LIBRO

ELECTRIC GUITARS AND BASSES, A Photographic History. George Gruhn Walter Carter

ELECTRIC GUITARS AND BASSES, A Photographic History. George Gruhn Walter Carter

REVISED AND UPDATED EDITION

Series: Book
Publisher: Backbeat Books
Format: Softcover
Author: George Gruhn
Author: Walter Carter

Electric Guitars and Basses tells the story in full color of one of the most influential forces on American culture in the 20th century – the electric guitar. From the earliest “lap steels” that reshaped the sound of Hawaiian music, through the “Spanish-neck” models that created a new voice in the jazz world and powered the early rock and rollers, and on to the solidbody models that shattered conventional ideas of guitar design and guitar music, all of the classic and historically important models are displayed and discussed by guitar experts George Gruhn and Walter Carter. This new edition features an additional 16 pages of important instruments and newly discovered information. 272 pages

... years of instrument evolution, and it focuses primarily on guitars-Hawaiian "steel guitars," conventional "Sparushneck" guitars, and bass guitars. Electric banjos were never more than curiosities; electric mandolins were marginally more successful but never a threat to acoustic mandolins. The electric guitar has struggled, more so than the various acoustic fretted instruments that preceded it, for acceptance as an instrument to be judged on its own merits. Musicians and music lovers have derided it for not having a true amplified acoustic-guitar sound. Designers and craftsmen have dismissed it on the simplistic grounds that little luthiery skill is required to attach a set of electronics to a plank of wood. Consequently, the aesthetic qualities of electric guitars have not always been fully appreciated, even though the very nature of the instrument- the secondary importance of acoustic qualitiesoffers a freedom of design unavailable to designers of acoustic instruments.

The electric guitar has come into its own in the last decade, with its own set of classic designs, legends, and lore. The Fender Stratocaster solidbody and the Gibson ES-335 semi-hollowbody are to the electric guitar world what the Martin dreadnought flat-top and the Gibson L- 5 archtop are to the acoustic world. The parallel extends to the-obscure Coral electric sitar of the late 1960s, which is much like the harp guitar of the early 1900s; both featured an extra set of strings, and both were interesting experiments and commercial failures. To the guitar aficionado nowadays, a prominent tiger-stripe wood grain in the maple top of a 1960 Gibson Les Paul Standard looks as beautiful as a highly figured piece of Brazilian rosewood on a prewar Martin D-45 acoustic flat-top, and the curves and contours of a Fender Stratocaster body are as classic as the scroll and f-holes of a Gibson F-5 mandolin. The names Adolph Rickenbacker and Leo Fender have become as familiar and revered as C. F. Martin and Orville Gibson. The instruments alone deserve a book, but the stories of the major manufacturers-whether they involve revolutionary innovations, utter lack of foresight, or both-have proven irresistible. For example, it seems inconceivable that Gibson would have failed to recognize a growing demand in the 1960s for its discontinued Les Paul Standard and then, when it finally noticed the demand, would reintroduce the wrong version of the Les Paul. Some of today's most collectible models, such as Gibson's Flying V and Explorer, were dismal commercial failures and are consequently quite rare, while others, like Fender's Stratocaster and Gibson's Les Paul Standard were successful in 1950s versions and are not rare at all by vintage guitar standards, yet they are still highly sought after because of the perfection of their design. In the world of vintage fretted instruments, one story leads to another, and we could go on forever. We have tried to let the photographs do most of the talking, however, and they are offered for your enjoyment and appreciation. We would like to thank the many collectors and dealers who let us photograph their instruments. We are indebted to the following people for sharing their knowledge in specialized areas: for early electric instruments: A. R. Duchossoir and Mike Newton; for Vivi- Tone: Roger Siminoff and John Sprung; for early Fender: Gary Bohannon and John Sprung. -George Gruhn and Walter Carter Nashville, 1994

