LIBRO

SPYRO GYRA THE BEST OF SCORE LIBRO SPARTITI CHITARRA BASSO PARTITURA

SPYRO GYRA, THE BEST OF. TRANSCRIBED SCORE

LIBRO DI MUSICA.

SPARTITI DI OGNI STRUMENTO: 

ACCORDI, PENTAGRAMMA. 

Series: Transcribed Score
Artist: Spyro Gyra

A chronology of the favorite tunes from this award-winning jazz group. Note-for-note scores for sax, keyboards, mallets, guitar, bass, percussion/drums. 8 tunes including: Shaker Song - Morning Dance - Catching The Sun - Joy Ride. 144 pages

Catching The Sun
City Kids
Freetime
Heliopolis
Incognito
Joy Ride
Morning Dance
Shaker Song

Prezzo: €27,99
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RICKENBACKER Richard Smith LIBRO ILLUSTRATO CHITARRE ELETTRICHE 12 CORDE BEATLES

RICKENBACKER, Richard Smith, 256 pagine. 

LIBRO ILLUSTRATO SULLE CHITARRE E BASSI RICKENBACKER. 

TUTTAL LA STORIA DELLE FAMOSE CHITARRE USATE DAI BEATLES, ROGER McGUINN, TOM PETTY, ECC.,   

Series: Reference
Publisher: Centerstream Publications
Medium: Softcover
Author: Richard Smith

This 246-page soft-cover book gives a complete and illustrated history of the development of Rickenbacker instruments from 1931 to the present. Rickenbacker is the only book of its kind to chronicle the history of the company who in 1931 introduced electric instruments to the world. The book provides information and full-color photos of the many artists who have used and are using Rickenbacker instruments. Rickenbacker collectors will find this book invaluable as it contains recently discovered accurate facts previously unavailable to researchers. 246 pages

Prezzo: €36,99
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RETRO '80s Guitar Recorded Version TABLATURE HOLD ME NOW Thompson Twins SPARTITI VOCE CHITARRA

RETRO '80s. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA POP ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Guitar Recorded Version TABLATURE
Artist: Various

Make your hair tall and asymmetrical, don your skinny leather tie, and play these 30 hot hits from the '80s! Includes notes and tab, 192 pages

Contents
Time After Time performed by Cyndi Lauper - 1983 
Whip It performed by Devo - 1980
One Thing Leads To Another performed by Fixx - 1983
Back On The Chain Gang performed by Pretenders - 1982
Alone performed by Heart - 1983
Heart And Soul performed by Huey Lewis - 1981
Your Love performed by Outfield - 1984
Hold Me Now performed by Thompson Twins - 1983
Our Lips Are Sealed performed by Go-Go's
Bang A Gong (Get It On) performed by Power Station - 1971
Centerfold performed by J. Geils Band - 1981
Don't Stand So Close To Me performed by Police - 1980
867-5309/Jenny performed by Tommy Tutone - 1981
Eye Of The Tiger performed by Survivor - Theme from Rocky III- 1982
Footloose performed by Kenny Loggins - 1984
The Heat Is On performed by Glenn Frey - 1984
Heaven Is A Place On Earth performed by Belinda Carlisle - 1987
I Love Rock 'N Roll performed by Joan Jett - 1975
In A Big Country performed by Big Country - 1983
Jack And Diane performed by John Cougar - 1982
Love Is A Battlefield performed by Pat Benatar - 1983
Love Shack performed by B-52's - 1989
Maniac performed by Michael Sembello - From FLASHDANCE - 1983
Owner Of A Lonely Heart performed by Yes - 1983
She Drives Me Crazy performed by Fine Young Cannibals - 1983
Voices Carry performed by Til Tuesday - 1985
Walk Of Life performed by Dire Straits - 1985
Walking On Sunshine performed by Katrina & The Waves - 1985
What I Like About You performed by Romantics - 1979
Working For The Weekend performed by Loverboy - 1981

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PIAZZOLLA ASTOR FOR VIOLIN & GUITAR HAL LEONARD LIBRO SPARTITI CHITARRA VIOLINO SHEET MUSIC BOOK

PIAZZOLLA ASTOR, FOR VIOLIN & GUITAR. SHEET MUSIC BOOK IN STANDARD NOTATION. 

LIBRO DI MUSICA. 
SPARTITI PER CHITARRA E VIOLINO, IN PENTAGRAMMA. 

