Blues --
Sister Kate --
Struttin' Rag --
Twelve Sticks --
Man of My Own --
Strange City Streets --
Come Back Baby --
Mourning Blues --
Charley James --
Country Line --
Tickle Dew --
Banty Rooster --
One Kind Favor --
Someday Baby --
Wake Up Mama --
Good Morning Little Schoolgirl --
God Moves On the Water --

BLOCK RORY, TEACHES CLASSICS OF COUNTRY BLUES GUITAR. CD TABLATURE
a detailed course in repertoire and technique.

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

Series: Guitar
Publisher: Homespun Listen and Learn Series
Medium: Softcover with CD
Author: Rory Block

Here are some of the greatest country blues solos of all time, taught in phrase-by-phrase detail. Rory Block, one of the most knowledgeable and talented exponents of this style, performs and breaks down these fingerstyle pieces by Willie Moore, Blind Willie McTell, Tommy Johnson, Mississippi John Hurt, Skip James and others. 32 pages

Introduction

Dear Friends,
There was a time when the last thing I wanted to do was to teach blues. I was 15 years old and
believed that one needed to devote ones life to apprenticeship with the masters in order to
learn the old music. I didn't have the perspective at the time to realize how briefly those
masters would be among us and how little access the country at large had to a small area of the
east coast and a dot in time. I hoarded the music jealously.
Later on I realized how the things I had learned firsthand from Son House, Reverend Gary
Davis, Mississippi John Hurt, Fred McDowell, Skip James and others did not just belong to
me, or to those who had the good fortune of being at the right place at the right time. I realized
that his precious music belonged to everyone, and that I was the last person who wanted to see
it die away. I began to desire to share whatever I knew, to pass on my small part of the puzzle,
to inspire and educate if I was able. During this time many other venerable musicians, famous
and obscure have added their own irreplaceable passion to the equation. We have also recently
seen a new wave of the second generation, children and grand children, heirs to this great
music, and at the same time an increase in both availability and interest in historic music.
Myoid frienn. Artie Traum was there, as was I, during the roots music revival of the '60s, and it
was Artie who suggested I sit down and record this first audio series of my all-time favorite
country blues songs. I now feel it a great honor to be a part of this process, and hope to inspire
in each listener and player a burning need to add something of themselves to everything they
play, because that connection with the soul, that expression of the individual in each note is
what really carries the music on.

TEACHES
Classics of Country Blues Guitar

Table of Contents

 Introduction

"Old Country Rock"
Intro Music - "Old Country Rock"
Introduction
Tuning Pitches
1st 4 Measures
G7 Chord
Connecting Run
Measures 7 and 8
1st 8 Measures - Slow Version
1st 8 Measures - Fast Version
Rhythmical "Gem"
Tag #1
Tag #2 ("A" Section)
Tag #2 ("D" Section)
"Old Country Rock"

"Statesboro Blues"
Intro Music - "Statesboro Blues"
Intro Breakdown
Full Intro
Song Breakdown
"Statesboro Blues"

"Big Road Blues"
Introduction
Intro Breakdown
Ascending Bassline
"Big Road Blues"
"D" Section Substitution
G7 Section
Right Hand Techniques
Right Hand Techniques Continued
"Snapping"
"Snapping" Continued
Last Section Breakdown

"Canned Heat"
Intro Music - "Canned Heat"
Song Breakdown
Song Review

"Future Blues"
Introduction
Tuning Pitches
"Future Blues"
Song Breakdown
Adding Vocals

"Devil Got My Man"
Introduction
Tuning Pitches
"Devil Got My Man"
Song Breakdown
Song Breakdown Continued
Song Discussion
"Devil Got My Man" with Vocal

"Police Dog Blues"
Intro Music - "Police Dog Blues"
Harmonics
Song Breakdown
Alternate Ending (meas. 15 and 16)
Alternate Verse #1 (meas. 7-11)
Alternate Verse #2 (meas. 7-11)
Song Review

"Mississippi Blues"
Introduction
Tuning Pitches
Song Discussion
"Mississippi Blues"
Intro Breakdown
Intro Review
Verse Breakdown
Verse Review
Solo Breakdown
"Mississippi Blues" with Vocals
Outro
Continue Your Studies with Rory Block
A Selected Discography 

Acoustic guitar magazine, ROOTS AND BLUES FINGERSTYLE GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

LIBRO METODO DI MUSICA BLUES, CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA, OPEN TUNINGS, SLIDE, 

Steve James presenta 25 tradizionali American blues guitar styles, per imparare il fingerpicking (suonare con le dita, senza il plettro) e la tecnica slide suonando le canzoni del repertorio di maestri come Furry Lewis, Blind Willie McTell, Sam McGee, and Mance Lipscomb. Il canto, le parole, fotografie, e altro. Take Me Back -Sugar Babe -Milwaukee Blues -Sebastopol -John Henry, e altre. CD TABLATURE

Acoustic Guitar Private Lessons
Series: Guitar Collection
Publisher: String Letter Publishing
Softcover with CD - TAB
Arranger: Steve James
PRIVATE LESSONS

