LIBRO

THE GUITAR GRIMOIRE, PROGRESSIONS AND IMPROVISATION. TABLATURE

 

THE GUITAR GRIMOIRE, PROGRESSIONS AND IMPROVISATION. Centinaia di combinazioni dentro e fuori il circolo delle quinte. 282 Pagine. TABLATURE

DITEGGIATURA
FORMULA DEGLI INTERVALLI 
NOMI DELLE NOTE CHE COMPONGOLO L'ACCORDO

Guitar Grimoire, The-Progressions & Improvisation by Adam Kadmon. For Guitar. This long awaited volume is the most thorougly exhaustive compendium of chord progressions ever published. Literally filled with hundreds of exercises and thousands of diagrams accompanied by Kadman's unique presentation, this book completely examines the. Instructional, Improvisation and Progressions. Instructional book. Standard notation. 282 pages. Published by Carl Fischer (CF.GT15).

ISBN 0825831970. With Standard notation. Instructional, Improvisation and Progressions. 9x12 inches

Prezzo: €35,00
€35,00

SCALES-over 70 scales-fingering diagrams-CHERRY LANE Joe Charupakorn TABLATURE LIBRO CHITARRA

SCALES,

over 70 scales tra modali, esotiche, pentatoniche, simmetriche, bebop. enigmatiche, e molte altre. 220 pagine. TABLATURE

FINGERING DIAGRAMSSCALES FOR ALL STYLES OF MUSIC

THEORY AND FORMULAS


Composer: Joe Charupakorn.
Find any scale quickly and with ease! This book presents over 70 scales from bebop scales to synthetic scales to exotic scales from around the globe. Each scale is displayed on every possible string from lowest to highest with numerous fingering options. This is the ideal book for beginners seeking a well-organized, easy-to-follow guide to last a lifetime and consummate professionals who need a reference of scales for every possible musical situation. No music reading is required, as each scale is shown in diagram form. 222 pages.

 

Part I: Introduction to Scales

Basic Scale Theory .

Modes 

Pentatonic Scales .

Symmetrical Scales .

Scale Formula Chart .

 

Part II: Playing Scales on the Guitar

Reading Scale Diagrams .

Position-Based Fingerings.

Three-Notes-Per-String Fingerings .

Position-Based Fingerings Starting on All Scale Degrees,

3-Notes-Per-String Fingerings Starting on All Scale Degrees .

4-Notes-Per-String Fingerings .

The Scales .

 

Ogni scala è esposta per:

TUTTA LA TASTIERA

1 OTTAVA FINGERINGS, diversi esmpi partendo dalla coda MI, LA, RE, SOL

2 OTTAVE FINGERINGS 

3 OTTAVE FINGERINGS

3 NOTE PER CORDA

4 NOTE PER CORDA (UNA SCALA DA 8 NOTE SUONATA SOLO CON 2 CORDE, COME LE SUONA STEVE MORSE)

 

Part III: Scales in Standard Notation

The Scales 

 

The Scales

Chromatic Scale

Major Scale and its Modes

Ionian (Major)

Dorian

Phrygian

Lydian

Mixolydian

Aeolian (Natural Minor)

Locrian

Melodic Minor Scale and its Modes

Melodic Minor

Dorian b2

Lydian Augmented

Lydian b7

Mixolydian b6 (Hindu)

