LIBRO

BONAMASSA JOE BLUES DELUXE-GUITAR-TABLATURE LIBRO SPARTITI CHITARRA ACCORDI MUSICA

BONAMASSA JOE, BLUES DELUXE. GUITAR TABLATURE

LIBRO DI MUSICA BLUES.

SPARTITI PER VOCE E CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Format: Softcover - TAB
Artist : Joe Bonamassa

13 note-for-note guitar transcriptions with tab from this high-powered guitar rocker. Features nine classic blues covers and three originals, including the bonus song -Pain and Sorrow. 136 pages.

Song List:

BLUES DELUXE
BURNING HELL
I DON'T LIVE ANYWHERE
LEFT OVERS
LONG DISTANCE BLUES
MAN OF MANY WORDS
MUMBLING WORD
PACK IT UP
PAIN AND SORROW
WALKIN' BLUES
WILD ABOUT YOU BABY
WOKE UP DREAMING
YOU UPSET ME BABY

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REED LOU SONGBOOK SIX STRINGS AND THE WORDS ARTIST APPROVED TABLATURE CHITARRA LIBRO

REED LOU, SONGBOOK, SIX STRINGS AND THE WORDS. ARTIST APPROVED. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

36 titoli, 196 Pagine. TABLATURE

This book was approved by Lou Reed

Lou ha registrato il doppio album "live in Italy" dal concerto all'arena di Verona del 7 settembre 1983.

E c'eravamo anca noi.

Nico ha recitato nel film di Federico Fellini "la dolce vita", con Marcello Mastroianni. Qui c'è uno spezzone.
 
 
 
Design by Stan Stanski
Cover photo by Robert Leslie
Back cover photo by Amy-Beth McNeeley
or photos by Guido Harari, pg. 1,2,19; Amy-Beth McNeeley, pg. 3,4,5,54,67,72,81,89,97,106,121,131;
Doug Yule, pg. 6; Henri ter Hall, pg. 27, 37,46; Robert Leslie, pg. 152, 161, 169, 186; Len Prince, pg. 195
Transcribed by Steve Gorenberg
Cherry Lane Music Company
Director of Publications/Project Editor: Mark Phillips
Project Coordinator: Rebecca Skidmore
ISBN 978-1-57560-919-5
Copyright © 2009 Cherry Lane Music Company
International Copyright Secured
All Rights Reserved

 

Six Strings and the Words
Format: Softcover - TAB
Artist : Lou Reed

Here are 36 songs selected by Lou Reed's fan club in an unplugged, pared-down presentation with just the guitar chords and lyrics. Some of these songs are also shown in Play-It-Like-It-Is guitar tab, approved by Reed himself! Includes: Berlin - Coney Island Baby - Ecstasy - Goodnight Ladies - Guardian Angel - Heroin - NYC Man - Pale Blue Eyes - Ride Sally Ride - Rock and Roll - Sweet Jane - This Magic Moment - Walk on the Wild Side - Who Am I? - and more, plus an intro written by Reed and lots of rare photos. 196 pages

 

 

TITOLO - ALBUM

 

ADVENTURER     -     from SET THE TWILIGHT REELING

BERLIN     -     from LOU REED

THE BLUE MASK     -    from THE BLUE MASK

CAROLINE SAYS II     -     from BERLIN

CONEY ISLAND BABY    -    from CONEY ISLAND BABY

THE DAY JOHN KENNEDY DIED    -     from THE BLUE MASK

DIRTY BLVD.    -   From NEW YORK

ECSTASY     -   from ECSTASY

GOODNIGHT LADIES    -   from TRASFORMER

GUARDIAN ANGEL   -   from THE RAVEN

HEROIN    -    from ROCK N ROLL ANIMAL

THE HEROINE    -   from THE BLUE MASK

I'LL BE YOUR MIRROR   -   from THE VELVET UNDERGROUND & NICO

I'M WAITING FOR THE MAN (WAITING FOR MY MAN)    -   from THE VELVET UNDERGROUND & NICO

LEGENDARY HEARTS    -    from LEGENDARY HEARTS

MAGIC AND LOSS: THE SUMMATION    -    from MAGIC AND LOSS

NYC MAN    -    from SET THE TWILIGHT REELING

PALE BLUE EYES    -    from THE VELVET UNDERGROUND

PARANOIA KEY OF E    -    from ECSTASY

PERFECT DAY    -     from TRASFORMER

RIDE SALLY RIDE     -    from SALLY CAN'T DANCE

RIPTIDE     -     from SET THE TWILIGHT REELING

ROCK AND ROLL       -      from ROCK N ROLL ANIMAL

SATELLITE OF LOVE       -      from TRASFORMER

SET THE TWILIGHT REELING     -    from SET THE TWILIGHT REELING

STREET HASSLE    -    from STREET HASSLE

SUNDAY MORNING    -   from THE VELVET UNDERGROUND & NICO

SWEET JANE    -     from LOADED

SWEET JANE (INTRO)     -    from ROCK N ROLL ANIMAL

TALKING BOOK     -     from PERFECT NIGHT: LIVE IN LONDON

TATTERS     -     from ECSTASY

VENUS IN FURS     -     from THE VELVET UNDERGROUND & NICO

WALK ON THE WILD SIDE    -     from TRANSFORMER

WHAT BECOMES A LEGEND MOST    -   from NEW SENSATIONS

WHITE LIGHT WHITE HEAT   -   from ROCK N ROLL ANIMAL

WHO AM I?       -     from THE RAVEN

WHY DO YOU TALK       -      from PERFECT NIGHT: LIVE IN LONDON

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BOGDANOVICH JOHN-CLASSICAL GUITAR MAKING-A MODERN APPROACH TO TRADITIONAL DESIGN

JOHN BOGDANOVICH, CLASSICAL GUITAR MAKING: A MODERN APPROACH TO TRADITIONAL DESIGN.

LIBRO DI LIUTERIA PER COSTRUIRE UNA CHITARRA CLASSICA. 

