LIBRO

HITS OF THE '60S, Strum & Sing Series Easy Guitar.

HITS OF THE '60S, Strum & Sing Series Easy Guitar.

Publisher: Cherry Lane Music
Artist: Various

An unplugged and pared-down approach to your favorite songs from the Beatles, Johnny Cash, the Band, the Byrds, Dylan, the Who, and many others! Includes just the chords and lyrics to 43 hits, 104 pages.

BLOWIN' IN THE WIND
A BOY NAMED SUE
CALIFORNIA DREAMIN'
DO YOU BELIEVE IN MAGIC
EIGHT MILES HIGH
FEEL A WHOLE LOT BETTER
FOR WHAT IT'S WORTH
FROM ME TO YOU
HANG ON SLOOPY
HAPPY TOGETHER
HEY JOE
I CAN SEE FOR MILES
I GOT YOU BABE
I SAW HER STANDING THERE
I WALK THE LINE
IF I HAD A HAMMER (THE HAMMER SONG)
LEAVING ON A JET PLANE
THE LETTER
THE MARVELOUS TOY
MONSTER MASH
MR. SPACEMAN
MRS. ROBINSON
MY GENERATION
NIGHTS IN WHITE SATIN
ODE TO BILLY JOE
PIECE OF MY HEART
PROUD MARY
PUFF THE MAGIC DRAGON
RING OF FIRE
RUNAWAY
THE SEVENTH SON
SHE LOVES YOU
SO YOU WANT TO BE A ROCK AND ROLL STAR
SUBSTITUTE
SWEET CAROLINE
TELL HER (TELL HIM)
THESE EYES
THOSE WERE THE DAYS
TUESDAY AFTERNOON (FOREVER AFTERNOON)
TURN! TURN! TURN! (TO EVERYTHING THERE IS A SEASON)
TWIST AND SHOUT
THE WEIGHT
YESTERDAY

Prezzo: €11,99
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JETHRO TULL GUITAR ANTHOLOGY Recorded Versions TABLATURE Locomotive Breath-Thick As A Brick

JETHRO TULL GUITAR ANTHOLOGY. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK / PROGRESSIVE. 

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

MUSIC TRANSCRIPTIONS BY: Addi Booth - BILL LaFLEUR - RYAN MAZIARZ - ANDREW MOORE

Series: Recorded Version (Guitar)

Softcover - TAB

Ian Anderson and crew have sold more than 60 million albums. Here are transcriptions of 19 of the finest from these British rock legends:

Aqualung
Bungle In The Jungle
Cross-Eyed Mary
Life Is A Long Song
Living In The Past
Locomotive Breath
Minstrel In The Gallery
New Day Yesterday
Nothing Is Easy
Passion Play Edit #8
Skating Away (On The Thin Ice Of A New Day)
Sossity, You're A Woman
Sweet Dream
Teacher
Thick As A Brick
To Cry You A Song
Too Old To Rock 'N Roll (Too Young To Die)
The Whistler
The Witch's Promise

176 pages

Prezzo: €29,99
€29,99

GREAT SONGS FOR FINGERSTYLE GUITAR-TABLATURE LIBRO CHITARRA-Every Breath You Take-imagine

GREAT SONGS FOR FINGERSTYLE GUITAR. TABLATURE

LIBRO DI MUSICA POP.

SPARTITI PER VOCE E CHITARRA FINGERPICKING CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Finger Style Guitar TAB
Composer: Various Composers

Includes 21 songs, 80 pages

All The Things You Are
The Christmas Song (Chestnuts Roasting On An Open Fire)
Dust In The Wind
Every Breath You Take
Fly Me To The Moon (In Other Words)
Georgia On My Mind
The Girl From Ipanema (Garôta De Ipanema)
I Just Called To Say I Love You
Imagine
Just The Way You Are
Love Me Tender
My Funny Valentine
My Heart Will Go On (Love Theme From 'Titanic')
My One And Only Love
Stella By Starlight
Tears In Heaven
Unchained Melody
Where Do I Begin (Love Theme)
Yesterday
You Needed Me
Your Song

Prezzo: €19,99
€19,99

GREEN DAY BULLET IN A BIBLE GUITAR TABLATURE BOOK LIBRO SPARTITI CHITARRA

GREEN DAY, BULLET IN A BIBLE. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

By Green Day. Guitar tablature songbook for guitar and voice. 96 pages. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar chord diagrams and guitar tab glossary. Punk Rock and Pop Rock.