... guitar were built along the lines of a standard guitar. This instrument would seem to be a shortcut-a synthesizer made for guitarists who do not know how to play a keyboard, much as the tenor guitar was, for a time, a shortcut for tenor banjo players who were not proficient on guitar. However, despite a promising start in the 1980s, neither the synth guitar nor the keyboard synthesizer were able to unseat the guitar as the most popular mass-market instrument. Unlike the guitar synthesizer, which still plays like a guitar, the Chapman Stick is unique among descendants of the guitar. The playing technique for guitar and all other fretted instruments does not carryover to the Stick. It was designed to exploit fretboard tapping techniques that were developed on a standard guitar primarily by Gretsch employee Jimrnie Webster in the early 1950s and then taken to a new level in the late 1970s by rocker Eddie Van Halen. Although the Stick has the appearance of an electric guitar-with strings, frets, and a pickup unit-it frees all the fingers of both hands to produce tones, and it offers no easier transition for a guitarist than a piano would. Consequently it has attracted only a small following. Does the electric guitar really need to evolve further? Probably not, because it has succeeded like no other type of guitar in achieving its goal.The evolution of the electric guitar was driven by a quest for greater volume--the same force that drove the evolution of acoustic flat-top, archtop, and resonator guitars. By the end of the 1950s, the electric guitar per se no longer imposed a limit on volume. The limitation now was in the amplifier, and so that last leg in the quest for volul11.ewas handed over to amplifiers. The century-long driving force in guitar evolution was removed. Volume isn't the only element in the performance of an electric guitar.There is also tone. But just as the responsibility for volume was taken away,so the element of tone has been to a great extent handed over to outboard signal processors, aka effects. Pickup designs have been "tweaked," to be sure, but the sound of an electric guitar is seldom heard straight and unaltered from the guitar through the amplifier. Guitarists seem to be reasonably satisfied with the performance of the Gibson humbucker, the Gibson singlecoil P-90, and Fender's single-coil pickups. If they want different sounds, they are more likely to look for different effects units rather than for different pickups. In short, it seems that the electric guitar is a fully evolved instrument. While makers continue to perfect designs,we do not anticipate innovations that will displace or render existing designs obsolete. If the electric guitar has truly "had its run," then it has been quite a run compared to other fretted instruments. Starting in the late 1930s, with the emergence of Charlie Christian, the electric guitar has been in a prominent position for seventy years.That's about as along as the dominant eras of all its predecessors-the classic (five-string) banjo, mandolin, tenor banjo, and acoustic guitar-combined. It's even more impressive in an age when technological advances can make new TVs, computers, or even electronic keyboard instruments obsolete every few months. The afterword in the first edition of this book noted that, ironically, the future of electric guitars may well be in the past. One trend of the early 1990s was a greater appreciation for older, traditional designs, and that trend continues today. Many companies, including Fender, Gibson. Rickenbacker, and a revived Gretsch, are enjoying a strong market for vintage reissues.What started as a demand for replicas has broadened to include "aged" replicas-new guitars that look old. This sub-genre now supports a number of independent businesses specializing in "relic" treatments as well as vintage-style pickups and other parts. Considering that acoustic flat-top design was well evolved by the 1850s and perfected by the end of the 1930s, and violin design peaked around 300 years ago, this backward-looking trend in electric guitar development is not necessarily cause for concern about the future of electric guitars. The need for major improvements in electric guitars may not exist, but interest in electric guitars is still healthy and strong, as evidenced by the growing popularity of video games that use a fake guitar as the game controller. It's not just the electric guitar now, but the "electric guitar experience" that·is embedded in our culture. With or without any further evolution, the electric guitar should be around for a long time to come.