Composer: Astor Piazzolla

Astor Piazzolla (1921-1992) was the foremost composer and ambassador of tango music, who carried the signature sound of Argentina to clubs and concert halls around the world. This folio gathers 35 of his finest and arranges them for violin and guitar duets. Includes bio. 80 pages
Titles include:

Astor Piazzolla (1921-1992) was the foremost composer and ambassador of tango
music, who carried the signature sound of Argentina to clubs and concert halls around
the world.
Piazzolla was born in 1921 in Mar del Plata, on the coast south of Buenos Aires, but
lived in New York City from 1924 to 1937. In New York the young Piazzolla tuned into the
vibrant jazz scene and bandleaders such as Duke Ellington and Cab Calloway. At age 12,
he received his first bandoneon, a type of button accordion that is the principal voice
of tango, and began playing music from the classical repertoire. Soon after his family
returned to Argentina in 1937, Piazzolla joined the popular tango orchestra of Anibal
Troilo and-while still a teenager-established himself as a talented bandoneon player
and arranger.
In Argentina, Piazzolla continued to study classical music, too, with the composer
Alberto Ginastera and others. In 1954, Piazzolla's composition "Buenos Aires" won
him a scholarship to study in Paris with Nadia Boulanger, who encouraged him to
find his own voice by tapping into his passion for tango. Back in Argentina in the
late 1950s, Piazzolla did just that, laying the groundwork for what become known as
tango nuevo-new tango.
In 1960 he formed his seminal group Quinteto Tango uevo, featuring bandoneon
alongside violin, guitar, piano, and bass. In the ensuing years Piazzolla's music increasingly
used dissonance, metrical shifts, counterpoint, and other techniques inspired
by modern classical composition and jazz orchestras. In Argentina, where tango is a
source of national pride and identity, some tango purists were incensed by these radical
departures from tradition, and in the late 1960s even Argentina's military government
criticized Piazzolla for being too avant-garde. Piazzolla left behind a huge body of music-more than 750 works-and classic recordings such as Adios Nonino and Tango:
Zero Hour, as well as collaborations with artists as diverse as poet/author Jorge Luis
Borges (El Tango), jazz vibraphonist Gary Burton (The New Tango), and the Kronos
Quartet (Five Tango Sensations). In 1986, Piazzolla's music was featured in the
Broadway hit Tango Argentino. In 2001 Amadeus Press published Astor Piazzolla: A
Memoir, the remarkable life story (as told to journalist Natalio Gorin) of one of the 20th
century's true musical iconoclasts.


1958 - Adios nonino  - Yves Paul Martial Puech, Asto Piazzolla
1957 - Boricua - Astor Piazzolla
1963 - Buenos Aires Hora Cero - Astor Piazzolla
1960 - Calambre - Astor Piazzolla
1960 - Decarisimo - Astor Piazzolla
1958 - Dernier lamento - Roger Auguste, Charles Desbois, Albert Abraham, Ben Soussan, Astor Piazzolla
1957 - Détresse - Astor Piazzolla
1962 - Extasis - Astor Piazzolla
1958 - Fièvre (Fiebre de Tango) - Albert Abraham, Ben Soussan, Albert Noel De Marigny Engeurrand
1963 - Fracanapa - Astor Piazzolla
1958 - Greenwich - Albert Abraham, Ben Soussan, Andre Psieto, Astor Piazzolla
1958 - Gulinay - Astor Piazzolla
1962 - Imàgines 676 - Astor Piazzolla
1963 - racundo - Astor Piazzolla
1960 - La Calle 92 - Astor Piazzolla
1962 - La fin del mundo - Oscar Nicolas Fresedo, Astor Piazzolla
1960 - Las Furias - Astor Piazzolla
1958 - Llueve Sobre Broadway - Raoul Cohzales, Astor Piazzolla
1961 - Los Poseidos -  Yves Paul Martial Puech, Astor Piazzolla
1960 - Made In USA  - Asto Piazzolla
1957 - Mi Exaltacion - Asto Piazzolla
1957 - Misteriosa VidaGuy Favreau, Astor Piazzolla
1957 - Nuevo Mundo - Astor Piazzolla
1957 - Presentania - Astor Piazzolla
1962 - Psicosis - Astor Piazzolla
1960 - Recuerdo New York - Astor Piazzolla
1963 - Revirado - Astor Piazzolla
1957 - Romantico Idilio (Sans ta presence) - Astor Piazzolla Gay Favreau, Albert Abraham, Ben Soussan, 
1964 - Se Termino (C'est fini) - Astor Piazzolla
1957 - Suavidad - Astor Piazzolla
1964 - Tango choc (Doudou) - Astor Piazzolla
1958 - Tanguisimo - Astor Piazzolla
1958 - Te quiero tango - Astor Piazzolla
1962 - Todo Fue - Diana Piazzolla, Astor Piazzolla
1958 - Yo canto un tango - Astor Piazzolla

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PRS GUITAR BOOK 3RD EDITION THE, A Complete History of Paul Reed Smith Guitars. Dave Burrluck

THE PRS GUITAR BOOK 3RD EDITION, A Complete History of Paul Reed Smith Guitars. Dave Burrluck, 174 pagine.