GUITAR BUILDING USES a combination of many talents and skills, including an eye for aesthetics, an ear for musical tone, woodworking ability, and an organized and methodical approach to the work. With diligence and practice, many of these assets can be developed and honed. Each of us also brings to this endeavor our own set of skills and experience. My own experience prior to building guitars proved to be a valuable asset in the pursuit of building the ultimate guitar. Initially, it was not my intention to make guitar building a career. Having returned to playing after an extended break, I was in need of a guitar but could not afford to purchase one that suited me, so I decided to try to build one myself. That first guitar turned out well and attracted a couple of local musicians to contract instruments from me. Guitar making felt so right that I put aside all other pursuits and earnestly began to make guitars professionally. A quest for purpose had ended and a new journey had begun. Before making guitars, there were a number of things that I felt passionate enough about to pursue, yet there would always seem to come a point where I would hit a wall and could go no further. Music became a big part of my life at the age of ten, and at twelve I took up the guitar. After high school, I majored in music at what is now part of The College of Staten Island. During this time, I was introduced to classical guitar and studied with Julio Prol in New York City. My intent was to become a performer, though I had difficulty performing in front of an audience. After having a few terrible experiences on stage, I realized that I needed to find something else to do, so I decided to follow another passion of mine, woodworking. As an apprentice cabinetmaker in a New York cabinet shop, I received a great woodworking education at the hands of a small group of old-world European craftsmen. Once my apprenticeship was completed, I decided go back to college rather than continue as a journeyman. I enrolled in the electrical engineering program at Pratt Institute in Brooklyn, New York. AT &T Bell Laboratories recruited me off-campus in my senior year to work in their research and development facility in Holmdel, New Jersey, where I was employed as a hardware designer. Taking part in their one-year on-campus graduate school program, I was able to get my master's ...

Recently I was informed by the publisher that the book has gone into second print, and this is rare for a book of this type. So thank you all once again for helping to make this book a resounding success. It is truly gratifying that I continue to hear from readers all over the world with thank you notes, encouraging comments and questions regarding the book. And, as one reader suggested I have included a page on the site with a selection of questions that have been sent to me, along with my replies, which may help to clarify some things for others in their guitar building attempts.

Since the book has been out I have heard from many of you that have sited errors or needed clarification in the first edition. These errors have been noted along with some additional text here and there for clarification and sent to the publisher for correction in the second printing. a PDF document containing all known errors can be downloaded in the errata section.
 The book has been out for a couple of years now and it still amazes me how many of you out there are interested in building classical guitars, either for yourselves or in launching a guitar building career. The book has enabled me to launch a few new endeavors of my own such as holding classes in the shop, a line of guitar building products, and a DVD series due to be released in the fall. I am very fortunate that this has all come from my love of the classical guitar. The truth is, I never intended to write a book at all. The project just sort of fell into my lap.
 In December, in the midst of planning to move the shop to Asheville, I was approached by Sterling Publishing and asked if I would like to write a book on guitar making. As I thought about it the prospect of undertaking such a huge project the challenge of producing something that I would be proud of became the focus of my enthusiasm. I had been given a rare opportunity - a vehicle to share my techniques and thoughts about something I love.
For the next year, nearly every day was a combination of building guitars, writing, and photo shoots. The book chronicles the building of a classical guitar from a stack of boards to putting on the strings and tuning it up. WIth almost 600 photos and drawings and over 300 pages of detailed text I attempted to recreate as accurately as possible the building process.
 If you have never built a guitar and are planning your first attempt consider using this book as a guide. Only some basic woodworking skills and a minimally equipped shop are required. Due to the large amount of information necessary to cover the topic explanations of woodworking related techniques have been omitted and it is assumed the reader is already proficient in some basic woodworking techniques, or will consult the references listed in the bibliography of the book and in the reference section of the links page on this site. Alternative methods are presented to facilitate the availability of tools and equipment. The book was written with the first time builder in mind, but no doubt anyone with some building experience could benefit from some content, I know I am always looking for better ways to do things. Also, be sure to check out the guitar making classes being offered. Classes are being held in the shop that cover various aspects of the building process.
 The guitar I am building in my shop today is very loosely based on the Hauser/Torres guitar design. The design has evolved in search of improved sound and playability. The plantilla is all that remains of the original 1937 Hauser from which this design began.
 The sound of Segovia's 1937 Hauser always appealed to me, even with the less than ideal sound quality of the old recordings. Therefore, when I began making guitars I started trying to reproduce this sound with the Hauser/Torres design. The more conscious I became of the sound of the guitar in general, the more open I became to other influences and my concept for the ideal sound began to evolve and my design began to change. The design of my guitars has changed slowly over the years.
 It is difficult at best to describe sound with words due to the fact that sound, and language, are both so subjective. So I will limit my words to those I typically hear other people use to describe the sound of my instruments. The phrase I hear most often is that they have a traditionally Spanish sound. I would not disagree with this statement. Additionally, they have character, a full tonal palette, and power. Enough said, I invite you to come and listen to one yourself.

Life as A luthier has been made possible for me only with the help of many people. First and foremost, I would like to thank my parents, Marion and Stan, for always supporting me, even when they may not have agreed with me. Without their support, none of this would have been possible. When I was a small boy, I had asked for a carpentry tool set long before it would be appropriate or safe for a child to play with. I was so insistent that my parents finally caved in and bought me one. While I was playing with the tools, set up under a tree in my grandparents' backyard, my grandfather watched from a window. Impressed with how intently I was able to amuse myself for such a long period of time, he told my mother, "That boy is going to do something with his hands." The time I spent in the Fine Woodworking Program at the College of the Redwoods actually changed my life. I was fortunate to have made some lifelong friends while at the school and will be forever indebted to the outstanding faculty. I would like to thank James Krenov, Jim Budlong, Michael Burns, and David Welter for their guidance, skill, and friendship, and for putting up with me during my time there. I would like to especially acknowledge James Krenov, whose book A Cabinetmaker's Notebook inspired me long ago, only to be eclipsed by later studying with him at the school. As one of his students, I could not help but admire his aesthetic, his approach to the craft, his keen observation of nature around him, and how all of this is evident in his work. I can only hope to follow his example. And thank you,]im, for your friendship. There are a few guitar builders who have both inspired and helped me in my journey as a luthier. I would like to thank Jeff Elliott, Cindy Burton, Greg Byers, John Gilbert, and Charles Fox for their generosity in sharing their knowledge of guitar building, and for their friendship. I would also like to thank the many guitarists who have provided feedback, which is invaluable to making a better instrument. In putting together this book, I called upon a few people to assist in one way or another. I would like to thank Cindy Park for all her help and support. She has helped with this project in more ways than she is probably aware of. I would like to thank Mariah Grant for doing a great job on the bulk of the photography. I would also like to thank Larry White at the University of North Carolina at Asheville for recommending her. In addition, I would like to thank Lacey Haslam and Franzi Charen for their help with the photography. And I would like to thank all the folks at Iris Photo/Graphic for keeping everything straight.  

Contents

Acknowledgments

Foreword by James Krenov

Foreword by Jeffrey Van

Preface

Introduction

PART ONE—Preparation

 

CHAPTER 1. The Guitar

Anatomy of the Guitar

Sound

Choosing to Build or Buy

 

CHAPTER 2. The Wood

Types of Wood

Moisture Content

Cuts, Grain, and Selection

 

CHAPTER 3. The Shop

What You Need in Your Shop

Jigs You Will Need to Make

Hand Tools

Vises and Clamps

Bench Tools to Make

Specialty Items

Humidity Control

 

CHAPTER 4.