Gibson Les Paul Robot, 2008. Gibson applied modern technology to a mechanical aspect of the guitar and came up with the Gibson Robot featuring automatic string tuners. Gruhn Guitars/KV

"This book is a visual feast, but collectors will also enjoy Gruhn and Carter's historical information, which is written with meticulous attention to detail and accuracy."---Vintage Gallery"

"A colorful, informative book that will have guitar junkies positively writhing with unrequited desire."---Los Angeles Reader"

"Another stunner featuring page after page of full-color musical instrument portraits (the pictures are so loving and attentive you couldn't call them anything else)... Practically everyone who cares deeply about America's idiomatic musics...will pour over this book like a Hendrix flourish over that morning crowd at the original Woodstock."---Booklist"

In this revised and updated edition of their popular book, guitar experts George Gruhn and Walter Carter trace the technical and aesthetic development of the electric guitar, with an updated history of the iconic instrument. Accompanied by hundreds of colorful photographs, here is the history of the instrument---including newly discovered information on the most innovative models yet---along with irresistible stories of the major manufacturers: Fender, Gibson, Gretsch, Rickenbacker, and more. From the earliest lap steels that reshaped the sound of Hawanan music, through the Spanish neck models that created a new voice in the jazz world and powered the sounds of early rock án' roll, to the solidbody models that shattered conventional ideas of guitar design and guitar music, all of the classic and historically notable models are covered here, bringing this compelling story completely up to date.

George Gruhn is recognized worldwide as a leading authority on vintage fretted instruments. He established Gruhn Guitars in Nashville in 1970. It has since become one of the largest dealers of vintage and fretted instruments.

Walter Carter has been involved in the Nashville music scene since 1971 as a journalist, songwriter, and musician. He is the former historian for the Nashville-based Gibson Guitar Corp. and the author of several books on vintage guitars and guitar companies.

 

Table of Contents
Introduction to the 2010 Edition 
Introduction to the 1994 Edition 

PART ONE ELECTRIC ROOTS: 1928 TO WORLD WAR II 

1 Hawaiians
Rickenbacker 
National 
Gibson 
Fender 
Other Makers 

2 Spanish-Necks
Hollowbodies 
Vivi-Tone 
Solidbodies 

PART TWO BRANCHES OF THE ELECTRIC FAMILY: 1947 TO TODAY 

3 Full-Depth Hollowbodies
Gibson 
Epiphone 
Gretsch 
Other Makers 

4 Solidbodies
Fender 
Fender Basses 
Fender Colors 
Gibson 
Gretsch 
Rickenbacker 
Other Makers 

5 Thinbodies
Gibson 
Epiphone 
Rickenbacker 
Other Makers 
Afterword 
Bibliography 
Recommended Reading 
Index 

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SMITH ELLIOTT-SONGBOOK-GUITAR TABLATURE LIBRO SPARTITI CHITARRA NOTE ACCORDI MUSICA

SMITH ELLIOTT, SONGBOOK. BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA POP. 

SPARTITI PER VOCE E CHITARRA CON : 

ACCORDI, NOTE, PENTAGRAMMA, TABLATURE. 


Series: Guitar Collection
Format: Softcover - TAB
Artist : Elliott Smith
Arranger : Fred Sokolow

A fixture on the Portland indie music scene, singer-songwriter Elliott Smith was introduced to the mainstream via his Oscar-nominated song -Miss Misery from the Good Will Hunting soundtrack. This collection features that song and 17 others, from his first CD, through tracks released after his tragic and untimely death. Includes: Angeles -Clementine -Everything Means Nothing to Me -Pretty (Ugly Before) -Say Yes -Son of Sam -Waltz #2 (XO) and more, plus a discography and an intro. 80 pages

 