Alfred is pleased to release the new "Green Day: Bullet in a Bible" album-matching folio. "Bullet in a Bible" is Green Day's amazing live CD/DVD follow-up to their Grammy-award winning album of the year "American Idiot." This book provides authentic guitar TAB for all of the songs included in the CD/DVD package. Titles include:

Contents:
American Idiot
Jesus of Suburbia
City of the Damned
I Don't care
Dearly Beloved
Tales of Another Broken Home
Holiday
Are We the Waiting
St. Jimmy
Longview
Hitchin' A Ride
Brain Stew
Bastket Case
King For a Day/Shout
Wake Me Up When September Ends
Minority
boulevard of Broken Dreams
Good Riddance (Time of Your Life)

Prezzo: €31,99
€31,99

EMMANUEL TOMMY ENDLESS ROAD TABLATURE LIBRO SPARTITI MUSICA CHITARRA FINGERPICKING

EMMANUEL TOMMY, ENDLESS ROAD. TABLATURE

LIBRO DI MUSICA ACUSTICA.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE. 

15 instrumental cuts on the album including musical notation and Tablature.

Product Description:
Mel Bay Publications presents a collection of arrangements and original compositions from Australian guitarist Tommy Emmanuel's 2005 CD, Endless Road. Not for the faint of heart, this outstanding collection of intermediate to advanced solos includes two pop standards (Somewhere Over the Rainbow and Mona Lisa) plus thirteen of Tommy's incredible compositions.

You’ll gain insights into Tommy's playing style through note-for-note notation and tablature transcribed by Mark Pritcher who has added suggested chord progressions to each tune to serve as a harmonic guide to the player. In addition, detailed performance notes and select chord grid diagrams further enhance accessibility to the works of this masterful guitar tunesmith.

Tommy’s music incorporates thumbpicking, jazzy single lines, chord-melody arranging techniques, complex use of harmonics and more. Playing through this collection will give you a whole new appreciation for your guitar!

 

ENDLESS ROAD

This piece was written during a time of great change in Tommy's life and has many moods and movements. Tommy says, "This song is about ajourney. It tells us that as we go down the road we encounter problems and changes and we weather through them and then get back on track." The song is played with a flat pick, and uses"hybrid picking" to attain a form of fingerpicking using a flat pick instead of a thumbpick. Tommy gets a groove going from the beginning with a constant droning strum, interspersed with melody that is played both with the pick and fingers. The pick is held with the thumb and first finger, leaving the second and third fingers to help with the melody. As the song begins, you must target the melody notes with the pick. If that is hard for you, you can use your second and third fingers to pluck the melody notes. I have made some suggestions for the strum pattern. "p" refers to the thumb and first finger holding the pick. "mil indicates the middle or second finger. "i" indicates the ring finger. The bold bracket pointing down indicates a pick stroke in the down direction, towards the floor, and the "v" symbol indicates an up stroke with the pick. In the third measure for instance, the bracket over the bass note shows a down stroke with "p" and the third string is played with the ring finger. This general technique is used anytime there is a bass note and a separate melody note. The "X" indicates either a right hand percussive strike at the strings, or a percussive strum across strings that are dampened and muted by the left hand. In measure 17 the F#on the first string is part of a transitional D chord, although all you hear is the melody note. At measure 59, the second "movement" begins, with a lyrical dancing melody, and much pick work. At measure 101, the arrow pointing down indicates a strum from the high to the low strings, and the tension builds. By measure 107, there is more use of both middle and ring fingers on rolling chords. The big strum at the end of 119 takes us into the key change to E. At measure 130 there is the first of three almost identical ''Django" style chromatic runs, the last of which takes you back to the key of G. Hints of the opening theme are heard once more, and at measure 173 we are back to the main melody. Give it a try and if you are not comfortable with the flat pick, give it a try with a thumbpick.