Aeolian b5

Super Locrian

Harmonic Minor Scale and its Modes

Harmonic Minor

Locrian b6

Ionian #5

Dorian #4

Phrygian Dominant

Lydian #2

Super Locrian bb7

Harmonic Major Scale and its Modes

Harmonic Major

Dorian b5

Phrygian b4

Lydian b3

Mixolydian b2

Lydian Augmented #2

Locrian bb7

Pentatonic And Blues Scales

Blues

Pentatonic Major

Pentatonic Minor

Major b2 Pentatonic

Major b6 Pentatonic 

Minor 6 Pentatonic 

Minor 7b5 Pentatonic 

Whole Tone Pentatonic 

Banshiki -Cho 

Hirajoshi 

Iwato 

Kokin-Chosi 

Kumoi 

Naka Zora 

Pelog 

Ritsu 

Ryukyu 

Shimo-Chidori 

Symmetrical Scales 

Augmented 

Diminished Half/Whole 

Diminished Whole/Half 

Whole Tone 

Bebop Scales 

Bebop Dominant 

Bebop Major 

Bebop Tonic Minor 

Bebop Minor 

Exotic Scales 

Eight-Tone Spanish 

Enigmatic 

Gypsy 

Hungarian 

Hungarian Minor 

Leading Whole Tone

Lydian Minor

Major Locrian

Marwa

Neapolitan Major

Neapolitan Minor

Oriental

Prometheus

Prometheus Neapolitan

Todi

Prezzo: €21,99
€21,99

THE GIG BAG BOOK OF PRACTICAL PENTATONICS for all guitarists MATT SCHARFGLASS TABLATURE LIBRO

THE GIG BAG BOOK OF PRACTICAL PENTATONICS BY MATT SCHARFGLASS. TABLATURE

 

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

542 esempi di frasi pentatoniche. TABLATURE

he Gig Bag Book of Practical Pentatonics for All Guitarists

Series: Music Sales America
Publisher: Music Sales America
Format: Softcover - TAB
Author: Matt Scharfglass

The ultimate compact reference book of pentatonic scales (five-note minor and major scales) and how to use them. Packed with over 400 riffs and examples. Also includes theory, solos, and more.

Inventory #HL 14012666
ISBN: 9780825617003
UPC: 752187948803
Publisher Code: AM948805
Width: 5.0"
Length: 12.0"
160 pages

Prezzo: €24,99
€24,99

MONSTER SCALES AND MODES, A COMPLETE COMPILATION OF SCALES, MODES, EXOTIC SCALES, THEORY. TABLATURE

MONSTER SCALES AND MODES, A COMPLETE COMPILATION OF SCALES, MODES, EXOTIC SCALES, AND THEORY.

Diagrammi di scale e modi raccolti da tutto il mondo. TABLATURE

By Dave Celentano
Series: Instructional
Publisher: Centerstream Publications TAB
Composer: Dave Celentano

This book is a complete compilation of scales, modes, exotic scales, and theory. It covers the most common and exotic scales, theory on how they're constructed and practical applications. No prior music theory is necessary since every section is broken down and explained very clearly. 48 pages.

This book covers all the most common scales and exotic scale, theory on how they're constructed and practical applications. No prior music theory is necessary, since every section is broken down an explained very clearly. 

 

The knowledge of many scales can add color and character to your solos. Depending on the scale, you can make a solo sound scary and mystical or bright and melodious. 
Your ultimate goal should be to take these scales and use them to enhance your own playing.

 

 

 

CONTENTS:

Authors page

Introduction

Music Terms and Fundamentals

The Major Scale

Chart of all Major Scales

Nalural Minor Scale

Major Pentatonic

Minor Pentatonic

Blues Scales

Modes

   Ionian Mode

   Dorian Mode

   Phrygian Mode

   Lydian Mode

   MixoIydian Mode

   Aeolian Mode

   Locrian Mode

Harmonic Minor Scales

Melodic Minor

Diminished Scales

WhoIe Tone Scales

Exotic Scales

   Ehglimatic, Hirajoshi (Japan)

   Kumor (Japan), Oriental, Pelog

   Kokin Joshi (Japan), P'yongio, Iwato (Japan)

   Chinese, Japanese, Egyptian

   Scriabin, Hungarian Gypsy, Hungarian Major

   Romanian, Persian, Hindustan

   Neopolitan Minor, Neopolitan Major, Overtone

   Prometheus, Ritusen, Arabian 

Prezzo: €11,50
€11,50

GUITAR MODE ENCYCLOPEDIA 21 Modes of the LIBRO TABLATURE Major Melodic Minor Harmonic Minor Scales Jody Fisher