Series: Guitar Reference
Publisher: Backbeat Books
Medium: Softcover
Author: Dave Burrluck

The PRS Guitar Book details every facet of the wonderful electric guitars made by PRS, the Maryland-based company founded in 1985 by musician and guitar builder Paul Reed Smith. The paperback edition is updated to include all the latest information on the acclaimed Singlecut models, as well as the intriguing story of the Santana SE – the company's first venture into overseas manufacture. An inviting narrative describes the evolution of this internationally renowned guitar maker, while dynamic color photography spotlights outstanding PRS guitars such as the Signature, signed by Smith; the Dragon, sporting opulent shell inlays; the Swamp Ash Special and Rosewood Limited, using non-standard materials; and ultra-rare models from limited and custom runs. Other featured guitars include the latest acoustic-electrics, and the Santana models that celebrate the partnership between PRS guitars and their best-known player, Carlos Santana. A special section highlights the company's famed use of highly patterned maple woods, displaying the most stunning "flame-top" and "quilt-top" examples. This definitive book also provides an absorbing photo-essay on the making of a PRS guitar, plus specifications for identifying and dating PRS instruments.

"The PRS Guitar Book is a must-have for any collector, PRS owner, or anyone who appreciates PRS guitars." Guitar Digest

"Masterful ... tons of gorgeous, full-color photos." Guitar Player

"This hefty volume of brilliantly colorful guitars made by Paul Reed Smith exemplifies the best and the brightest... " Dirty Linen

"A fitting tribute to a company which has, in a short time, come to symbolize a quality alternative to the 'big two' American electric guitar manufacturers." Vintage Guitar
174 pages

 

 

 

 

 

CONTENTS

FOREWORD By Tom WHEELER

 

PART ONE: THE EARLY YEARS

PALL REED SMITH: THE EARLY YEARS

 

PART TWO: VIRGINIA AVENUE 1985-95

CUSTOM, CUSTOM 22 AND 24, AND CUSTOM 22 SOAPBAR

EARLY PRS BASS GUiTARS

PRS GUITAR, STANDARD, SPECIAL, AND STUDIO

SIGNATURE AND LIMITED EDITlON

MATERIALS: FIGURER AND METAL

MATERIALS: FIGURED MAPLE TOPS

CLASSIC ELECTRIC, CE AND EG

ARTIST I, ARTIST II AND ARTIST LlMITED

MARKETING. COLLECTABILITY, AMPLIFIERS AND ACOUSTIC GUITARS

DRAGON I, II, III AND 2000

MCCARTY MODEL

PICKCPS AND ELECTRICS

SANTAN AND 10TH ANNIVERSARY

GUTARS OF THE MONTH AND EMPLOYEE GuiTARS

 

PART THREE: STEVESVILLE

SWAMP ASH SPECIAL AND ROSEWOOD LTD

PRIVATE STOCK ONE-OFF GUiTARS

ARTIST III AND ARTIST IV

McCART) STANDARD AND McCARTY SOAPBAR

McCARTY ARCHTOP

McCARTY HOLLOWBODY

SINGLECUT AND TREMONTI MODELS

ELECTRIC BASS AND ELECTRIC BASS MAPLE TOP

SANTANA III AND SANTANA SE (FIRST VERSION)

THE GROWTH OF PRIVATE STOCK

RETURN OF THE DRAGON, SINGLECUT TREM SE

513 AND MODERN EAGLE

SE EXPANSION

END OF THE SINGLECUT?

 

PART FOUR: 20 YEARS OF PRS

PRS's 20TH ANNIVERSARY

CE MOHOGANY, CARS, ROCK STARS

RETURN OF THE SINGLECUT

MAPLE MOVES TO SE

SATIN EXPANSION

MAPLE SATINS, MODER EAGLES AND MR JOHNNY HILAND

PRIVATE STOCK CELEBRATES 10TH ANNIVERSARY

EVOLUTION OF THE SINGLECUT

MORE SEs, A 'REISSUE', A NEW FACTORY

 

PART FIVE: MODEL KEY & REFERENCE

INDEX

ACKNOWLEDGEMENTS 

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MORSE STEVE, BEST OF BAND AND DIXIE DREGS. Cherry Lane Music Play It Like It Is TABLATURE

MORSE STEVE, BEST OF BAND AND DIXIE DREGS. TABLATURE

ARTIST APPROVED

Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Dixie Dregs
Artist: Steve Morse Band