 

TOMMY EMMANUEL

Tommy Emmanuel is a phenomenal guitarist. He has been recognized internationally for his virtuosity in playing all types of music on the guitar. Besides that, he is an entertainer, and he makes people happy. His audience is immediately aware that they are in the presence of a very gifted guitarist, and the "musical powers that be" are fast becoming aware of his gift. In the late 1990's he recorded a CD with his mentor, guitar legend Chet Atkins, and devoted more time to touring in the United States. He moved his home from his native Australia to England, and recently to the U.S., and chances are that he will be performing somewhere near you before too long. His compositions seem simple to the ear, but are incredibly complex when analyzed. The fifteen instrumental tunes from the "Endless Road" CD represent many styles. You will hear bluegrass, jazz, pop standards, slow tunes and very fast tunes, and you will hear music asTommy hears it. Whether you are a beginner or an accomplished player, I know you will enjoy working on these tunes. In Tommy's playing there is always more going on than meets the eye or ear. He uses multiple techniques and tricks to get his unique sound. He sometimes mutes strings with the palm of his right hand, and sometimes with the fingertips of his left hand. When he is playing with a thumbpick, he may strike the strings with the pick, brush down with the far side of his right hand fingertips, or brush up with the near side of the right hand fingertips. He often uses unexpected chord fingerings, especially if it facilitates the movement to the next chord or position. It is rare for him to have unanchored notes. In other words pay attention to the chord symbols or diagrams. Often the music shows you the notes that are being played, but just as is important are the "notes" that are not played. No matter how many notes are sounded, there may be other notes being fretted that are not plucked with the right hand, but are important all the same. Tommy's tunes usually do not require a back up guitar, but I have provided the chords as I hear them, and sometimes I have "created" chords based on one or two melody notes. Chords provide a framework for analysis. Many of the tunes have key changes, and you can follow the changes with the chords. Usually the fretboard diagrams included above the music are for hand position only and are not meant to show a specific chord. The gist of a tune is the same each time he plays it, but the tunes on this CD were improvised to some extent, and thus must be recreated "by ear". Also Tommy is known to use different fingerings in the same tune, if it helps the playing of the song. For instance an "A" chord at the second fret may be fingered differently depending on what comes after it. Also for some tunes Tommy uses a flat pick and fingers, a technique sometimes called "hybrid" picking. This may present a problem for those of you who are strictly fingerpickers. But give it a try, and if you still find it awkward, you may find that those tunes are also playable in a "fingerstyle" manner...


Format: Book
Song Title: Composer/Source:


(The Man With The) Green Thumb     - Tommy Emmanuel
Angelina       - Tommy Emmanuel - 2004
Bella Soave      - Tommy Emmanuel - 2004
Chet's Ramble     - Tommy Emmanuel and Chet Atkins
Christmas Memories/Wheels    - Tommy Emmanuel
Endless Road     - Tommy Emmanuel
La Visita      - Tommy Emmanuel
Mona Lisa   - Jay Livingston & Ray Evans - 1949
Morning Aire   - Tommy Emmanuel
Old Town     - Tommy Emmanuel
Sanitarium Shuffle   - Tommy Emmanuel
Somewhere Over The Rainbow    - HAROLD ARLEN - 1938
Son Of A Gun      - Tommy Emmanuel
Tall Fiddler       - Tommy Emmanuel
Windy and Warm    - John D. Loudermilk - 1961

Prezzo: €36,99
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PAISLEY BRAD-BEST OF GUITAR RECORDED VERSION TABLATURE LIBRO CHITARRA SPARTITI COUNTRY

PAISLEY BRAD, BEST OF. MUSIC SHEET BOOK GUITAR TABLATURE

LIBRO DI MUSICA COUNTRY.