GUITAR MODE ENCYCLOPEDIA. 21 Modi nella scala maggiore, melodica minore, armonica minore. Dal modo Ionico al Super Locrian, esempi di assolo. 223 Pagine. TABLATURE

Libro per chitarra con Tablature

 

Guitar Mode Encyclopedia

21 Modes of the Major, Melodic Minor, and Harmonic Minor Scales
Music by Jody Fisher
SERIES: The Ultimate Guitarist's Reference Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book

This remarkably thorough text covers all the modes of the major, melodic minor and harmonic minor scales. Twenty-one different modes are explained in detail and examined from five different perspectives. In addition, open position fingerings, closed position fingerings, harmonies, chord voicings, tips for improvisation, practice progressions, melodic patterns and sample solos are provided.

 

INTRODUCTION
This could be the last book about the modes you will ever need. The modes have been in existence for centuries as compositional tools for classical, folk and ethnic musicians, as improvisational devices for jazz musicians and a source of "new" sounds for rock, pop and country artists. But unfortunately, the subject has been shrouded in mystery, causing many guitar students a lot of confusion. I think the confusion is due to an incomplete overview of the subject. There are many ways of looking at the modes and each one has an important place in understanding and applying the modes to improvising, composition, or both. In this book, a chapter is devoted to each mode of the major, melodic minor and harmonic minor scales. Each chapter will include:

• A notated list of the mode in twelve keys
• Perspective #1: The modal formula, a look at where the half steps occur in the scale and how it relates horizontally to the fretboard.
• Perspective #2: The mode's relationship to the diatonic chord
• Perspective #3: The mode created by altering another scale
Perspective #4: The mode's intervallic distance from the "parent" key, measuring from the root of a chord
• Perspective #5: Deducing a mode's key signature
• Six closed position fingerings
• Open position fingerings in every key
• The harmonized mode, with sample chord voicings
• Mode usage
• Practice progressions
• Melodic patterns

Also, sample solos utilizing most of the modes in various combinations have been included at the end of the book.

One way this book is different from many others is that three fingering options are covered. The first is the horizontal approach or along the single string. The second is the use of "locked" fingerings or scales that are played in a fixed position. The third fingering option is the "open" position. When any musical concept is explored on the guitar, a more complete understanding is accomplished by examining all three fingering options.
It should be noted here that, while a clear understanding of the modes is important, it represents only a part of what is needed to become an accomplished improvisor. Modes, in conjunction with other scales, arpeggios, and licks are only part of the picture. Improvisation is a lifetime study. Try to keep this in mind.
This book can be used as a reference or method book for those studying with a teacher or the self taught student.
Each chapter is complete so it's all right to skip around. You can also move straight through from beginning to end for a very comprehensive study. If the modes of the major scale are new for you, Isuggest you don't skip anything in that section of the book. I should also mention that to get the most out of this book, you need to transpose all exercises and fingering to all twelve keys. At first this may seem like a hassle, but in time it will get easier and pay-off in the form of greater fluency.
One does not survive in the music business without help and support from a large network of family and friends.
I would like to thank my wife, Juliei my son, Joshi Shauna PerrYi and my parents, Howard and Eidth Fisher. Also, thanks to my brother, Richi my uncle, Sidi David Smolover, Nat Gunod, Ted Greene, Joe Diorio, George Stanley, Bob Scarano and the entire gang at Caleb's Guitar.

Prezzo: €21,00
€21,00

GIG BAG BOOK OF ARPEGGIOS FOR ALL GUITARISTS LIBRO TABLATURE dominant-minor-major-augmented-diminished

GIG BAG BOOK OF ARPEGGIOS FOR ALL GUITARIST. 20 accordi moltiplicati per le 12 tonalità, 240 arpeggi in 4 diverse altezze sulla tastiera, 245 pagine. TABLATURE

 

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

The ultimate arpeggio reference book for all guitarists. 240 arpeggios in all 12 keys. The handy fretboard diagram illustrates the finger positions.