25 SONGS TO PLAY
BLUES, RAGTIME, COUNTRY
Learn the Traditions techniques, and tunes

OPEN TUNINGS 
SLIDE
From the publishers of ACOUSTIC GUITAR MAGAZINE

Steve James presents a treasure trove of traditional American guitar styles in this unique book/CD pack. Guitarists will learn fingerpicking and slide techniques not through dry exercises but by playing 25 songs from James' own repertoire and from such masters as Furry Lewis, Blind Willie McTell, Sam McGee, and Mance Lipscomb. Drawing on his extensive research and first-hand experience with these guitar pioneers, James tells the stories behind the songs, too. Features authentic arrangements in notes & TAB, vocal melodies and lyrics, historic photos, and more. Songs: Take Me Back - Sugar Babe - Milwaukee Blues - Sebastopol - John Henry , more! 96 pages

It's been well over three decades since I started playing the guitar. From the outset, my creative point of departure has always been American folk, blues, and old-time country styles. This fascination with our musical roots has persisted throughout my career as a performing and recording artist, writer, and teacher. I've had occasion to playa lot of styles of music, from bluegrass to rockabiIly to contemporary folk ... bar-walkin' R&Bwith sax legend Clifford Scott to Chicago blues with Buddy Guy and full-on rock 'n' roll with Bo Diddley. It always seemed that, no matter what the style, the basic musical vocabulary always came straight from the roots.

I've been a contributing editor to Acoustic Guitar magazine since the publication started in 1990, and, in recent years, I've also served as an instructor/performer at several guitar festivals that the magazine has sponsored in the San Francisco Bay area Whether writing an article or teaching a guitar clinic, my approach to presenting this material encompasses technique, repertoire, and history, along with anecdotes and lore concerning the music and musicians. Roots and Blues Fingerstyle Guitar takes a similar approach, incorporating all these elements into one book and CD.

A large part of this text is an instruction manual for the beginning- and intermediate-level fingerstyle guitarist. Twenty-five tunes are transcribed in tablature and notation along with chord diagrams and explanatory notes. These include my own arrangements for blues, rags, and country themes along with excerpts from the recorded works of some roots guitar pioneers. Specific techniques are pointed out as they occur in the music. The accompanying CDcontains recorded examples from the songs as they are transcribed, played slowly and up to tempo with reference pitches for retuning where needed. Although the material is not necessarily sequenced in order of difficulty, starting with the first chapter and playing through the basics is suggested regardless of experience level.

The balance of the book is history, homily, and hooraw in various combinations. Members of my audiences often tell me that the stories about this music and the many remarkable people and circumstances that have contributed to its development over the years make the songs more real to them. Likewise, students seem more motivated to learn and practice when they feel like the tunes are old friends (which they are). This is good, because learning to play this style is largely a function of dogged, repetitive reptile-brain, your-dinner's-getting-cold practice. The good old southern American big-thumb guitar method is originally a rural art, so it doesn't take a socio-ethnologist to figure out that the early practitioners were farmers like Mance Lipscomb and Sam McGee. Pitching hay or plowing with a mule isn't as easy on the mitts as a pre-recital warm-up; but what they lacked in interdigital articulation, the inventors of twang made up in pure squeeze powerNwhich came in handy at barn dances and country suppers where the first set was three hours long. Times have changed, but the musical work ethic persists. The express train and church bells sound of "Buckdancer's Choice" or the sledgehammer Delta crunch of "Roll and Tumble" doesn't cascade from the box with the first love pat. One way I've found to keep things jolly while working on the cusp of carpal tunnel syndrome is to recall a few of the things I've heard or experienced over the years while passing up hot meals and paychecks to verify drawled rumors about primal string noise to be heard at the fourth house after the pavement stops. So these pages include excerpts from the well-thumbed old travel guide that leads to this music. When their honky-tonk and rock 'n' roll progeny came down the road with the first electric line, some of these tunes were already rocking on the porch saying: "What took you so long?" Steve James, Texas

LEARN TO PLAY THESE SONGS:

- Amos Johnson Rag - TRADITIONAL
- Bear Creek Hop - TRADITIONAL
- Blues In A 
- Buckdancer's Choice - SAM McGEE
- Buddy Bolden's Blues - TRADITIONAL
- Crow Jane - TRADITIONAL - arranged SKIP JAMES
- Guitar Rag - TRADITIONAL
- I Got To Cross That River Of Jordan - TRADITIONAL - BLIND WILLIE McTELL
- I Will Turn Your Money Green - FURRY LEWIS
- Jack O' Diamonds / Rye Whiskey - TRADITIONAL
- John Henry - TRADITIONAL
- Judge Harsh Blues - FURRY LEWIS
- Liberty - TRADITIONAL

- Milwaukee Blues - TRADITIONAL - CHARLIE POOLE
- Railroad Bill - TRADITIONAL 
- Railroad Blues - SAM McGEE
- Roll And Tumble Blues - HAMBONE WILLIE NEWBER
- Sebastopol - TRADITIONAL - HENRY WORRAL
- Spanish Fandango - TRADITIONAL - HENRY WORRAL
- Stack Lee's Blues - PORK CHOP
- Sugar Babe - TRADITIONAL - MANCE LIPSCOMB
- Take Me Back - TRADITIONAL
- Things About Comin My Way - TAMPA RED
- Way Out On The Desert - ROOSEVELT T. WILLIAMS 

Accessible, authentic arrangements

Standard notation, tablature, and chord diagrams

Vocal melodies and lyrics

CD with all the music played slowly and up to tempo

Background on the artists and songs

Historic photos