SPARTITI PER VOCE E CHITARRA: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

 
Series: Guitar Recorded Version
Softcover - TAB
Artist: Brad Paisley

This collection features note-for-note guitar transcriptions with tab for 13 of Paisley's greatest, including:

Alcohol
I'm Gonna Miss Her (The Fishin' Song)
Me Neither
Mr. Policeman
Mud On The Tires
The Nervous Breakdown
Online
She's Everything
Ticks
Time Warp
Two Feet Of Topsoil
Whiskey Lullaby
The World

206 pages

Prezzo: €31,99
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AC/DC RIFFOLOGY GUITAR TABLATURE SPARTITI-CHITARRA-Hells Bells-You Shook Me All Night Long

AC/DC, RIFFOLOGY. GUITAR TABLATURE

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

70 RIFFS, non contiene assoli

96 pages. Since exploding out of Sydney, Australia in 1973, AC/DC have been at the very forefront of heavy metal. Built around the central core of Glaswegian-born brothers Malcolm and Angus Young, whose brutal dual guitar assaults almost immediately set the rock world aflame, the band's awesome live battery has since passed into legend. Now you can learn to play over 70 high voltage AC/DC riffs, including Back In Black, Hells Bells, Let There Be Rock, and Highway To Hell. Complete with hints and tips on how to create the AC/DC sound, plus band history and discography, this is a must for any fan!

Contents:
The Info
Introduction
A Brief History Of AC/DC
Discography
Gear
Tone
Influences
Songwriting
The Code
Transcription
Legend
The Riffs
Back In Black
Ballbreaker
Bad Boy Boogie
Beating Around The Bush
C.O.D.
Dirty Deeds Done Dirt Cheap
Big Balls
Dog Eat Dog
Downpayment Blues
Flick of the Switch
For Those About To Rock (We Salute You)
Get It Hot
Given The Dog A Bone
Hard As Rock
Have A Drink On Me
Heatseeker
Hell Ain't A Bad Place To Be
Hells Bells
High Voltage
Highway to Hell
If You Want Blood (You've Got It)
It's a Long Way to the Top (If You Wanna Rock 'n' Roll)
The Jack
Jailbreak
Let Me Put My Love Into You
Let's Get It Up
Let There Be Rock
Love Hungry Man
Night Prowler
Overdose
Problem Child
Rock And Roll Ain't Noise Pollution
Rock 'n' Roll Damnation
Riff Raff
Rocker
Shake a Leg
Shoot to Thrill
Shot Down in Flames
Shake Your Foundations
Sink the Pink
Sin City
Stiff Upper Lip
T.N.T.
That's the Way I Wanna Rock 'n' Roll
Touch Too Much
Thunderstruck
Two's Up
Whole Lotta Rosie
Who Made Who
You Shook Me All Night Long

Prezzo: €27,99
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MOTLEY CRUE HOOKS THAT KILL THE BEST OF MICK MARS & TABLATURE LIBRO SPARTITI CHITARRA

MOTLEY CRUE, HOOKS THAT KILL, THE BEST OF MICK MARS &. GUITAR TABLATURE.

LIBRI DI MUSICA HEAVY METAL.

SPARTITI PER VOCE E CHITARRA.

ACCORDI, PENTAGRAMMA, TABLATURE. 


Artista: MÖTLEY CRÜE
Serie: Play It Like It Is TAB
Artista: Mick Mars


Note e tablature APPROVATE DALL'ARTISTA per 15 canzoni del  legendario chitarrista di Mötley Crüe. Contiene un'intervista di Mick Mars.
Contenuto:

Bad Boy Boogie
Dr. Feel Good
Don't Go Away Mad (Just Go Away)
Girls, Girls, Girls
Hell On High Heels
Home Sweet Home
Kick Start My Heart
Looks That Kill
Primal Scream
Same Ol' Situation
Shout At The Devil '97
Smokin' In The Boys Room
Too Fast For Love
Wild Side
Without You

154 pages

Prezzo: €29,95
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LED ZEPPELIN MOTHERSHIP LIBRO GUITAR TABLATURE Jimmy Page Whole Lotta Love-Stairway to Heaven

LED ZEPPELIN, MOTHERSHIP. TABLATURE

LIBRO DI MUSICA PER CHITARRA CON TABLATURE.