Templates and Molds

The Plantilla

A Transparent Template

Side Mold

Lining Mold

The Solera

Headpiece Template and Drilling Jig

Back Workboard

 

CHAPTER 5.

Layout and Planning

Choosing the Color and Design Scheme

Materials and Parts

Plans and Layout

 

PART TWO—Construction

 

CHAPTER 6. The Neck

The Neck Blank

The Headpiece

The Heel

 

CHAPTER 7. The Sides

Bending and Laminating the Sides

Linings

Assembling the Neck and Sides

CHAPTER 8. The Details

Bindings, Purflings, Back and Butt Strips

The Wheat Motif

 

CHAPTER 9. The Top

Selecting a Top 162

Jointing and Thicknessing

The Rosette

Bracing and Patches

CHAPTER 10. The Back

Jointing and Thicknessing

Bracing

 

CHAPTER 11.

Assembling the Body

Before Gluing on the Top

Gluing the Top

Preparing to Glue on the Back

Bindings and Purflings

Heel Cap and Butt Strip

 

CHAPTER 12.

The Fingerboard

Making and Installing the Fingerboard

Before Fretting

Fretting

Shaping the Neck

 

PART THREE—Final Touches

 

CHAPTER 13. Finishing

Understanding Finish

Final Touches and Prepping for

Finishing

French Polishing

Lacquering

 

CHAPTER 14. The Bridge

Bridge Design

Building the Bridge

Installing the Bridge

 

CHAPTER 15. The Setup

The Nut, Saddle, and Tuning Machines

Strings and Final Setup

Care of Your Guitar

The Gallery

Bibliography

Metric Equivalents

Index    

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EMMANUEL TOMMY THE MYSTERY C.G.P. Certified Guitar Player TRANSCRIPTIONS TABLATURE LIBRO

EMMANUEL TOMMY, THE MYSTERY. GUITAR TABLATURE

LIBRO DI MUSICA ACUSTICA PER CHITARRA .

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E CON TABLATURE.

Quanta italia in questo album, IL COMPLEANNO DI ANTONELLA, CANTINA SENESE, Ciao Emmanuele.

 

TOMMY EMMANUEL C.G.P. (Certified Guitar Player

Product Description:

The Mystery, Tommy Emmanuel's sixth US album, was inspired by Emmanuel's travels; each of the album's compositions is a musical snapshot or sojourn - a journey that brings us together with places and people - a journey into self discovery.

This transcription book shows all twelve tunes on the CD note-for-note in standard notation and tablature. Also included are detailed performance notes of each tune. 136 pages.

Product Number: 22000
Format: Book
ISBN: 0786681691
UPC: 796279109970
ISBN13: 9780786681693

INTRODUCTION

Tommy's compositions and aITangements cover many styles and techniques. If you have studied the Mel Bay books for Tommy's CD's Only and Endless Road, you already have a head start in learning his mu ic. The tunes for this project are heard on the CD The Mystery. Also you can study the Mel Bay project, Emmanuel Labor with Tommy's discussions of pieces from the above three CD's. From The Mystery Tommy play and discusses "The Mystery", "Gameshow Rag/Cannonball Rag", "The Diggers' Waltz", "Lewis and Clark", and "Antonella's Birthday". There will be some slight variations between the video performance and the recorded tunes. Although he may not playa tune in performance exactly the same way each lime, these transcription will allow you to learn the recorded version, and will give you insight into his methods. These tunes range in difficulty from intermediate to very difficult. There are a few difficult stretches and also Tommy's technique involves some innovative moves, such as fretting the 5th string with the thumb. But whether or not ou perform these tunes, most of the enjoyment comes from understanding them and playing them for their beaut). Some tunes are played with a thumbpick, and others are played without a pick, resulting in a softer sound. Others are played in a hybrid style, using a flat pick, allowing for strong rhythm and interwoven melody note With this style, the right-hand index finger is no longer available for melody. The melody is produced by the pick and the middle and ring fingers. This technique may be difficult for you if you are based in traditional fingerpicking, but it is well worth the effort to learn it. If you read musical notation, the tablature will still be helpful as it points toward left-hand position on the guitar neck. And if you are relying on tablature, remember that left-hand fingering is found in the notation. Learning the hybrid style requires understanding the information given in the tablature. I have tried to indicate the pick stroke directions that are most important, while trying to avoid repeating the stroke directions to reduce the amount of clutter in the tablature. In the hybrid tyle, the thumb and first finger hold the pick, and in accord with classical notation this is shown by a "p". The middle finger will be "m" and the ring finger will be "a". These letters will be stacked when the middle and/or the ring finger pluck notes at the same time as the pick. At other times the pick (thumb and first finger unit) and ... 

 

TOMMY EMMANUEL C.G.P.

photo by Sara Corwin

Two-time Grammy nominee Tommy Emmanuel has a professional career that spans over four decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to pick up the guitar as a child. Decades later Atkins himself became one of Emmanuel's biggest fans. In 1999, Chet honored Tommy Emmanuel with the title of "Certified Guitar Player" for his lifetime contribution to the instrument, a rare honor shared by only three other people in the world (Jerry Reed, Steve Wariner and John Knowles). Atkins eventually recorded with Tommy in 1996 on 'The Day the Finger Pickers Took Over the World", for which Emmanuel received his first Grammy award nomination. This was also Atkins last recording.

After a recent recuperative rest, resulting from an exhausting touring schedule, Tommy is now completely rejuvenated and embarking on a full tour schedule in 2008. A new double live CD and DVD, "Center Stage" filmed in High Definition and recorded at the Sierra Nevada Brewery in Chico, California will be commercially released in Spring '08. The DVD portion will also air on Public Television affiliates all over the United States. Every element of modern technology was used in the production of both the DVD and CD. Tomm's record producer, Kim Person, recorded and mixed the audio tracks, while long-time Sierra Nevada video producer/ director Peter Barlow tied the entire package together in state-of-the-art quality. It makes for a stunning package, both aurally and visually. The double disc Live CD "Center Stage" contains many fan show-stoppers, including Emmanuel's BeatIes Medley, Mombasa, and Initiation - the aboriginal tribute song that has evolved over the years and never sounds the same on any recording - or during any show. Tommy also introduces four never-before recorded tracks, "Ruby's Eyes", "Lenny Bro''', "The Jolly Swagman" and "Papa George" (inspired by George Harrison). Also, included are several arrangements of popular traditional tunes like "House of the Rising", "Nine Pound Hammer", "Amazing Grace" - and for his Japanese fans, "Sukiyaki" This new CD is a great mix of the rare, the new, the traditional and the favorites. Emmanuel's music and life are legendary in Australia. He began playing guitar at age 4, by learning to play by ear without any formal instruction. Emmanuel and his older brother Phil were child prodigies, starting their professional career in the 1960s. By the age of six, Tommy was already working as a professional musician. Shortly after his father's death in 1966, the Emmanuel family was approached by Australian country music star Buddy Williams, who took the family on the road until they were forced by the Australian child welfare department to stop traveling. The Emmanuel children were then sent to a regular school. During these years, Tommy was playing in "The Trailblazers" (with siblings Chris on drums and Virginia on slide guitar) on weekends. He also taught guitar and made numerous television appearances in musical competitions. Emmanuel's first brush with fame came when The Trailblazers won two televised talent contests and produced an EP. He and his siblings worked hard ... 