INTRODUCTION

Elliott Smith said that the Beatles' multi-faceted White Album inspired him to be a musician, so it's not surprising that the six albums he released during his short life (1969-2003) reveal an eclectic, varied musical taste. Pop, folk, classical, and punk sensibilities abound. Lyrically, the songs are full of pain, disillusionment, and despair, but also beauty, humor, and sometimes hope. Above all, the nihilism and anguish of his words are belied by the musical craftsmanship he poured into his compositions and performances, both live and recorded. He wrote every song on his albums, played most of the instruments, sang all the lead vocals, and most of the vocal harmonies. The obvious commitment he made to his art is in itself a statement of hope and value. In the early 1990s, when Smith's band Heatmiser was building a following in Portland, his girlfriend talked him into sending a demo of eight original songs he had cobbled together on borrowed equipment to Cavity Search Records; so began his career as a solo artist. Four years later, in 1998, he signed with DreamWorks. Smith came close to achieving pop stardom. His song, "Miss Misery" was nominated for a "Best Original Song" Oscar in 1998 for its use in the film Good Will Hunting. He appeared on Saturday Night Live, The Letterman Show and other TV shows, and by the time of his death in 2003, he had attained quite a large following as an indie-pop hero. Two biographies have been written and a number of tribute albums have been released by other indie artists, as well as tribute songs by Rilo Kiley, Third Eye Blind, Ben Folds, Rhett Miller, Earlimart, and others. He continues to inspire a great amount of web activity among his fans. Smith's main instrument was guitar, but he also played bass, drums, clarinet and had some classical piano chops (there's a YouTube video of him playing Rachmaninoff). He performed both as a solo acoustic act and with a full band on electric guitar. He usually played with his fingers, in a unique style that blended folk/blues fingerpicking with strumming. A Dylan "Don't Think Twice" influence is evident in songs like "Somebody That I Used to Know" and "Memory Lane," while "Condor Avenue" is reminiscent of Simon and Garfunkel. The a copella "1 Didn't Understand" shows his classical roots (as well as an affinity for the Beatles and the Beach Boys). Other, fullyproduced rock offerings like "Son of Sam" and "Pretty (Ugly Before)" reveal all kinds of pop influences spanning the Sixties, Seventies, Eighties, and Nineties. Smith also employed some unusual open guitar tunings that added to the individuality and uniqueness of his sound. Despite the indie and punk influences in Smith's music, his songs are more harmonically complex than most pop or rock. There are more chords per tune, including jazz or orchestral chords, more unique and rambling progressions, and ascending or descending bass lines. Above all, he created his own sound (which he described as "impressionistic") and presented his work with the commitment and passion of a genuine, authentic artist. This book is an offering to make his music and guitar styling accessible to his fans, to keep his songs circulating, and to spread the word about the legacy he left behind.

 

CONTENTS
Introduction
Discography
Arranged by fred Sokolow
 
Song List: - ALBUM
 
Angeles - Either/Or
Ballad of Big Nothing - Either/Or
Between the Bars - Either/Or
Bottle Up & Explode - XO
Clementine - Elliott Smith
Condor Avenue - Roman Candle
A Distorted Reality Is Now a Necessity to Be Free - From a Basement on the Hill
Everything Means Nothing to Me - Figure 8
I Didn't Understand  - XO
Memory Lane - From a Basement on the Hill
Miss Misery - Good Will Hunting Original Soundtrack
Needle in the Hay - Elliott Smith
Pretty (Ugly Before) - From a Basement on the Hill
Rose Parade - Either/Or
Say Yes - Either/Or
Somebody That I Used to Know - Figure 8
Son of Sam - Figure 8
Waltz #2 (XO) - XO
 
GUITAR NOTATION LEGEND 80
 
 
Editorial assistance provided by Ronny Schiff
Cover photo by Autumn de Wilde
 
ISBN 978-1-4234-4013-0
HAL-LEONARD CORPORATION
7TT7 w. BLUEMOUND RD. P.O. Box 13819 MILWAUKEE, WI 53213
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BLACK KEYS ATTACK & RELEASE GUITAR TABLATURE BOOK SPARTITI CHITARRA LIBRO

BLACK KEYS, ATTACK & RELEASE. SHEET MUSIC BOOK FOR VOCAL & GUITAR TABLATURE.

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.  