It was a modest announcement, a two-page press release issued in November 1968: "Atlantic Records has signed the hot, new English group Led Zeppelin to a long-term exclusive recording contract. Although the exact terms of the deal are secret, it can be disclosed that it is one of most substantial deals Atlantic has ever made."
Most of what followed was quick biography-Jimmy Page's history with The Yard birds, where he had succeeded Eric Clapton and Jeff Beck as lead guitarist, and as one of the best and busiest session musicians in Britain; bassist John Paul Jones' success as an arranger of hit records for Donovan and The Rolling Stones, among many others. There were references to drummer John Bonham's already notorious solos as a member of American singer Tim Rose's touring band and to Robert Plant's blooming reputation as "one of England's outstanding young blues singers."
There was a promise too. "Top English and American rock musicians who have heard the tracks," the release said, referring to Zeppelin's imminent debut album, "have compared the LP to the best of Cream and Jimi Hendrix and have called Led Zeppelin the next group to reach the heights achieved by Cream and Hendrix."
That was audacious talk, a fat power chord in the face, at a time when Hendrix still walked the Earth and Cream were a fresh memory-the latter played their farewell shows that ,'ery month at London's Royal Albert Hall. In comparison, when Lcd Zeppelin opened their first North American tour in Denver, Colorado, on December 26, 1968, they were third on a bill to Vanilla Fudge and Spirit and treated like a doormat. The promoter, Plant told me years later, deducted the cost of the backstage grub" this four-Ioaves-and-fivc-fishes thing"-from the band's pay.
At other dates, Plant operated Zeppelin's PA. system himself, onstage, and Bonham often played without miking his kit (a minor annoyance as he was loud enough without electricity). In Detroit a local newspaper ad for Zeppelin's three-night stand at the Grande Ballroom announced the appearance of "Led Zeptlin." But as Page said later, recalling that tour, "You could feel something happening-first this row, then that row. It was like a tornado, and it went rolijng across the country." By the end of 1969, Page, Plant, Jones, and Bonham had torn through North America four times, each time to bigger, sold-out audiences. In Britain, where they had been in clubs as The ew Yard birds as late as October 1968, Zeppelin quickly followed Cream into the Royal Albert Hall, ftlling it in June 1969 (and again in January 1970). 
In that first whiplash year, Led Zeppelin also released two of the most exciting and important rock albums ever made, Led Zeppen fill and Led Zeppelin II-together, the fundamental bones of hard rock and heay\ metal for the next four decades.
From the start, Led Zeppelin were working warriors. They toured like dogs-albeit in wild-boy luxury, fiercely protected by their manager, Peter Grant-and made eight studio albums (one a double LP) at a pace that now seems superhuman. Page claimed the total recording time for Led Zeppelin was 30 hours. The band made II on rare off days berwcen shows in the summer of '69, in nearly a dozen different studios. "I remember we did vocal overdubs in an eight-track studio in Vancouver where they didn't even have proper headphones," Page rccalled in a 1977 interview with Dave Schulps for the American magazine Trails-Oceanic Trouser Press. "Can you imagine that?"
Actually, yes. Even the band's harshest critics-and there were armies of thcm at the time-could not deny that Led Zeppelin had a rare drive to excel and conljuer. "So many people are frightened to take a chance in life," Page told Rolling Stone's Cameron Crowe in 1975, "and there's so many chances you have to take." Jones did not hesitate to give up the regular, lucrative checks from his studio gigs to be in Led Zeppelin; as soon as he heard about Page's plans for a new group, in the late summer of '68, he called Page and asked to join. Page himself was throwing dice when, on the recommendation of Terry Reid (who turned down Page's offer to be vocalist), he checked out and hired Plant, just 20 and unknown beyond the club grind in England's industrial Midlands. Page then took Plant's advice and grabbed the singer's friend, Bonham.
"It was a series of intense, dynamic crescendos, one right after the other;' Plant told me, describing Zeppelin's first American shows in 1968 and '69. "There was no room for the letdown."
That is also a perfect description of the power, confidence, and desire-the lust for liftoff-in these songs and performances. Led Zeppelin wanted everything, in record time. And they were afraid of nothing. Mothership--the peak of their canon-is what No Fear sounds like.
The first four songs here, all from Led Zeppelin, are the work of a new band racing against clock and budget to connect their individual histories and collective passions into a new, huge music.
The roots are unmistakeable, the combination unprecedented: the blues, twang, and holler of America's Deep South and black urban neighborhoods, especially anything bearing the classic Chess, Sun, and Atlantic labels; the British folk renaissance; California Day-Glo psychedelia.
So are the ambitions. "Good Times Bad Times" and "Communication Breakdown" are as tightly arranged as any candy-pop 45 Page and Jones played on as hired guns. But the details are explosive: Bonham's ayalanche rolls and Jones' pummeling bass outbursts in "Good Times Bad Times"; the nuclear buckshot of Page's chords behind Plant's arcing wail in ... 