 

ANTONELLA'S BIRTHDAY
Antonella is one of my dearest friends from Soave, Italy and I wrote it early one morning as the golden sun
streamed through the windows onto my bed. Antonella was making breakfast downstairs and when I found out
it was her birthday, I dedicated it to her, with all my heart. She's a true friend.

Tune the 5th string down to G and the 6th string down to D. The tune is played with a flat pick in a hybrid
style, using the pick ("p") and the middle finger ("m"), and the ring finger ("a"). These letters will be stacked
over the corresponding strings in the tablature. Natural harmonics are used extensively. With your left-hand
finger lightly touch the string at the fret indicated in brackets, <7> for example. In the notation the notehead
will be diamond shaped. Then strike the string with the pick to obtain the harmonic or chiming sound.
Remember that the harmonics should always ring freely, creating a "cascade" effect. In order to notate the tune
correctly, the first note of the song is played as the last half of the last beat of the first measure. That is necessary in order to be in the right place when you play the last note of measure 9. That harmonic on the 5th string
could be considered the first real note of the melody, but it continues into the next measure with an eighth note
rest. There is another way to think of it. If you are tapping your foot, you start just after the first note of the
tune, and by the beginning of measure 10 you will be tapping on the the tied note, and the melody will fall in
place "in time" throughout the rest of the tune. As usual with this style, pay attention to the pick strokes, 
for downstroke and "V" for upstroke. Sometimes, as in measure 11, a downstroke can play many strings in a
strum motion. In measure 21, the right-hand finger letters are stacked over the notation in the first beat. meaning
that the pick plays the third string, the middle finger plucks the second string, and the ring finger pluck
the first string. For the last beat of that measure it is understood that the pick plays the slide on the fifth string.
and it is written that the middle and ring fingers play the other two strings. On the lowest string of a chord.
there is not always room to show the downstroke symbol. (And that is the case throughout the book.)
 

Song Title: Composer/Source:

And so it Goes - Tommy Emmanuel
Antonella's Birthday - Tommy Emmanuel
Cantina Senese - Tommy Emmanuel
Cowboy's Dream - Tommy Emmanuel
Footprints - Tommy Emmanuel
Gameshow Rag / Cannonball Rag - Tommy Emmanuel
Keep it Simple - Tommy Emmanuel
Lewis & Clark - Tommy Emmanuel
That's the Spirit - Tommy Emmanuel
The Digger's Waltz - Tommy Emmanuel
The Mystery - Tommy Emmanuel
Walls - Tommy Emmanuel

 

Every day we experience "The Mystery." It's in our love for each other, it's in our feelings ofr others, in our music, it's in the kindness of strangers, in the parade of people who seem to appear at the right moment to help or to encourage us through tough times, in the wonders we see around us when we travel or just the feeling we are doing something good for our brothers and sisters. It's all around us, in us, ahead of us and lighting our way. It's God's awesome love for his children. Get it? Got it? Good!

Prezzo: €37,99
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GIBSON'S FABULOUS FLAT-TOP GUITARS An Illustrated History & Guide Vinopal-Erlewine-Whitford LIBRO

GIBSON'S FABULOUS FLAT-TOP GUITARS, An Illustrated History & Guide, Vinopal. 224 pagine.

Series: Book
Publisher: Backbeat Books
Format: Softcover
Author : Dan Erlewine
Author : David Vinopal
Author : Eldon Whitford

Finally back in print! The must-have book on Gibson's killer acoustic guitars, now updated.

From the 1920s to the present, Gibson and its flat-tops have been synonymous with American music. Whether the music you listen to is from the North or the South, the country or the city, it is likely that a Gibson guitar was involved in creating it. Through more than 200 photos and detailed text, this book chronicles the development and evolution of Gibson's fabulous flat-tops, showing why these guitars have been the choice of so many great musicians, professional and amateur alike, over the last 70 years. 224 pages

Prezzo: €36,99
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WOODSTOCK GUITAR SONGBOOK EDITION TABLATURE LIBRO-I’M GOING HOME-alvin lee-NEIL YOUNG

WOODSTOCK: THE GUITAR SONGBOOK. TABLATURE

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

AUTHENTIC GUITAR TAB EDITION

3 giorni di pace e musica. 
Era il 15 - 16 - 17 Agosto 1969, il biglietto costava $6.00 al giorno. Il 18 agosto suonerà Hendrix che chiuse il concerto di "Pace e musica" con una canzone sulla gelosia criminale, Hey Joe:

Hey Joe, dove stai andando con quella pistola in mano
Hey Joe, ho detto dove stai andando con quella pistola in mano

Sto andando a uccidere la mia vecchia signora
Sai, l'ho trovata in giro con un altro tizio
Sto andando a uccidere la mia vecchia signora
Sai, l'ho trovata in giro con un altro tizio
e questo non va bene

Hey Joe, ho sentito che hai sparato alla tua vecchia signora,
le hai sparato, adesso
ho detto, ho sentito che hai sparato alla tua vecchia signora,
le hai sparato, l'hai stesa

sì è vero, le ho sparato
sai, l'ho trovata in giro, in giro per la città
sì è vero, le ho sparato
sai, ho trovato la mia signora che faceva casino in giro per la città
e l'ho ripagata con la pistola
LE HO SPARATO!

Hey Joe, va bene
sparale ancora, baby

Hey Joe, ho detto
e adesso dove te ne andrai?
adesso dove te ne andrai?
Hey Joe, ho detto adesso dove te ne andrai?
Dove, dove andrai?
Be', scava

Andrò a sud,
verso il Messico
va bene!
Andrò a sud,
a sud dove posso essere libero
nessuno mi troverà

Non ci sarà nessun boia,
non mi metterà una corda intorno al collo
farai meglio a crederci
adesso devo andare
Hey Joe, è meglio che ti muova
arrivederci a tutti
Hey Joe, uhh
vattene via 

Hey Joe, where you goin' with that gun in your hand 
Hey Joe, I said where you goin' with that gun in your hand 

I'm going down to shoot my old lady 
You know, I've caught her messin' around with another man 
I'm going down to shoot my old lady 
You know, I've caught her messin' around with another man 
And that ain't too cool 

Hey Joe, I've heard you shot your woman down, 
shot her down, now 
I said I've heard you shot your old lady down, 
You shot her down to the ground 

Yes I did, I shot her 
You know, I caught her messin' round, messin' round town 
Yes I did, I shot her 
You know, I caught my old lady messin' around town 
And I gave her the gun 
I SHOT HER! 