The Gig Bag Book of Arpeggios for All Guitarists
Series: Music Sales America
Publisher: Music Sales America
Format: Softcover
Author: Mark Bridges

The ultimate arpeggio reference book for all guitarists. 240 arpeggios in all 12 keys. The handy fretboard diagram illustrates the finger positions. 4.5″ x 12″

Inventory #HL 14012653
ISBN: 9780825616594
UPC: 752187946908
Publisher Code: AM946902
Width: 5.25"
Length: 12.0"
248 pages

Prezzo: €23,99
€23,99

FRETBOARD KNOWLEDGE FOR CONTEMPORARY GUITARIST LIBRO CHITARRA TABLATURE INTERVALLI

FRETBOARD KNOWLEDGE FOR CONTEMPORARY GUITARIST. TABLATURE

LIBRO DI MUSICA. METODO DI ARMONIA PER CHITARRA. SPARTITI, ACCORDI, PENTAGRAMMA, DISEGNO DELLA TASTIERA CON GLI INTERVALLI, TABLATURE. 

By Vivian Clement
Category: Guitar Method or Supplement
Format: Book
Instrument: Guitar

Become a master of the entire guitar fretboard by learning simple pattern recognition techniques. Vivian Clement puts hundreds of scales, modes and chords at your fingertips, along with some new tricks for easy transposing.

Description
Fretboard Knowledge For The Contemporary Guitarist will help every learning guitarist to master the entire fretboard.
Learn simple pattern recognition techniques.
 

Prezzo: €19,99
€19,99

ARPEGGIOS FOR GUITAR DON LATARSKI LIBRO INTERVALLI Modes major scales harmonic minor DOMINANTE

ARPEGGIOS FOR GUITAR. DON LATARSKI. Arpeggi, accordi, scale e modi; 190 modelli tra maggiore, minore, dominate, sospeso, diminuito.

LIBRO DI MUSICA PER CHITARRA. ACCORDI, DISEGNO DELLA TASTIERA CON GLI INTERVALLI. 

In questo libro troverete scritto il numero di intervallo di tutte le note dell'accordo, dell'arpeggio e della scala rispetto alla nota fondamentale. 

Questo è molto utile per i chitarristi, è una indicazione che si trova in pochi libri, di solito c'è scritto con quale dito suonare le note dell'arpeggio.

5 FORME DI ACCORDO CON IL CAGED, 5 FORME DI ARPEGGIO, 5 FORME DI SCALE. 

Description
This books presents a visual approach to the scales most commonly used in Jazz, Rock and Blues. It includes:

Modes of the major scale
Modes of the harmonic minor scale
Modes of the ascending melodic minor
Pentatonic Scales
Blues Scales
Diminished Scales
Whole Tone Scale
Chromatic Scale

Arpeggios for Guitar by Don Latarski. For Guitar. Guitar Method or Supplement; Technique Musicianship. The Progressive Guitarist Series. Book. 48 pages. Published by Alfred Music Publishing (AP.F3093GTX).

ISBN 0769209564.
Shows each arpeggio in five positions in a simple diagram format. For every arpeggio the corresponding chord form and scale pattern are also shown. Covers all forms of the major, minor, and dominant 7th type chords.

Prezzo: €15,99
€15,99

ARPEGGIOS Guitar Guide CHERRY LANE TABLATURE LIBRO CHITARRA SPARTITI IMPARARE DITEGGIATURA

ARPEGGIOS, Guitar Reference Guide. JOE CHARUPAKORN. CHERRY LANE. 215 Pagine, centinaia di arpeggi a 1, 2, e 3 ottave, diagrammi, teoria, formule. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA, PENTAGRAMMA, DISEGNO DELLA TASTIERA.