Series: Play It Like It Is
Format: Softcover - TAB
Artist : The Black Keys

Artist-approved notes and tab for the songs off this Akron duo's 2008 CD, produced by Danger Mouse. Contains -I Got Mine, one of Rolling Stone's 100 best songs of the year and: All You Ever Wanted - I Got Mine - Lies - Oceans and Streams - Psychotic Girl - Remember When (Side A) - Remember When (Side B) - Same Old Thing - So He Won't Break - Strange Times - Things Ain't like They Used to Be, plus an intro/band bio.

Song List:
All You Ever Wanted
I Got Mine
Lies
Oceans And Streams
Psychotic Girl
Remember When (Side A)
Remember When (Side B)
Same Old Thing
So He Won't Break
Strange Times
Things Ain't Like They Used To Be

80 pages

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DEF LEPPARD THE BEST OF GUITAR SCHOOL TABLATURE LIBRO HAL LEONARD HYSTERIA-WASTED

DEF LEPPARD, THE BEST OF, GUITAR SCHOOL. TABLATURE

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

ESTRATTI
From the album HIGH 'N' DRY
Bringin' On The Heartbreak
another hit and run
let it go

from HYSTERIA
Hysteria
Love Bites
Pour Some Sugar On Me

from ON THROUGH THE NIGHT
Rock Brigade
Rocks off
wasted

from PYROMANIA
Foolin'
Photograph
Rock Of Ages

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CHICAGO-THE RETROSPECTIVE COLLECTION PIANOFORTE LIBRO SPARTITI NOTE HARD TO SAY I'M SORRY

CHICAGO, THE RETROSPECTIVE COLLECTION. Per PIANOFORTE.

Series: Piano/Vocal/Guitar Artist Songbook
Artist : Chicago

A comprehensive collection of 34 Chicago hits complete with a band bio and discography. Songs include: Alive Again -Baby What a Big Surprise -Call on Me -Caravan -Does Anybody Really Know What Time It Is -Feelin' Stronger Every Day -Hard Habit to Break -I Don't Wanna Live Without Your Love -Look Away -Saturday in the Park -Will You Still Love Me -You're Not Alone -You're the Inspiration -and more. 200 pages

Song List:

ALIVE AGAIN
ANOTHER RAINY DAY IN NEW YORK CITY
BABY WHAT A BIG SURPRISE
BEGINNINGS
CALL ON ME
CARAVAN
COLOUR MY WORLD
DIALOGUE (PART I)
DIALOGUE (PART II)
DOES ANYBODY REALLY KNOW WHAT TIME IT IS?
FEELIN' STRONGER EVERY DAY
FREE
HARD HABIT TO BREAK
HARD TO SAY I'M SORRY
HARRY TRUMAN
I DON'T WANT TO LIVE WITHOUT YOUR LOVE
(I'VE BEEN) SEARCHIN' SO LONG
IF SHE WOULD HAVE BEEN FAITHFUL
IF YOU LEAVE ME NOW
JUST YOU 'N' ME
LOOK AWAY
LOWDOWN
MAKE ME SMILE
NO TELL LOVER
OLD DAYS
QUESTIONS 67 AND 68
SATURDAY IN THE PARK
THUNDER AND LIGHTNING
25 OR 6 TO 4
WHAT KIND OF MAN WOULD I BE?
WILL YOU STILL LOVE ME
WISHING YOU WERE HERE
YOU'RE NOT ALONE
YOU'RE THE INSPIRATION

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ROLLING STONES, GET YER YA-YA'S OUT ! IN CONCERT Authentic Guitar TAB Edition TABLATURE

ROLLING STONES, GET YER YA-YA'S OUT ! IN CONCERT. Authentic Guitar TABLATURE Edition

The Rolling Stones in Concert registato il
26 November 1969, Baltimore, Maryland, United States and 
27 – 28 November 1969, New York City, New York, United States

January-February 1970 (vocal overdubs)

40th Anniversary Edition Rolling Stones

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TABLATURE
FORMAT: Book
Item: 00-33882

 

UPC: 038081374536
ISBN 10: 0739064142
ISBN 13: 9780739064146


This deluxe edition of the Stones' legendary live recording from Madison Square Garden includes five previously unreleased songs. All are fully transcribed. Featuring text and photos, this book is a must-have for any guitarist and every Stones fan. Titles: Jumpin' Jack Flash * Stray Cat Blues * Love in Vain * Midnight Rambler * Sympathy for the Devil * Live with Me * Honky Tonk Women * You Gotta Move * Under My Thumb/I’m Free * (I Can’t Get No) Satisfaction * and more.