I always consider the beginning of a new year a good time to think about what has worked well and what could stand some improvement. Since I've spent most of the last year seeing the world with Deep Purple, my perspective is definitely different now. Let me tell you some of the things that stick out as great foundations for new motivation. I'll put them in two categories. Things To Improve. Practicing habits. While I generally can find enough time in noisy environments to do some technical warmup and things that don't require too much concentration, I have found that my only truly quiet time is late after the gig in my hotel room. I should find a way to set aside more quiet time during the day to be with my guitar. My theory is that two small but effective sessions a day can be more productive than one longer single session. Sometimes when I'm having a problem getting ready to start a run of dates, I find that practicing twice a day provides more benefit than the total number of minutes spent might suggest. A more balanced diet. I definitely ate too much pizza in too many countries. But, on the other hand, it was the only thing I could recognize in many places. I should be more amazed at life itself instead of having to experience a nearly perfect gig to feel uplifted on the road. Many people within the group had friends or family fall ill or even die during the course of the last year. Since it eventually happens to everyone, I guess all of us get somewhat dulled to the fact that just being alive is miraculous. And often, the more you see someone and the more time you spend with them, the more you take them for granted. Sleep. I really must figure out how to get sleep like a normal person. Changing time zones as often as tempos from song to song just flips out my internal clock. On the other hand, I should look at the positive side of being a very light sleeper-I could be a great guard dog. I must remember what a reasonably priced nation the U.S. is. Everywhere else I go constantly reminds me of that fact. I will try hard to remember that this year, as I quickly adjust back to normal outrage at the prices of things today. Amazingly, the things that are available in the U.S. that come from abroad are almost always less expensive here. Our social interaction. Many other countries seem to have safe streets, where residents enjoy community events with no fear of walking or riding bikes in any part of their cities. It's up to us to say enough is enough. Writing a sentence about it won't change much, but what if everyone just suddenly knew that it didn't have to keep on getting worse? Someone once told me that we get what we settle for. Hmmrn .... Things That Were Cool. Getting to talk to my five-year-old son every day. He is at an age where he can entertain me on the phone with his unique views on the way things are. My favorite time was when he asked me to hold on while he got something to eat. I thought he was just going to grab something and come right back to the phone. But since I was paying the Moscow rate of eight dollars a minute from the hotel because of some problem with my carrier, of course he just forgot to return to the phone. After holding for ten minutes then trying back until they hung up the phone, he then requested that I make up another story to tell him. Well, I never will get tired of doing that. I have been surrounded by great, supportive people in the group. I will never again underestimate the importance of good chemistry between people. Two nights ago I had a terribly frustrating technical problem all through the show and I was not handling it very well, especially at first. Everyone was surprisingly helpful in getting me past the point of ruining the show for myself. Instead of getting upset at me for showing some frustration, vocalist Ian Gillan came over and said that he's really glad that I have that much passion for what I am doing. That made all the difference in the world. One minute life sucks, the next I'm feeling thankful. Everyone knew exactly what I was going through and naturally chose to help up one of their wounded. That's good chemistry, and I still don't know if it's luck or destiny or effort that makes it happen, but I'm glad it does. There's also plenty of stories like that from every group I've worked with. When I was a kid wanting to start a band, that was the main reason I was drawn to it. You know, the total really is greater than the sum of its parts. Foreign exchange. If you ever went to a club gig of the Dregs or my band, you could almost always talk to me afterwards. It's kind of normal to be somewhat accessible when you're playing clubs, especially if you're in a band that's doing multiple sets. I got into the habit of greeting those who stuck around after the show because of a guitarist who spent some time talking to me when I was a kid at one of my first shows. In the process of this last year, I've met and learned about a lot of people from many places, backgrounds, and professions. It has been some of the most valuable education in my whole life. Good will. I've met busloads of Croatians traveling a long way to see the show, and other hard-working people in nearly every country who travel great distances to be a part of it. People everywhere have brought gifts, good wishes, enthusiasm, and energy to those large places that our fearless crew has seen every day at setup time. I've seen opening bands bust their butts to get on and off stage on time after driving all night. I've seen people plan their vacations around the tour because they love the energy of live music. Yeah, again and again, I always have to agree that music can strike pretty deep.

13 rockin' guitar transcriptions of Steve's playing in Dixie Dregs and the Steve Morse Band. Plus a bio and notes from Steve Morse. 112 pages


Country Colors
Cruise Control
Flat Baroque
General Lee
Highland Wedding
Ice Cakes
Point Counterpoint
Punk Sandwich
Refried Funky Chicken
Road Expense
Southern Steel
Take It Off The Top
Twiggs Approved

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MORE OF THE 1950s Decade Series GUITAR TABLATURE Recorded Version CHITARRA SPARTITI LIBRO LA BAMBA

MORE OF THE 1950s, The Decade Series for Guitar. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK 'N' ROLL.

SPARTIOTI PER VOCE E CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

30 titoli famosi degli anni cinquanta trascritti nota per nota per chitarra, completi dei testi della canzoni. 

The Decade Series

Serie: Guitar Recorded Version TAB

 

CONTIENE:

Believe What You Say - RICKY NELSON - 1958
A Big Hunk 0' Love - ELVIS PRESLEY - 1959
Blue Suede Shoes - CARL PERKINS - 1956
Bluejean Bop - GENE VINCENT - 1956
Bye Bye Love - THE EVERLY BROTHERS - 1957
Chinatown, My Chinatown - CHET ATKINS - 1952
Don't Be Cruel (To a Heart That's True) - ELVIS PRESLEY - 1956
Foggy Mountain Special - FLATT & SCRUGGS - 1954
Forty Miles of Bad Road - DUANE EDDY - 1959
Hard Headed Woman - ELVIS PRESLEY - 1958
Honest I Do - JIMMY REED - 1957