Arpeggios
Guitar Reference Guide
Series: Guitar Educational
Publisher: Cherry Lane Music
Composer: Joe Charupakorn

This book in the new Guitar Reference Guides series allows players to find any arpeggio quickly and with ease. No music reading is required, as each arpeggio is shown in diagram form. Unlike other giant arpeggio books that cover only the most common arpeggios, this book presents every arpeggio type with numerous fingering options. Ideal for beginners seeking a well-organized, easy-to-follow guide to last a lifetime, and for consummate professionals who need a reference of arpeggios for every possible musical situation.

Inventory #HL 02500125
ISBN: 9781575602462
UPC: 073999695601
Width: 9.0"
Length: 12.0"
216 pages

Prezzo: €23,99
€23,99

THE '50s ERA, WHERE ARE THEY NOW ? la bamba - Bye Bye Love - GUITAR TABLATURE

THE THE '50s ERA, WHERE ARE THEY NOW ? TABLATURE

SERIES: Where Are They Now?
CATEGORY: Guitar Mixed Folio
VERSION: Guitar/Vocal with Tablature
FORMAT: Book
Dave Rubin


Each book in the Where Are They Now? series contains over 50 songs by the artists who defined the music of the era. Plus, each book contains an essay about the times and a special "Where Are They Now?" update section on the songs and the artists.
The '50s Era artists include: Beach Boys, Bill Haley and the Comets, Debbie Reynolds, Del Shannon, Diamonds, Dion and the Belmonts, Duanne Eddy, Eddie Cochran, Elvis Presley, Everly Brothers, Fats Domino, Isley Brothers, Little Richard, Penguins, Platters, Ricky Nelson, Roy Orbison, Ritchie Valens, and more!

Nel 1964 un'allora sconosciuto chitarrista di nome Jimi Hendrix, registrava con uno speudonimo con gli Isley Brothers la canzone "testify". Hendrix in quel periodo era senza casa e fu O'Kelly Isley che lo vide mentre era in un negozio e lo portò a casa della famiglia Isleys. Presto Hendrix sarà incluso nelle registrazioni che il gruppo stava facendo, "Testify" e "Move" over and let me dance".

 