 

The Rolling Stones' Madison Square Garden concerts in November of 1969 might very well have been - at least for the 1960s – as good as it was ever going to get.

The Stones' performances came at the end of an unprecedented ascendance of music's influence over an entire generation. It is probably fair to say that never in the history of America had music played a more important role than our music did for us. And the most extraordinary music it was. The Stones 1969 tour was the latest wave of the so-called "British Invasion," which stood on the shoulders of American rock and roll back to Little Richard, Chuck Berry (and American blues before that). The "British invaion" revitalized an American rock 'n' roll that had grown soft and fluffy until Bob Dylan's rocket fueled lyrical, social, and electrical revitalization - some say reinvention - of it all. There was no reason for those assembled in Madison Square Garden to believe that we - with our music - wouldn't continue on our heady course upward, and rise ever "higher," a word with a lot of currency at the time. But you never know.

The Rolling Stones tour launched on the West Coast less than 3 month after the Festival at Woodstock. Those who were at Woodtock as well as those whose sympathies were aligned - a much larger number - were famously dubbed the "Woodstock ation" in a phra e attributed to Abbie Hoffman, a "Yippie Activist." Hoffman would come backstage before the Chicago concert to visit "Mick and the boys," try to bon'ow money, be rebuffed, and wander out muttering "bunch of cultural nationalists." It was a clever phrase "Woodstock ation" grouping us as it did into a political and social entity as if we had power. at ions had their own armies, right? And national anthems? Certainly, no nation ever had a soundtrack like ours. 1969 was an extraordinary year, there can be no doubt about it. Now in the 40th anniversary we have reason to remember it: the Rolling Stones in Hyde Park on July 5th (prior to Woodstock the largest of the mushrooming "free concerts"), July 20th the landing on the muon August 15th-17th Woodstock, and (although unknown at the time) the last Beat1es' performance, to name a few. In that year a barrage of unbelievable albums was released, as rock and roll continued to peak. A writer in December of2003 would call late December 1969 the "greatest week in rock history," citing the Billboard chart at the time which had in its top 10, The Beatles ", ''abbey Road," the Rolling Stones "Let It Bleed," Led Zeppelin's "Led Zeppelin II," Santana's "Santana," Blood Sweat & Tears, "Blood Sweat & Tears," and Crosby, Stills & Nash, "Crosby, Stills & Nash.'' ot listed, perhaps because they didn't have albums out that mouth, were Bob Dylan, Janis Joplin, the Doors, and Jimi Hendrix.

It was against this backdrop that the Rolling Stones arrived in Los Angeles in late October. They almost didn't make it. To work in the U.S. they needed U.S. work permits, and in the years between the last tour (1966) and the current, the Rolling Stones had three drug arrests between the five of them. The charges against Mick and Keith were dropped (though Keith spent a night in prison) but Brian Jones had been arrested twice, and would probably be convicted at least once. And that, as Americans say, would have been the ball game. Not for that reason, but perhaps not in complete ignorance of it either, Brian Jones was asked to leave the group. He did and (by some accounts) happily. ot long after, on July 3rd he was fooud at the bottom of his swimming pool. Efforts to revive him failed. Mick Taylor had already replaced Brian, and the 2nd iteration of the Rolling Stones was now set to tour. They rented two houses in Los Angeles - the "Oriole House" high in the Hollywood hills above Sunset Strip and Steven Stills' house off Laurel Canyon on the Valley side of the hills. The Rolling Stones rehearsed at the Stills' house in a small basement studio, not assiduously as Bill Wyman recalls, "We didn't do a lot. It was mostly party time. You know what the Stones are like."