Hey Joe, alright 
Shoot her one more time, baby 

Hey Joe, said now 
Where you gonna run to now? 
Where you gonna run to? 
Hey Joe, I said where you gonna run to now? 
Where you, where you gonna go? 
Well, dig it 

I'm goin' way down south, 
Way down to Mexico way 
Alright! 
I'm goin' way down south, 
Way down where I can be free 
Ain't no one gonna find me 

Ain't no hangman gonna, 
He ain't gonna put a rope around me 
You better believe it right now 
I gotta go now 
Hey Joe, you better run on down 
Good by everybody 
Hey Joe, uhh 
Run on down 

FOR MUCH OF THE WORLD, THE SUMMER OF '69 IS MARKED BY THE MILESTONE OF THE MANKIND'S FIRST STEP ON THE MOON, SYNONYMOUS WITH THE SENTENCE, "THIS IS ONE SMALL STEP FOR  MAN, ONE GIANT LEAP FOR MANKIND." 

 

The year 1969 was characterized by a fracturing American society. In the aftermath of tumultuous events from the previous year; which included poIitical assassinations, race riots, the Tet Offensive in Vietnam, student uprisings, and the Soviet invasion of Czechoslovakia, the world seemed divided between whites and blacks, capitalists and communists, haves and have-nots, straights and stoners, the silent majority and the counterculture. Two days after the Apollo I I astronauts emerged from quarantine, 500,000 concert goers-more than two and a half times the anticipated number of attendees-assembled in the alfalfa fields outside of Bethel, New York, to hear 32 musical acts, some already the biggest artists in the world, and some whose careers would explode following their exposure at the festival. From the point of view of their elders, the young people had been "infected" by a threat to the mores of society that was more insidious than the unknown space germs possibly brought back to earth from Apollo I I's trans-lunar journey. These "hippies" largely opposed the Vietnam War; materialism, and racism, while practicing free love and illicit drug use, and their values were implicitly and explicitly stated in much of the music performed at Woodstock. 

 

Friday, August 15

Richie Havens

Swami Satchidananda - gave the invocation for the festival

Sweetwater

Bert Sommer

Ravi Shankar

Tim Hardin

Melanie

Arlo Guthrie

Joan Baez

 

Saturday, August 16

Quill, forty-minute set of four songs

Country Joe McDonald

John Sebastian

Santana

Keef Hartley Band

The Incredible String Band

Canned Heat

Mountain

Grateful Dead

Creedence Clearwater Revival

Janis Joplin with The Kozmic Blues Band

Sly & the Family Stone

The Who began at 4 a.m., kicking off a 25-song set including Tommy

Jefferson Airplane

 

Sunday, August 17

The Grease Band

Joe Cocker

Country Joe and the Fish

Ten Years After

The Band

Blood, Sweat & Tears

Johnny Winter featuring his brother, Edgar Winter

Crosby, Stills, Nash & Young

Paul Butterfield Blues Band

Sha-Na-Na

Monday, August 18

Jimi Hendrix

For the particular generation, it calls to mind a '80s pop song about the dashed hopes of youthful idealism. But for the baby boomer generation and free spirits everywhere, the summer of 69 is defined by a mid-August music Festival, where a half-million young people wallowed in the mud  of the Max Yasgur's 600-acre dairy farm.

A r t i s t  T i t l e

JOAN BAEZ - JOE HILL - Parole: Alfred Haynes. Musica: Earl Robinson - 1938
THE BAND - CHEST FEVER - parole e musica: Robbie Robertson - 1968
THE BAND - THE WEIGHT - parole e musica: Robbie Robertson - 1968
CANNED HEAT - GOING UP THE COUNTRY - parole e musica: Alan Wilson - 1968 
JOE COCKER - DELTA LADY - parole e musica: Leon Russell - 1969
JOE COCKER - LET’S GO GET STONED - parole e musica: Valerie Simpson, Nicholas Ashford, Josephine Armstead - 1965
COUNTRY JOE MCDONALD - I-FEEL-LIKE-I’M-FIXIN’-TO-DIE RAG - parole e musica: Joe McDonald - 1965

CROSBY, STILLS, NASH & YOUNG - BLUEBIRD - parole e musica: Stephen Stills - 1967
CROSBY, STILLS, NASH & YOUNG - WOODSTOCK - parole e musica: Joni Mitchell - 1969

GRATEFUL DEAD - DARK STAR - parole: Robert Hunter. musica: Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir - 1971
GRATEFUL DEAD - ST. STEPHEN - parole: Robert Hunter. Musica: Jerry Garcia, Phil Lesh - 1969

ARLO GUTHRIE - COMING INTO LOS ANGELES -  parole e musica: Arlo Guthrie - 1969
RICHIE HAVENS - HANDSOME JOHNNY - parole e musica: Richie Havens, Luis Goussett - 1967
JANIS JOPLIN WITH THE KOZMIC BLUES BAND - PIECE OF MY HEART - parole e musica: Jerry Ragovoy, Bert Russell - 1967
JANIS JOPLIN WITH THE KOZMIC BLUES BAND - TRY (JUST A LITTLE BIT HARDER) - parole e musica: Jerry Ragovoy, Chip Taylor - 1968

THE JEFFERSON AIRPLANE - VOLUNTEERS - parole e musica: Marty Balin, Paul Kantner - 1969
JIMI HENDRIX WITH GYPSY SUN AND RAINBOWS - HEY JOE - parole e musica: Billy Roberts - 1962 
MOUNTAIN - THEME FOR AN I MAGINARY WESTERN - parole e musica: Jack Bruce, Pete Brown - 1971
SANTANA - EVIL WAYS - parole e musica: Sonny Henry - 1967
SLY AND THE FAMILY STONE - EVERYDAY PEOPLE - parole e musica: Sylvester Stewart - 1969
SLY AND THE FAMILY STONE - I WANT TO TAKE YOU HIGHER - parole e musica: Sylvester Stewart - 1968
THE WHO - MY GENERATION - parole e musica: Peter Townshend - 1965
THE WHO - SUMMERTIME BLUES - parole e musica: Eddie Cochran, Jerry Capehart - 1958
TEN YEARS AFTER - I’M GOING HOME - parole e musica: Alvin Lee - 1969

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ROLLING STONE: SELECTIONS FROM THE 100 GREATEST GUITAR SONGS OF ALL TIME Authentic Guitar TAB TABLATURE

ROLLING STONE: SELECTIONS FROM THE 100 GREATEST GUITAR SONGS OF ALL TIME. TABLATURE

LIBRO DI MUSICA ROCK. 