I Need You So Bad - B.B. KING - 1957
I'm Stickin' With You - JIMMY BOWEN - 1957
Jailhouse Rock - ELVIS PRESLEY - 1957
La Bamba - RITCHIE VALENS - 1959
Party Doll - BUDDY KNOX - 1957
Peggy Sue - BUDDY HOLLY - 1957
Ramrod - DUANE EDDY - 1958
Raunchy - BILL JUSTIS - 1957
Rawhide - LINK WRAY - 1958
Ready Teddy - LITTLE RICHARD - 1956
Red River Rock - JOHNNY & THE HURRICANES - 1959
Say Man - BO DIDDLEY - 1959
See You Later, Alligator - BILL HALEY & HIS COMETS - 1956
Singing the Blues - GUY MITCHELL - 1956
Sixteen Tons - TENNESSEE ERNIE FORD - 1955
That'll Be the Day - BUDDY HOLLY - 1957
Train Kept a-Rollin' - JOHNNY BURNETTE - 1956
Twenty Flight Rock - EDDIE COCHRAN - 1958
Yakety Yak - THE COASTERS - 1958
Prezzo: €26,99
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MARTIN BOOK THE, A COMPLETE HISTORY OF MARTIN GUITARS. Walter Carter

THE MARTIN BOOK. 160 pagine. Walter Carter

A COMPLETE HISTORY OF MARTIN GUITARS, 
UPDATED EDITION WITH NEW PICTURES AND REVISED TEXT
MARTIN & CO. ET 1833

Series: Book
Publisher: Backbeat Books
Medium: Softcover
Author: Walter Carter
The Martin Book

For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s.

Inventory #HL 00331417
ISBN: 9780879308872
UPC: 884088064082
Publisher Code: 0879308877
Width: 8.5"
Length: 11.0"
160 pages

For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s. 160 pages

Martin is the oldest and most respected name among American instrument makers - not just guitar makers but makers of all instruments. The guitar world, Martin had been established for over 50 years when Orville Gibson started carving the tops and backs of mandolins in the 1890s, over 100 years when Leo Fender started putting pickups on solid guitar bodies in the 1940s. Martin carried on steadily as such important names as Washburn, Epiphone, Gretsch, National, Vega, Kay, and Harmony arose, flourished, and perished. Unlike most of the great names in the guitar world, Martin never became a big company. From a one-man shop, it grew into a small-town factory; even at its all-time height of production in the 1960s, Martin turned out less than 20 percent of the guitars that Gibson was producing at the time. Martin's quality fell off with the increased production of the late 1960s and 1970s, but the company learned its lesson well in the lean years of the late 1970s and early 1980s. In the 1990s, with respect and demand for Martins once again exceeding production capabilities, the company planned only a small, cautious expansion, refusing to sacrifice quality for quantity. At the summer 1993 National Association of Music Merchants (NAMM) trade show, dealers were told that Martin was back-ordered for one year. They still ordered Martins - a testament to the quality signified by the Martin name. Martin's longevity is not hard to explain. CF. Martin, who founded the company in 1833, transformed the European guitar into a new, uniquely American instrument. The flat-top guitar we know today is larger, and it has steel rather than gut strings, but otherwise it is not much different from the instruments Martin was making by 1850. All the company had to do was to keep on making guitars the same way that CF. did. Martin was enticed at times into unfamiliar markets by the surging popularity of mandolins, banjos, and electric guitars - but flat-top guitars remain the backbone of the company's fortunes. Unlike Gibson's mandolins and acoustic archtop guitars, unlike Fender's electric solidbody guitars, Martin's guitars did not effect any revolutionary changes in popular music. CF. Martin's X-braced flat-tops of 1850 were well accepted but they did not start everyone playing guitar (everyone was playing banjo at that time). Martin instruments played an important role in the guitar'S rise to prominence in the 1930s, but the innovations that sparked the movement should for the most part be credited to other makers. Martin guitars certainly epitomized the folk boom of the 1960s, but the guitars themselves had been developed decades earl ier. Rather than leading any musical movements, Martin guitars have provided a foundation for popular music - a consistent, solid base that has always been there, regardless of what style of music was the current rage. Consistency goes a long way in explaining Martin's success, but there is more. You don't have to walk into the factory to see that Martin is a different kind of company. From the outside it looks more like an elementary school from the 1960s than an industrial facility - an image underscored by its location in a residential area. Perhaps the key is a sense of humanness that comes from family. In 1833 the company was founded by a man named CF. Martin; in the twenty-first century the chairman is still a man named CF. Martin. In the context of family ownership, there is today no company quite like Martin. Neither Orville Gibson nor Leo ...