I knew the Stones from work we had done together in 1968 and again in 1969. After working with them I went to work with the Beatles on "Let It Be," but left them after their last photo session (not knowing it would be their last) and went back to my family home in San Francisco. Later I heard the Stones were in L.A. - I don't remember knowing about it before - so 1 drove down and found my way up the winding streets to the Oriole House. Inside was a ...


Contents:

JUMPIN’ JACK FLASH - Parole e Musica di: Mick Jagger, Keith Richards - 1968
STRAY CAT BLUES - Parole e Musica di: Mick Jagger, Keith Richards - 1968
LOVE IN VAIN - Parole e Musica di: Robert Johnson - 1978
MIDNIGHT RAMBLER - Parole e Musica di: Mick Jagger, Keith Richards - 1969
SYMPATHY FOR THE DEVIL - Parole e Musica di: Mick Jagger, Keith Richards - 1968
LIVE WITH ME - Parole e Musica di: Mick Jagger, Keith Richards - 1969
HONKY TONK WOMEN - Parole e Musica di: Mick Jagger, Keith Richards - 1969
STREET FIGHTING MAN - Parole e Musica di: Mick Jagger, Keith Richards - 1968
PRODIGAL SON - Parole e Musica di: Robert Wilkins - 1965
YOU GOTTA MOVE - Parole e Musica di: Fred McDowell, Rev. Gary Davis - 1971
UNDER MY THUMB - Parole e Musica di: Mick Jagger, Keith Richards - 1966
I’M FREE - Parole e Musica di: Mick Jagger, Keith Richards - 1965
(I CAN’T GET NO) SATISFACTION - Parole e Musica di: Mick Jagger, Keith Richards - 1965

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GUNS N' ROSES CHINESE DEMOCRACY GUITAR TABLATURE SPARTITI CHITARRA LIBRO ACCORDI

GUNS N' ROSES, CHINESE DEMOCRACY. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

 

Better -Catcher In The Rye -Chinese Democracy -If The World -I.R.S. -Madagascar -Prostitute -Riad N' The Bedouins -Scraped -Shackler's Revenge -Sorry -Street Of Dreams -There Was A Time -This I Love. TABLATURE

TRANSCRIBED BY: DAVID STOCKER - ADDI BOOTH


Series: Guitar Recorded Version
Format: Softcover - TAB
Artist : Guns N' Roses
Here's the tab book you've been waiting for! At long last, Axl Rose's 17-year project has come to fruition. Our matching folio features note-for-note guitar transcriptions of all 14 tracks: Better - Catcher in the Rye - Chinese Democracy - If the World - I.R.S. - Madagascar - Prostitute - Riad N' the Bedouins - Scraped - Shackler's Revenge - Sorry - Street of Dreams - There Was a Time - This I Love. 232 pages

Song List:
Better
Catcher In The Rye
Chinese Democracy
If The World
I.R.S.
Madagascar
Prostitute
Riad N' The Bedouins
Scraped
Shackler's Revenge
Sorry
Street Of Dreams
There Was A Time
This I Love

Prezzo: €39,99
€39,99

KNOPFLER MARK, GET LUCKY GUITAR TABLATURE Monteleone-before gas & tv-border revier-Remembrance Day

KNOPFLER MARK, GET LUCKY. TABLATURE

Get Lucky is Knopfler's fifth studio album of the decade and was recorded at his award-winning British Grove Studios in West London and co-produced with long-time cohorts Chuck Ainlay and Guy Fletcher.

It is a beautifully crafted exploration of a lifetime of musical roots, fluently combining folk and blues with his original song writing and vivid observational lyricism.

He will be starting a 'Get Lucky' world tour in the spring of 2010.