The '50s Era: Rockin' Around the Clock 

An amazing confluence of musical and sociological forces combined to create the first rock era in the '50s. The end of World War II in 1945 was followed by a period of cautious optimism regarding our economic future and anxiety about the vast global changes brought about by the dropping of the atom bomb and the ascendancy of Russiaas a world power. After being excluded from aspects of American life taken for granted by white people, doors began opening for blacks starting with Jackie Robinson breaking the color barrier in baseball in 1947. That same year Leo Fender brought out the first commercially successful solid-body electric guitar, thereby allowing the playing of much louder music. As had been the case in the first half of the twentieth century, popular music was affected by these developments. Swing jazz, boogie-woogie, and blues had begun metamorphosing into a hybrid known as rhythm & blues (R&B) near the end of the war. More dance-oriented than blues, but earthier than swing jazz, it was the music of celebration and romance although topics like race and politics were sometimes alluded to. Saxophonist and singer Louis Jordan was in the forefront with jumpy, jivey tunes like "Choo Choo Ch Boogie" and "Caldonia" that were built on infectious rhythms and featured witty, intelligent lyrics. Other early pioneers included Charles Brown, Nat "King" Cole, and Ray Charles. All three were accomplished piano players and singers with a blues bent and were supported by low-key guitarists as sidemen. The electric guitar was, however, making noise as an exciting featured solo instrument around the music scene as the technology advanced, and it had been ever since blues godfather T-bone Walker and jazz giant Charlie Christian ignited the airwaves in the early '40s. By the beginning of the '50s, blues shouters like Big Joe Turner were belting out a form of raw, raucous R&B suspiciously close to what would become rock 'n' roll. At the same time Les Paul and Mary Ford were creating an innovative type of pop music that was so optimistic it was practically giddy. Though Les had a blue streak in his playing, the artificial, overdubbed studio world where his guitar and Mary's voice existed was a far cry from the funky juke joints and house parties where the new black music fomented. Concurrently, R&B vocal groups with bird names like the Orioles, Ravens, and Flamingos began singing street-corner harmonies that would come to be called doo-wop. Out in the country, guitar pickers like Scotty Moore-influenced by the western swing of Bob Wills, the honky-tonk country & western (C&W) of Merle Travis, and the blues-were starting to fool around with a new music that borrowed from white C&W and black R&B. A revolution was in the making, just waiting for someone to lead the way. Four years into the decade the planets were in the right position in the heavens for a shooting star from decidedly humble beginnings to blaze a path to the front. The end of one decade and the beginning of another does not demarcate eras. An argument can be made that the '50s rock era did not arrive until 1954. That year Senate hearings on Commie-baiter Joseph McCarthy were televised, the Supreme Court banned school segregation, and powerful H-bombs were tested by the U.S. Government, events that would have a profound effect on teenagers and later the baby-boomers born just after WWII. Though their parents had weathered the war years and were grateful for the outcome, some children felt disaffected and confused, a situation dramatically presented in Rebel Without a Cause with new teen idol James Dean. Most significant for the emerging youth culture, however, were Bill Haley and the Comets' waxing "(We're Gonna) Rock Around the Clock" in April and the work of a poor young truck driver from Memphis, Elvis Aron Presley, who in July of 1954 cut a couple of songs at Sun Records in Memphis as a gift for his mother and to celebrate his nineteenth birthday. A year later Haley's blockbuster would hit #1 on the Billboard charts and be prominen ea ured in Blackboard Jungle, one of the first films about tension in inner-city schools. Elvis would be called back to Sun by producer Sam Phillips. Phillips, who had been recording heavy bluesmen like Howlin' Wolf and Ike Turner, had been frequetly quoted as saying that he could "make a million dollars" if he had a white man who could sing like a black man. He gambled on Elvis being the one and changed the course of popular culture. The irony is that black blues and R&B already figured prominently in Elvis's musical experience and that the song that broke him in the South was "That's Alright Mama," originally performed by blues artist Arthur "Big Boy" Crudup. This co-opting of black culture by rock 'n' rollers, though accomplished with respect and acknowledgment by Elvis and many others since, would cross ethical boundaries with "covers" of black songs by pale imitators like Pat Boone. The ramparts of pop music continued to be scaled in 1955 as Chuck Berry, the "father of rock 'n' roll guitar," roared across the radio waves with "Maybellene" in 1955. Besides creating an original instrumental style based on the blues, boogie, and C&W music, Berry astutely observed the consuming passions of (white) teenagers with cars, girls, and rock 'n' roll itself. In 1956 Elvis hit the big time by signing with RCA Records. Little Richard, Fats Domino, Jerry Lee Lewis, Bo Diddley, the Everly Brothers, Ricky Nelson, and Buddy Holly, not to mention instrumentalists like Duane Eddy and the Ventures, would follow as the reign of the tenor saxophone ended and the low-slung guitar became the sound and the symbol of the times. The visceral effect that the new music had on the youth of America was not lost on the keepers of the public morals. Crusaders relentlessly criticized rock 'n' roll and deemed it "jungle music" whose ability to excite to the point of delirium was alarming. Unfortunately, they were provided with unintentional ammunition. Elvis was censured for wiggling his pelvis on TV (and removed from the scene by induction into the Army in 1958) and pioneer R&B and rock promoter Alan Freed (credited with coining the term "rock 'n' roll") was caught up in the payola scandals of the late '50s. It all seemed to come to a grinding halt when Chuck Berry was arrested for violating the Mann Act (transporting a minor girl across state lines for immoral purposes) and Buddy Holly, Ritchie Valens, and the Big Bopper (J. P. Richardson) were killed in a small plane crash in 1959. Cute novelty songs about flying saucers and "The Purple People Eater" coming on the news of the Russians launching Sputnik, the first man-made satellite, did nothing to stop the powers that be from prematurely dancing on the presumed grave of the rebellious music. Meanwhile, Dick Clark with his daily "American Bandstand" and his Saturday night show kept the barely flickering flame alive with tame pop acts like Fabian and Frankie Avalon as the decade ended. The next three years saw folk and its puny cousin, hootenanny music, followed by the descendants of doo-wop, the great girl groups like the Shirelles and Crystals. Early soul music, the next evolutionary step from R&B and surf, that revitalizing instrumental music from California, helped to rescue rock from Andy Williams and Connie Francis. The Beach Boys, though coming from the same Southern California hot rod and beach scene as surf music, elevated popular music again to a level of youthful exuberance founded on finely crafted songwriting that owed a surprising debt to Chuck Berry. Though Elvis never regained his bluesy vitality after coming out of the Army in 1960, Roy Orbison made the transition from '50s rockabilly to epic flights of emotional intensity with classics like "Crying." The torch was passed to John F.Kennedy from the old general, President Dwight D. Eisenhower, in 1960, but the sound, look, fashions, and conservative politics of the '50s persisted until JFK'sassassination in November 1963 and the British Invasion of 1964. The counter-culture revolution that rose out of those two seminal events would alter the music and politics of the entire civilized world in the '60s. 