SPARTITI PER VOCE E CHITARRA, CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

 

Rolling Stone: Selections from the 100 Greatest Guitar Songs of All Time

36 Songs That Defined Rock Guitar
Item: 00-32815
UPC: 038081357263
ISBN 10: 0739061488
ISBN 13: 9780739061480
Category: Guitar Mixed Folio
Format: Book
Instrument: Guitar
Version: Authentic Guitar TAB 

 

Crossroads
Cream,1968
» No. 3 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
Eric Clapton once described Cream's music as "blues ancient and modern." This track is what he meant. He was not yet 23 when he played this high-velocity version of the Robert Johnson song at San Francisco's Winterland on March 10th, 1968. Everything in Clapton's solos is grounded in the blues vocabulary but pointed to the future. "When Clapton soloed, he wrote wonderful symphonies from classic blues licks in that fantastic tone," Little Steven Van Zandt told Rolling Stone in 2004. "You could sing his solos like songs in themselves."
Appears on: Wheels of Fire (Polydor)


Brown Sugar
The Rolling Stones, 1971
» No. 5 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
“Satisfaction" may be the Rolling Stones' most recognizable riff, but this Sticky Fingers hit – based on a gutbucket guitar part devised by Mick Jagger – is the band's raunchy guitar pinnacle. Keith Richards' secret weapon: He's playing a guitar that's missing its lowest string.
Appears on: Sticky Fingers (Virgin)


Eruption
Van Halen, 1978
» No. 6 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
Eddie Van Halen's 102-second mission statement was a piece he invented onstage: a solo showcase for his mastery of tone and technique, notably the rush of notes he produced with his fretboard tapping. An army of teens would try to duplicate it, emerging years later in every metal band of the Eighties.
Appears on: Van Halen (Warner Bros.)
(Music appears on page)


Stairway to Heaven
Led Zeppelin, 1971
» No. 8 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
"Stairway," Jimmy Page told RS in 1975, "crystallized the essence of the band." It's a masterpiece of dramatic ascension: Page's acoustic picking rising into chiming chords, which introduce the solo, a brilliant succession of phrases that steadily move toward rock& roll ecstasy.
Appears on: Led Zeppelin IV (Atlantic)
(Music appears on page )


Statesboro Blues
The Allman Brothers Band, 1971
» No.9 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
In 1968, Gregg Allman went to visit his older brother, Duane, on his 22nd birthday. Duane was sick in bed, so Gregg brought along a bottle of Coricidin pills for his fever and the debut album by guitarist Taj Mahal as a gift. "About two hours after I left, my phone rang," Gregg remembers. " 'Baby brother, baby brother, get over here now!' " When Gregg got there, Duane had poured the pills out of the bottle, washed off the label and was using it as a slide to play "Statesboro Blues," the old Blind Willie McTellsong that Taj Mahal covered. Duane had never played slide before, says Gregg, but "he just picked it up and started bumin'. He was a natural." The song quickly became a part of the Allman Brothers Band's repertoire, and Duane's slide guitar became crucial to their sound. "Statesboro Blues" was the opening track on their legendary 1971 live double album, At Fillmore East, and ever since, the moaning and squealing opening licks have given fans chills at live shows. "It wasn't something that Duane would play the same way every night," says current Allmans guitarist Warren Haynes, one of many guitarists who have filled Duane's shoes since he died in late 1971. "But in all of our heads, that's the way it goes." There's one thing the current band doesn't try to replicate from the Fillmore East performance: At the end of Duane's sublime "Statesboro" solo, the guitarist hits an off-key note that Gregg calls the "note from hell." "He left it in because he knew I hated it," says Gregg, claiming that the mistake only adds to the song's legend. "It was live. It was something that happened."
Appears on: At Fillmore East (Island/Mercury)
(Music appears on page )


Whole Lotta Love
Led Zeppelin, 1969
» No. 11 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
This thundering rewrite of Muddy Waters' "You Need Love" showcased three of Jimmy Page's specialties: primal, monomaniacal riffs; innovative production; and solos with the savage mastery he'd developed as a top-flight session musician in the pre-Zeppel years.
Appears on: Led Zeppelin II /(Atlantic)
(Music appears on page )


Layla
Derek and the Dominos, 1970
» No. 13 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
"I didn't do it - it was Duane," Eric Clapton said, laughing, in 1988. Guest guitarist Duane Allman
created one of rock's most exciting and memorable licks, pinching the vocal line from Albert King's "As the Years Go Passing By"and speeding it up. App~ars on: Layla and Oth~r Assorted Love Songs (Polydor)
(Music appears on page )


My Generation
The Who, 1965
» No. 15 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
Before smashing guitars was a cliche, it was a shock, and The Who's signature song was one shock after another, from Pete Townshend's pile-driving two-chord riff to his sudden disappearance while bassist John Entwistle solos to the glitchy feedback that ends the original recording.
Appears on: My Generation (Geffen)
(Music appears on page )


Black Sabbath
Black Sabbath, 1970
» No. 17 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
Tony Iommi invented heavy-metal guitar out of necessity: He'd lost two fingertips on his fretting hand, and he used thimbles and dropped tunings to make playing easier. His crawling, dissonant riff (also called "the devil's chord") became the basis of thousands of metal songs.
Appears on: Black Sabbath (Warner Bros.)
(Music appears on page )


Blitzlaieg Bop
Ramones, 1976
» No. 18 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
There's no guitar solo, because guitarist Johnny Ramone hated solos. But his down-stroke barre chords were fat with Dick Dale's twang and Bo Diddley's strumming. Joey Ramone once said that in Johnny's guitar, he heard organ, piano and other instruments that weren't really there.
Appears on: Ramones (Rhino)
(Music appears on page )


People Get Ready
The Impressions, 1965
» No. 20 from Rolling Stone" Magazine's 100 Greatest Guitar Songs of All Time
Curtis Mayfield's deepest civil rights anthem is powered by his eloquent open-tuned guitar-playing: The backbeat echoed the new sounds coming out of Jamaica, and the subtle, fluid solo spirals are as expressive as his singing. Bob Marley later synthesized it with "One Love."
Appears on: Ultimate Collection (Hip-O)
(Music appears on page )


Can't You Hear Me Knocking
The Rolling Stones, 1971
» No. 25 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
The fist-on-your-door riff was classic Keith Richards, while the solo showed Mick Taylor's disciplined touch. "Mick was so lyrical on songs like 'Knocking,' " Charlie Watts has said, noting his love of the song's long instrumental coda. "That was a complete jam, one take at the end."
Appears on: Sticky Fingers (Virgin)
(Music appears on page )