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JOHNSON ERIC BLOOM Guitar Recorded Version TABLATURE LIBRO CHITARRA SPARTITI ACCORDI ROCK

JOHNSON ERIC, BLOOM. GUITAR TABLATURE

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

Series: Guitar Recorded Version

Softcover - TAB
Artist: Eric Johnson

Exact note-for-note transcriptions with tab for all 16 songs off the 2005 CD from guitar virtuoso Eric Johnson. The All Music Guide says, "all his trademarks are well represented - chops, tone, and extremely fluid playing."
192 pages

Bloom
Ciel
Columbia
Cruise The Nile
From My Heart
Good To Me
Hesitant
Magnetized
My Back Pages
Sad Legacy
Sea Secret
Summer Jam
Sunnaround You
Tribute To Jerry Reed
12 To 12 Vibe
Your Sweet Eyes

Prezzo: €29,99
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SHEPHERD KENNY WAYNE BAND BEST OF Guitar Recorded Version TABLATURE CHITARRA SPARTITI LIBRO

SHEPHERD KENNY WAYNE BAND, BEST OF. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA ROCK BLUES.
SPARTITI PER VOCE E CHITARRA CON: 
ACCORDI, PENTAGRAMMA, TABLATURE

Series: Guitar Recorded Version TAB
Artist: Kenny Wayne Shepherd

15 songs from this blues guitarist extraordinaire, including, 136 pages

Best of Kenny Wayne Shepherd Band
Series: Guitar Recorded Version
TAB
Artist: Kenny Wayne Shepherd

15 songs from this blues guitarist extraordinaire, including: Alive • Blue on Black • Born with a Broken Heart • Changes • In 2 Deep • Ledbetter Heights • The Place You're In • Slow Ride • True Lies • and more.
Inventory #HL 00690803
ISBN: 9781423401599
UPC: 073999927481
Width: 9.0"
Length: 12.0"
136 pages

Table of contents
Alive
Be Mine
Blue On Black
Born With A Broken Heart
Deja Voodoo
In 2 Deep
Last Goodbye
Ledbetter Heights
(Let Me Up) I've Had Enough
The Place You're In
Shotgun Blues
Slow Ride
Somehow, Somewhere, Someway
True Lies

 


BLUES GUITAR PHENOMS are a dime a dozen. Rosy-cheeked and eager to please, they are shepherded from venue to venue like circus acts, stunning audiences with their acrobatic techniques and stage savvy. Most succeed in getting an Established Black Bluesman or two to endorse their playing, and the guitar media race to proclaim them the real deal. The trouble is, prodigies usually grow up. And too many guitar phenoms learn the real meaning of the blues when fickle audiences turn their attention to the next generation of young wizards, leaving the too-old 20-year-old out in the cold.
Kenny Wayne Shepherd, who was a teenager and a high school senior in Shreveport, Louisiana, when his acclaimed debut album, Ledbetter Heights (Giant), was released, is an ex-phenom who made a particular splash as a blues baby: Ledbetter Heights went Gold and sat at the top of the blues charts for months. Shepherd's overdriven Strat tone, rapid-fire solos and overt Hendrix-isms had fans proclaiming him the new Stevie Ray Vaughan, no less.

All this potentially meant lots of pressure on Shepherd because he, as much as anyone, knew that blues Peter Pans grow up and have to keep producing when they're 20,30 and even 40 years old. But the blond-haired guitarist knew exactly what to do: hit the road, challenge himself by playing with the best rock guitarists around and grow. And so he joined the G3 tour, first as an opening act and then, with the departure of Eric Johnson, as a full-fledged partner of Joe Satriani and Steve Vai. Shepherd impressed many fans on the rest of that tour, and he certainly impressed his tour mates. "When I first heard Kenny Wayne Shepherd, I thought, 'Uh-oh, another Stevie Ray Vaughan clone,' " recalls Vai. "Just like the first time I heard Stevie Ray, I thought, 'Uh-oh, another Hendrix clone.' I was equally wrong both times. Kenny has the depth and insight to make what he doesemotionally powerful and remove it miles from clonedom. He has that elusive 'it.' " "He is a real talent," agrees Joe Satriani. "Anyone can practice guitar, learn some licks and make believe that they're an entertainer. But to be a real natural, to be great at your instrument-to be able to walk out on any stage and immediately plug into both the musicians and the audiencethat is realtalent. And that iswhat Kennyhas." And Shepherd's abilities are abundantly evident throughout The Trouble Is... , the follow- up to Ledbetter Heights. The maturing guitarist partially attributes the new album's strengths, and his growth, to his G3 odyssey. "Ledbetter Heights chronicles a part of KENNY WAYNE SHEPHERD·
my career," says Shepherd. "But that part is the beginning. I've grown a lot. I listen back to tapes of myself when I was 15, and it doesn't even compare to how I'm playing now. And I almost feel that way about my first album. I think growth comes along with experience, just being out there doing it." Shepherd's playing today is more confident, more personal and less derivative of Stevie Ray Vaughan, even though he is backed by Vaughan's former band, Double Trouble-drummer Chris Layton, bassist Tommy Shannon and keyboardist Reese Wynans-on half the album. "I wanted to use them because they're simply the best rhythm section for the type of music I like," Shepherd explains. "They're also my friends, and playing with them was a blast." His regular touring band appears on the rest of the album, with new singer Noah Hunt handling lead vocal chores throughout. Highlights include a rollicking run through Bob Dylan's "Everything is Broken" and a great take on Jimi Hendrix's "I Don't Live Today," as well
as Shepherd originals like the leadoff single "Slow Ride," the instrumental "The Trouble
Is" and "Long Gone," which features blues harmonica great James Cotton. As strong as the album is, there's no reason to think that number three won't be even stronger. For Shepherd is, as his friend Steve Vai says, "a work in progress."