To Plant, the essence and promise of Led Zeppelin was in "the quest, the travels and explorations that Page and I went on to far climes well off the beaten track," he told me in a 1988 inten·iew. \X'orld domination obvioush' had its benefits. "I had a dream/Crazy dream/Anything I wanted to know, any place I needed to go," Plant crowed in "The Song Remains The Same" on 1973's Houses Of The Holy'. Except it was no dream. By then, Bron-Yr-Aur, a remote cottage in southern Wales,was famous for the songs Page and Plant wrote there in 1970 and '71; Page and Plant had also recorded in India with members of the Bombay Symphony. "D'yer Mak'er" may have been tongue-in-cheek reggae (say the title real fast), but the blunt-instrument treble of Jones' bass was authentic homage to the trull- heavy bottom and primitive fidelity of Jamaican records and rhythm sections. (page often put Jones way up in Zeppelin mixes; in "I houses Of The Holy," originally cut for that album, the chugging bass is louder and dirtier than Page's guitar.)
"Of course, we only touched the surface," Plant said of those excursions with Page between records and tours. "W'e weren't anthropologists. But we were allowed, because we were musicians, to be invited in societies that people don't normally witness, It was quite a remarkable time, to open your eyes and see how Berber tribesmen lived in the northern Sahara"-a memorable trip that inspired the thundering march and orchestral sandstorm of "Kashmir" on the 1975 double album Phpica! Graffiti. 
Jones' skills as an orchesrrator and multi-instrumentalist, rarely mentioned even in ra\'e reviews of the band's records, were pivotal in Zeppelin's songs of pilgrimage (real and imagined). The
mounting doom of "No Quarter" on Houses Of The Holy starts with the simple, compelling black-liquid ripple of his electric piano.
In "Kashmir" staccato strings march alongside Page's climbing guitar, and long mellotron chords roll O\'er the horizon like clouds of dust. \X'hen I asked Plant, in 1988, about "Stairway To Heaven" and its status as the definitive Zeppelin song, he immediately corrected me, "It's not," he said, "'Kashmir' is."
Ultimately, everything here is definitive Zeppelin, in some way: the rude, thundering funk of "Trampled Under Foot," driven by Jones' percolating c1a\'inet and Bonham's merciless drumming; the ferocious, prolonged assault of "Achilles Last Stand" (page told Dave Schulps that he meticulously orchestrated the song's horde of guitars "in my mind," then recorded "all the overdubs in one night"); and the elegant sweep and memorial tenderness of "All My Love."
Then, suddenly, there was no Zeppelin, On September 25, 1980, a day after the group convened to rehearse for yet another Korth American tour, Bonham was found dead at Page's home, following a mammoth drinking binge. "The band didn't exist," Plant said later, "the minute Bonzo died."
The music and history were left unfinished. On December 4 Atlantic Records issued a one-sentence press release: "We wish it to be known that the loss of our dear friend and the deep respect we have for his family, together with the sense of undi\'ided harmony felt by ourselves and our manager, have led us to decide that we could not continue as we were," It was simply signed "Led Zeppelin."
The end came with ironic timing-12 years almost to the day after Atlantic sent out that first announcement in 1968. It also scaled the purity and power of everything Jimmy Page, Robert Plant, John Paul Jones, and John Bonham wrote and played together in what now seems like a very short time. Led Zeppelin did not last long enough to faiLInstead, they have a unique, eternal life in this music that can never be tainted and will never be topped. The band is gone. The thrill is not.