Back in Black
AC/DC, 1980
» No. 29 from Rolling Stone" Magazine's 100 Greatest Guitar Songs of All Time
Angus and Malcolm Young's dual-guitar masterpiece is the platonic ideal of hard rock. The bridge alone is heavier than most axmen ever manage, and the riff is instantly recognizable: "Black"has been covered by everyone from Living Colour to Shakira, and sampled by the Beastie Boys and Eminem.
Appears on: Back in Black (Epic)
(Music appears on page )


Sweet Child 0' Mine
Guns n' Roses, 1987
»No. 63 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
Slash was sitting on the floor in Guns n' Roses' squalid East Hollywood house sometime in 1986 when he started fooling around with a chiming, circular melody. "It was an interesting sort of pattern," Slash says. "But Jesus Christ, I never thought it was going to become a song." As he kept playing, fellow G n' R guitarist Izzy Stradlin joined in, playing a simple chord progression. They didn't realize that Ax}Rose was listening in from upstairs - and writing lyrics. At rehearsal the next day, the band hashed out what would become "Sweet Child" - over the objections of Slash, who was convinced that the music was too lightweight for what he saw as a "thrash band," But he relented, and soon came up with the lyrical, multisectioned solo that ended up on the finished song. "It's a combination of influences," Slash says. "From Jeff Beck, Cream and Zeppelin to stuff you'd be surprised at: the solos in Manfred Mann's version of 'Blinded by the Light' and Gerry Rafferty's 'Baker Street.''' Despite the solo's complexity, it was the song's precise intro that proved challenging onstage. "It's easy now, but it was very daunting in the early days," Slash says. "Especially because I drank exorbitant amounts of alcohol and had other chemical things going on. I hated playing that song for years."
Appears on: Appetite for Destruction (Geffen)
(Music appears on page)


Adam Raised a Cain
Bruce Springsteen, 1978
»No. 67 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
Before he was known as a songwriter, Springsteen was the fastest guitar player in Asbury Park. And in this bluesy hard-rock blast, he lets those chops loose again, pushing the E Street Band to garage-land with the angriest lead guitar on record.
Appears on: Darkness on the Edge of Town (Columbia)
(Music appears on page 10)


Money
Pink Floyd, 1973
»No. 69 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
David Gilmour hangs back for the first three minutes of this definitive Floyd rocker, which started as an acoustic blues song in rehearsals. Then the song shifts from a 7/4 stomp into straight time, and he delivers a rampaging freakout, ending up on notes so high most guitars don't even reach them.
Appears on: Dark Side of the Moon (Capitol)
(Music appears on page)


Summertime Blues
Blue Cheer, 1968
» No. 73 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
This power trio's cover of Eddie Cochran's classic was their only hit, sometimes called the first heavy-metal record. It's a showcase for the massive roar of Leigh Stephens' guitar, so fuzzed-up it scrapes like steel wool, dragging the rockabilly riff through the dust.
Appears on: Vincebus Eruptum (Island/Mercury)


Beat It
Michael Jackson, 1982
» No. 81 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
There had never been a soul hit with as much heavy guitar as this or a heavy-metal hit with as much soul. Paul Jackson Jr. and Steve Lukather play the menacing riff, but Eddie Van Halen's speed-shred solo is the coup de grace. Van Halen says producer Quincy Jones' only advice was "go be yourself."
Appears on: Thriller (Epic)


How Soon Is Now?
The Smiths, 1985
» No. 90 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Trm<
Trading guitarist Johnny Marr's spidery technique for a sobbing oscillation on a few extended chords and a tone-bending wail that sounds like the world racingby, this song became a club standard, opening the passageways between underground rock and dance music.
Appears on: Meat Is Murder (Sire) (Music appears on page )


Memo From Turner
Mick Jagger, 1970
» No. 92 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of AllTrmtt
Guitar virtuoso Ry Cooder, who played on the Stones' Let It Bleed, accused Keith Richards of stealing his open-G tuning technique on singles like "Jumpin' Jack Flash" and "Gimme Shelter." Cooder's jittery slide guitar defines Jagger's first solo recording, which was written for his film role as a decadent rock star in 1970's Performance.
Appears on: The Very Best of Mick Jagger (Rhino)
(Music appears on page )

WhiteRoom
Cream, 1968
» No. 55from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
The first rock supergroup, Cream gave Jack Bruce and Ginger Baker as much playas Eric Clapton, but Clapton's unrelenting wah-wah cascade signs his name in foot-high letters over the song. Along with Jimi Hendrix's "Voodoo Child (Slight Return)," it made that pedal the sound of '68 psychedelia. Appears on: Wheels of Fire (Polydor) (Music appears on page 246)

Eight Miles High
The Byrds, 1966
» No. 56from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
Roger McGuinn's chiming 12-string solos helped to mold Sixties rock. But what he was inspired by here wasn't rock at all: Indian classical music and saxophonist John Coltrane's explorations of single
chords and phrases. McGuinn said his guitar "breathes like a wind instrument."
Appears on: The Byrds Greatest Hits (Columbia/Legacy)
(Music appears on page 80)

Dark Star
Grateful Dead, 1969
» No. 57from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
Considered the Dead's greatest live track, this definitive near-half-hour version from an acid-soaked Fillmore West show is Jerry Garcia at his spaciest and most exploratory. Framed by Bob Weir and Phil Lesh, Garcia's free-form improvisation is the song's "nightfall of diamonds" come to life. Appears on: Live/Dead (Rhino) (Music appears on page 76)

Rumble
Link Wray, 1958
» No. 58from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
In 1958, guitar distortion and power chords were virtually unheard of, but Wray stabbed a pencil through his amplifier to make it sound nastier, dragged his pick like a switchblade, and got this blues riff banned by radio stations as an incitement to violence. Not bad for
an instrumental. Appears on: Rumble! The Best of Link Wray (Rhino)
(Music appears on page 186)

Freeway Jam
Jeff Beck, 1975
» No. 59from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
After years of leading bands with vocalists, Beck proved he is his own best singer. There's a howling quality to his string-bending in this brisk funk. "There were thousands of guitarists playing with their Les Pauls cranked up bloody blaring loud," he later told RS. "I needed to try something new." Appears on: Blow by Blow (Epic) (Music appears on page 90)

Soul Man
Sam and Dave, 1967
» No. 61from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
"Play it, Steve!" shouts Sam Moore - he's calling out to Steve Cropper, the genius who powered Stax Records' house band. Cropper's fluttering, high-end riffs provide the song's rhythmic mojo, and his squealing fills (for which he used a cigarette lighter in lieu of an actual slide) are its third singing voice. Appears on: Soul Men (Rhino) (Music appears on page 179)

 

 