GUITAR: This record took longer to complete than you had planned. Why?
KENNY WAYNE SHEPHERD: The writing was a little tough. While I was on the road doing
interviews, people kept asking me if I was feeling pressure to come up with a good second album and avoid the "sophomore slump." I was like, "What are they talking about? I don't feel any pressureat all. This is a blast." But then we came off the road to record, and I didn't really have any material because I hadn't been writing, or even thinking about it, for a year and a half. Youget into a road groove: you wake up, do promotion, soundcheck, have dinner, shower, get to the club, play.Then you're up real late, and you're wired. You probably haveto travel, so you get to bed early in the morning, oversleep, get up
and start all over again. I had to get out of that, to change my frame of mind from playing live to writing music. I hadn't done it in a long time, and I got kind of discouraged, at first. Nothing was happening, and I didn't know where it was gonna come from. But I just kept going, and the next thing I knew I had 37 songs.

KENNY WAYNE SHEPHERD
GUITAR: The first single, "Slow Ride," is really hard-hitting. It reminds me of Freddie King's "I'm Going Down."

SHEPHERD: Thanks! Me too, actually. We wanted to come out of the box with a slamng ming track that screamed, "We're back!" That song sort of came out of nowhere and
took everybody by surprise, in a way very similar to what "Deja Voodoo" did on the
last album. When I was recording Ledbetter Heights, we cut 13 songs, then took
two weeks off. During that period, I went home and wrote "Born With a Broken
Heart," "Deja Voodoo," "Let Me Up I've Had Enough" and a few more-almost half
of the songs on the album, and most of the big ones. So we decided to do the same
thing this time. I went in the studio with Double Trouble and 19 songs. Then I went
back on the road for a few weeks and wrote two really strong tunes, "Long Gone" and
"Slow Ride."

GUITAR: Now that you're done recording, how do you feel about the final product?
SHEPHERD: I'm really excited about everyng thing. Working with Jerry [Harrison, producer; the former member of Talking Heads has also produced Live, Big Head Todd and othicers-GUITAR Ed.] has been a real pleasure. I think the album is awesome, sonically-the
drums and guitars sound great-but more importantly the material is really strong. I'm
also excited because I sang a lot more this time, doing backup vocals on four or five
songs, plus singing lead on a cut of "Voodoo Chile," which surprisingly sounds pretty
decent. [laughs] Even though we decided not to put it on the album, I feel it was a big
step for me.

GUITAR: That's a tall mountain to climb. SHEPHERD: Yeah, but it felt good. It was awesome to have Chris and Tommy playing it. The fact that I'm singing it feels great, too, because it's a Hendrix song, and it's sort of meant for the guitar player to sing. I just couldn't see doing it with another singer; it was either I sing it or we don't cut it, so I decided to give it a go, and it felt pretty good. I am probably going to start doing it every night.

GUITAR: It must be strange, being a star attraction who doesn't sing, as you have to turn a
lot of control over to another person.
SHEPHERD: Yeah, it is a weird situation. I need to have total confidence that that person
is going to do my music exactly how I want to hear it. That's part of the reason we
felt we had to change singers. Noah is very talented, and he has the right attitude and
voice for what I want to do. I'm singing more myself, which is helping me become an even
bigger part of my music. Just the fact that live I'm now singing all these background

KENNY WAYNE SHEPHERD

... vocals, plus doing "Voodoo Chile," will give me more practice on the road than I got last
year, when I hardly sang at all. I'm going to keep practicing and working on it, maybe
slowly adding songs here and there. It's definitely getting better; my voice and confidence
level are both eons beyond where they were when I did "Riverside" [on Ledbetter Heights],

GUITAR: Is it largely an issue of confidence at this point?
SHEPHERD: That's a big part of it. I was definitelya little insecure about it, because if
I am going to do something, I want it to be up to the musical standards that I hold up
for myself. My guitar standards are very high, and I wanted my vocals to be just as good,
though I realize that it's not always like that. Look at Hendrix, Stevie Ray and Eric Clapton.
They're all great singers who improved throughout their careers, but the bottom line
is their singing doesn't compare to their playing, and that's why, for many years, they
all played without singing. It's something they had to grow into, and I'm growing into
it slowly. But I'm not going to rush it. Working in the studio with Jerry has really
helped me get to the point where I can just belt it out and accept the sound of my own
voice, which is really difficult-especially when you hear it played back on big studio
monitors, and you can hear every little mistake. [laughs]

GUITAR: It sounds like Jerry was really good for you. But why, considering all the success
you had together, did you decide to not work with your last producer, David Z?
SHEPHERD: David was great to work with, but I felt it was time to look in a different
direction. Then I heard the Big Head Todd and the Monsters album Jerry produced for
my label [Beautiful World, Revolution], I thought it was clearly Big Head Todd's best,
so I immediately asked my A&R guy to get Jerry. I felt we would see eye to eye, musically.
And I was right.
I felt that this album needed to be more aggressive, both playi ng-wise and in its production.
I feel like my playing has improved at least 90 or 100 percent from when I did
the first album, and I really wanted that to come through. I wanted everyone to be able
to hear the emotion and dexterity that's there now, and wasn't there before.