Series: Guitar Book
Medium: BOOK
Artist: Led Zeppelin
232 pages
24 of their biggest hits from the mult-platinum collection, spanning their entire career. Good Times Bad Times - Communication Breakdown - Dazed and Confused - Babe I'm Gonna Leave You - Whole Lotta Love - Ramble On - Heartbreaker - Immigrant Song - Since I've Been Loving You - Rock and Roll - Black Dog - When The Levee Breaks - Stairway to Heaven - The Song Remains the Same - Over the Hills and Far Away - D'yer Mak'er - No Quarter - Trampled Under Foot - Houses of the Holy - Kashmir - Nobody's Fault but Mine - Achilles Last Stand - In the Evening - All My Love.

 

TITLE COMPOSER
Ramble On Jimmy Page (composer); Robert Plant (composer)
Since I've Been Loving You Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
No Quarter Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
When the Levee Breaks Jimmy Page (composer); Robert Plant (composer); Memphis Minnie (composer)
The Song Remains the Same Jimmy Page (composer); Robert Plant (composer)
Heartbreaker Jimmy Page (composer); John Bonham (composer); Robert Plant (composer); John Paul Jones (composer)
Immigrant Song Jimmy Page (composer); Robert Plant (composer)
Whole Lotta Love Jimmy Page (composer); John Bonham (composer); Willie Dixon (composer); Robert Plant (composer); John Paul Jones (composer)
Babe I'm Gonna Leave You Jimmy Page (composer); Robert Plant (composer); Anne Bredon (composer)
Communication Breakdown Jimmy Page (composer); John Bonham (composer); John Paul Jones (composer)
Dazed and Confused Jimmy Page (composer)
Good Times, Bad Times Jimmy Page (composer); John Bonham (composer); John Paul Jones (composer)
Black Dog Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
Rock and Roll Jimmy Page (composer); John Bonham (composer); Robert Plant (composer); John Paul Jones (composer)
All My Love Robert Plant (composer); John Paul Jones (composer)
In the Evening Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
Stairway to Heaven Jimmy Page (composer); Robert Plant (composer)
D'yer Mak'er Jimmy Page (composer); John Bonham (composer); Robert Plant (composer); John Paul Jones (composer)
Kashmir Jimmy Page (composer); John Bonham (composer); Robert Plant (composer)
Trampled Under Foot Jimmy Page (composer); Robert Plant (composer); John Paul Jones (composer)
Houses of the Holy Jimmy Page (composer); Robert Plant (composer)
Achilles Last Stand Jimmy Page (composer); Robert Plant (composer)
Nobody's Fault but Mine Jimmy Page (composer); Robert Plant (composer)
Over the Hills and Far Away Jimmy Page (composer); Robert Plant (composer)
 

Prezzo: €35,70
€35,70

PORCUPINE TREE DEADWING GUITAR TABLATURE BOOK CHITARRA LIBRO SPARTITI Authentic Guitar TAB

PORCUPINE TREE, DEADWING. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

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

Includes the Following Selections:
Title Composer
ARRIVING SOMEWHERE BUT NOT HERE
WILSON, STEVEN
DEADWING
WILSON, STEVEN
GLASS ARM SHATTERING
HARRISON, GAVIN/WILSON, STEVEN/BARBIERI, RICHARD/BALCH, COLIN
HALO
HARRISON, GAVIN/WILSON, STEVEN/BARBIERI, RICHARD/BALCH, COLIN
LAZARUS
WILSON, STEVEN
MELLOTRON SCRATCH
WILSON, STEVEN
OPEN CAR
WILSON, STEVEN
SHALLOW
WILSON, STEVEN
START OF SOMETHING BEAUTIFUL
HARRISON, GAVIN/WILSON, STEVEN

Prezzo: €24,99
€24,99
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