- Adam Raised a Cain, Bruce Springsteen 

- Back in Black, AC/DC

-Beat It, Michael Jackson Van Halen

-Black Magic Woman/Gypsy Queen, Santana

-Black Sabbath, Black Sabbath

-Blitzkrieg Bop, Ramones

-Brown Sugar, The Rolling Stones

-Can’t You Hear Me Knocking, The Rolling Stones

-Crossroads, Cream

-Dark Star, Grateful Dead

-Eight Miles High, The Byrds

-Eruption, Van Halen

-Freeway Jam, Jeff Beck

-How Soon Is Now? The Smiths

-I Can See for Miles, The Who

-Layla, Derek and the Dominos

-London Calling, The Clash

-Memo from Turner, Mick Jagger

-Money, Pink Floyd

-My Generation, The Who

-My Iron Lung, Radiohead

-Panama, Van Halen 

-People Get Ready, The Impressions

-(We’re Gonna) Rock Around the Clock, Bill Haley and His Comets

-Rumble, Link Wray - Words and Music: Link Wray, Milton Grant - 1958

-Soul Man, Sam and Dave

-Stairway to Heaven, Led Zeppelin - Words and Music: Jimmy Page, Robert Plant - 1997

-Statesboro Blues, The Allman Brothers Band - Words and Music: Will McTell - 1929

-Stay with Me, The Faces - Words and Music: Ron Wood, Rod Stewart - 1972 

-Summertime Blues, Blue Cheer - Words and Music: Eddie Cochran, Jerry Capehart - 1958

-Sweet Child O’ Mine, Guns n’ Roses - Words and Music: Steven Adler, Saul Hudson, Duff McKagan, W. Axl Rose, Izzy Stradlin - 1987

-That’s All Right, Elvis Presley - Arthur Crudup - 1947

-White Room, Cream - Words and Music: Jack Bruce, Peter Brown - 1968

-Whole Lotta Love, Led Zeppelin - Words and Music: Jimmy Page, Robert Plant, John Paul Jones, John Bonham, Willie Dixon - 1969

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SIGHT TO SOUND guide reading LEON WHITE CHITARRA LIBRO SPARTITI LETTURA SOLFEGGIO METODO

SIGHT TO SOUND, A guide to reading for the studio. LEON WHITE

 

LIBRO DI MUSICA, METODO, SOLFEGGIO, LETTURA PER CHITARRA. PENTAGRAMMA.

Description:

This method covers two main components of playing - sound and time. In the section on sound you learn to locate pitches on the guitar and on paper. Basic definitions, derivations of scales and position playing are all covered. The section on time focuses on definitions of beat, pulse and rhythm. Note values are carefully derived and time signatures explained without the vague 'common time' concept.
All basic concepts are taught through single line playing. Other methods demand that the student become fluent at chord reading before being exposed to difficult rhythmic figures. The ominous appearance of block chords often discourages the student from progressing rhythmically. He fumbles with the chords and confuses the rhythm. Soon the simplest solo line has become an incredible challenge. It is for this reason that we have placed block chord reading at the end of this learning programme.

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ROLLING STONES-HOT ROCKS 1964-1971-BASSO TABLATURE-Jumpin' Jack Flash-Brown Sugar-LIBRO

ROLLING STONES, HOT ROCKS 1964-1971. BOOK WITH BASS TABLATURE

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E BASSO CON:

ACCORDI, PENTAGRAMMA E TABLATURE. 

CATEGORY: Bass Guitar Personality
VERSION: Authentic Bass TAB
FORMAT: Book

Hot Rocks was the first, and, four decades later, remains the most significant Rolling Stones compilation ever released. It is The Rolling Stones' biggest-selling album more than 12 million copies! This book features all 21 tracks from this landmark recording--fully transcribed for bass! Hot Rocks' traces the development of the songwriting team of Jagger and Richards. The album begins with the early cover recording of "Time Is on My Side" and then proceeds chronologically through most of the band's biggest hits from its first decade. Titles: 19th Nervous Breakdown * As Tears Go By * Brown Sugar * Get Off of My Cloud * Gimme Shelter * Heart of Stone * Honky Tonk Women * (I Can't Get No) Satisfaction * Jumpin' Jack Flash * Let's Spend the Night Together * Midnight Rambler * Mother's Little Helper * Paint It, Black * Play With Fire * Ruby Tuesday * Street Fighting Man * Sympathy For The Devil * Time Is On My Side * Under My Thumb * Wild Horses * You Can't Always Get What You Want.

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CLASSIC ROCK FOR FINGERSTYLE GUITAR Marcel Robinson-Hal Leonard TABLATURE-Every Breath You Take

CLASSIC ROCK FOR FINGERSTYLE GUITAR.  BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA FINGERSTYLE.

ACCORDI, PENTAGRAMMA E TABLATURE.

18 canzoni arrangiate per chitarra: Angie -Babe, I'm Gonna Leave You -Brown Eyed Girl -Dream On -Dreams -Dust In The Wind -Every Breath You Take -Fire And Rain -Free Bird -Free Fallin' -Imagine -Just The Way You Are -Layla -New Kid In Town -Something -Wonderful Tonight -Your Song -you're in my heart.

1973 - Angie - Performed by The Rolling Stones – Parole e Musica di: Mick Jagger, Keith Richards

1969 - Babe, I'm Gonna Leave You - Performed by Led Zeppelin - Parole e Musica di: Anne Bredon, Jimmy Page, Robert Plant

1967 - Brown Eyed Girl - Performed by Van Morrison – Parole e Musica di: Van Morrison

1973 - Dream On - Performed by Aerosmith – Parole e Musica di: Steven Tyler

1977 - Dreams - Performed by Fleetwood Mac – Parole e Musica di: Stevie Nicks

1977 - Dust In The Wind - Performed by Kansas – Parole e Musica di: Kerry Livgren

1983 - Every Breath You Take - Performed by The Police - Parole e Musica di: Sting

1969 - Fire And Rain - Performed by James Taylor - Parole e Musica di: James Taylor

1973 - Free Bird - Performed by Lynyrd Skynyrd - Parole e Musica di: Allen Collins, Ronnie Van Zant

1989 - Free Fallin' - Performed by Tom Petty - Parole e Musica di: Tom Petty, Jeff Lynne

1971 - Imagine - Performed by John Lennon - Parole e Musica di: John Lennon

1977 - Just The Way You Are - Performed by Billy Joel - Parole e Musica di: Billy Joel

1970 - Layla - Performed by Derek And The Dominoes - Parole e Musica di: Eric Clapton, Jim Gordon

1976 - New Kid In Town - Performed by The Eagles – Parole e Musica di: John David Souther, Don Henley, Glenn Frey

1969 - Something - Performed by The Beatles - Parole e Musica di: George Harrison

1977 - Wonderful Tonight - Performed by Eric Clapton – Parole e Musica di: Eric Clapton

1977 - You're in My Heart - Performed by Rod Stewart - Parole e Musica di: Rod Stewart

1969 - Your Song - Performed by Elton John - Parole e Musica di: Elton John, Bernie Taupin

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