All the songs from the album arranged for Guitar tab, complete with full lyrics and melody line.

Before Gas & TV
Border Reiver
Cleaning My Gun
Get Lucky
Hard Shoulder
Monteleone
Piper To The End
Remembrance Day
So Far From The Clyde
The Car Was The One
You Can't Beat The House

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HOW TO MAKE DRUMS, TOMTOMS AND RATTLES-Bernard Mason Primitive Percussion LIBRO INDIANI

HOW TO MAKE DRUMS, TOMTOMS AND RATTLES.
Primitive Percussion Instruments for Modern Use.
Bernard S. Mason.

Libro per costruire in proprio le percussioni degli indiani d'America.


Making your own primitive instruments from simple materials such as coffee cans and flower pots. Includes 121 figures.
Pages 208.

 

INDICE:

- DRUMS THE WORLD AROUND

- THE CRAFT OF DRUM-MAKING

- HAND DRUMS

- LARGE DANCE DRUMS

- DRUMS OF THE LONG OR BARREL TYPE

- WATER DRUMS

- DRUM STICKS

- USING THE PRIMITIVE DRUMS

- DANCE RATTLES AND OTHER SOUND MAKERS

Prezzo: €13,99
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BRUCE JACK, THE BEST OF BASS TABLATURE EDITION-FLESH CREAM-DISRAELI GEARS-WHEELS OF FIRE

BRUCE JACK, THE BEST OF. BASS TABLATURE EDITION

13 CLASSICS FROM CREAM AND BEYOND.

The Best of Jack Bruce

Jack Bruce
Item: 00-32154
UPC: 038081352466
ISBN 10: 0739059017
ISBN 13: 9780739059012

Category: Bass Guitar Personality
Format: Book
Instrument: Bass Guitar
Version: Authentic Bass TAB

In the late '60s, co-leading the immortal rock trio Cream with Eric Clapton, Jack Bruce became the most famous bass player in rock music. Today, 40 years later, his prestige and influence remains unchanged. This book contains 13 of his best known compositions and performances, including 11 Cream classics and 2 of his favorites from his solo career all fully transcribed in full notation and TAB. Titles: Dance the Night Away * Deserted Cities of the Heart * I Feel Free * I’m So Glad * NSU * Politician * Rope Ladder to the Moon * Sunshine of Your Love * SWLABR * Theme for an Imaginary Western * We're Going Wrong * White Room.

TITLE COMPOSER

I’m So Glad - Skip James (composer) - FLESH CREAM - 1967
We’re Going Wrong - Jack Bruce (composer) - DISRAELI GEARS - 1969

White Room - Peter Brown (composer); John Bruce (composer) - WHEELS OF FIRE - 1968

Swlabr - Jack Bruce (composer); Peter Brown (composer) - DISRAELI GEARS - 1967
Theme for an Imaginary Western - Jack Bruce (composer); Peter Brown (composer) - SONGS FOR A TAYLOR - 1971
Sunshine of Your Love - Eric Clapton (composer); Jack Bruce (composer); Peter Brown (composer) - DISRAELI GEARS - 1967
The Politician - Jack Bruce (contributor); Peter Constantine Brown (contributor) - WHEELS OF FIRE - 1968
Rope Ladder to the Moon - Jack Bruce (composer); Peter Brown (composer) - SONGS FOR A TAYLOR - 1971
Never Tell Your Mother She’s Out of Tune - Jack Bruce (composer); Peter Brown (composer) – SONGS FOR A TAYLOR - 1969
N.S.U. - Jack Bruce (composer) - FLESH CREAM - 1966
Dance the Night Away - Jack Bruce (composer); Peter Brown (composer) - DISRAELI GEARS - 1967
I Feel Free - Jack Bruce (composer); Peter Brown (composer) - FLESH CREAM - 1967
Deserted Cities of the Heart - Jack Bruce (composer); Peter Brown (composer) - WHEELS OF FIRE - 1968 

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