GUITAR: Why do you think that is?
SHEPHERD: It's a result of doing so much touring. When you play live every night for a
year and a half or two years straight, it really makes your chops a lot better. You don't
notice it so much while it's happening, but you listen back and hear it. When we started
touring to promote Ledbetter Heights, we did about 250 shows in a year and a half.
How could you not grow from that experience?

GUITAR: How exactly have you improved?
SHEPHERD: Well, I really practiced my vibrato
a lot, and I think it's way better. I also
bend much more precisely and confidently; I hit all my notes now. Basically, my overall
technique is just much better than it was. But I also think I've developed better taste
and more of an understanding of when to hold back and when to let it rip and really
playa lot of notes. Being on the road with guys like B.B. [King] showed me a lot. He
can knock you off the stage with one note, so I tried to figure out how to do that. In
terms of influences, I've also gotten more into Albert King, so there's more of his licks
popping up in my pLaying.While I was on the road, I got really deeply into Albert and Hendrix.

GUITAR: Playing with Double Trouble must have been exciting for you.
SHEPHERD: There was definitely a lot of excitement there, from me and also from them. We kept a lot of my original tracks from our sessions because the three of us were playing off of each other so much. I'd playa lick and Chris would accent it perfectly,
and when I tried to overdub it wasn' t as locked in, because when we were
doing it together, there was so much intuition happening. They inspired me to play
a lot of new and different stuff. Sometimes, I'd just want to see if I could turn their
heads. The whole experience was definitely inspirational.

GUITAR: Sure. That's the band you grew up worshipping.
SHEPHERD: [laughs] Definitely. But I know those guys so well now that they are real
friends. Chris and I talk on a regular basis, and I also love Tommy. He's really funny, the
kind of guy who has to have dessert after every single meal. Of course, they both quit
drinking and everything, and now they've quit smoking, too. Tommy chews that
Nicorette gum and has a patch on at the same time, and he's going around sniffing
people's cigarettes. [laughs] He's a character, and he is truly one of the kindest guys
I've ever met. We wrote a lot together, and they really didn't write much with Stevie.
There was a lot of jamming going on. We probably have five OAT tapes of stuff that
isn't on this album. They're the best rhythm section for the kind of music I'm doing.
They're the guys who pretty much created the stuff.

GUITAR: What do you think they brought to Stevie's music?
SHEPHERD: The rhythm section is the foundation.
They pushed Stevie to play; they were an integral part of his sound.

GUITAR: There was a strong element of restraint in Stevie's playing that I detect in yours.
SHEPHERD: Thanks. A lot of players think that Stevie's music is just such fiery, asskicking
guitar that to match it they have to play all-out, over-the-top, going-for-broke,
on ten. But it's not about that, man. It's about taste and restraint. That's where the
single-note thing comes in, the understanding of Albert King, just being real tasteful.
Youcan play something fast, but play it tasty and fast. Put some emotion into it.
The thing that I dug most about Stevie's playing is that it's a bridge between blues
and rock, and I think that's the direction my music leans towards. My music has a little
bit of a harder, sharper rock edge than Stevie' s did. I'm probably the middle point
between Stevie and Hendrix.

GUITAR: You started your first national tour playing small clubs, then opened for everyone from B.B. King to Bob Dylan to the G3 tour. Ultimately, you became a full-fledged member of the G3-one of the Big Three. How have you enjoyed the tour?
SHEPHERD: It's been great. Joe, Steve and Robert Fripp are all really a pleasure to work with. I saw Steve when he toured with David Lee Roth and was wearing all the fluorescent green and pink stuff, and I heard a bit of Satriani's stuff, like "Satch Boogie," but I got my first real dose of them when I did the first shows. I was impressed with both of them. I really dig what Vai does and enjoy listening to him because he has extremely creative ideas that I wouldn't come up with, placing notes in ways that I wouldn't. I've heard him play some licks that just blew my mind. He is a truly phenomenal guitarist. But I'm a little more drawn to Satriani because he puts a lot of blues into his music. There's a lot of Albert King in there, wh ich may surprise people who haven't seen him live. It surprised me. I think anyone who's into guitar music should check these guys out live, even if you don't think you want to. Same goes for Robert Fripp, who has been opening the shows. His set is very interesting and exotic. They've all been great, and the jam at the end of the show is killer.

GUITAR: Blues harmonica great James Cotton appears on "Long Gone." What did you want out of him?
SHEPHERD: I love his work with Muddy Waters, especially on Hard Again and King Bee, and I wanted to hear that sound. And we got it, man. James played his ass off. He did some cool fills throughout the song, then at the end of the tune he just went off and played some incredible stuff. I really felt like I was listening to a Muddy Waters record when I heard that, which was exactly what I ....

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