 

Includes the Following Selection:
Title Composer

1953 - (WE'RE GONNA) ROCK AROUND THE CLOCK - BILL HALEY AND THE COMETS
FREEDMAN, MAX/DE KNIGHT, JIMMY

1955 - AIN'T THAT A SHAME - FATS DOMINO
ANTONIE DOMINO, DAVE BARTHOLOMEW

1961 - BARBARA ANN - BEACH BOYS
FRED FASSERT

1957 - BIRD DOG - EVERLY BROTHERS
BRYANT, BOUDLEAUX

1960 - BLUE ANGEL  
ROY ORBISON AND JOE MELSON

1957 - BLUE MONDAY - FATS DOMINO
DAVE BARTHOLOMEW AND ANTOINE DOMINO

1957 - BYE BYE LOVE - EVERLY BROTHERS
BOUDLEAUX BRYANT AND FELICE BRYANT

1965 - CALIFORNIA GIRLS - BEACH BOYS
WILSON, BRIAN

1958 - CLAUDETTE
ROY ORBISON

1960 - CRY CRY CRY - BOBBY BLAND
DEADRIC MALONE

1961 - CRYING 
ROY ORBISON, JOE MELSON

1961 - DADDYS HOME - SHEP AND THE LIMELIGHTS 
JAMES SHEPPARD AND WILLIAM MILLER

1964 - DON'T WORRY BABY - BEACH BOYS
BRIAN WILSON AND ROGER CHRISTIAN

1956 - DONNA 
VALENS RITCHIE

1954 - EARTH ANGEL - THE PENGUINS
D. WILLIAMS, G. HODGE & J. BELVIN

1964 - FUN, FUN, FUN - BEACH BOYS
LOVE, MIKE/WILSON, BRIAN

1960 - GEE WHIZ - CARLA THOMAS
CARLA THOMAS

1957 - GOOD GOLLY MISS MOLLY - LITTLE RICHARD
ROBERT BLACKWELL, JOHN MARASCALCO

1960 - HELLO, MARY LOU (GOODBYE HEART) - ROCKY NELSON
PITNEY, GENE/MANGIARACINA, CAYET

1965 - HELP ME RHONDA - BEACH BOYS
LOVE, MIKE/WILSON, BRIAN

1956 - HONKY TONK - 
BILL DOGGETT, CLIFFORD SCOTT, BILLY BUTLER, HENRY

1950 - I DON'T CARE IF THE SUN DON'T SHINE - ELVIS PRESLEY
MACK DAVID

1934 - I ONLY HAVE EYES FOR YOU (from "42nd Street") - THE FLAMINGOS
WARREN, HARRY/L: DUBIN, AL

1959 - I WANT TO WALK YOU HOME - FATS DOMINO
ANTOINE DOMINO

1957 - I'M WALKIN'  - FATS DOMINO
ANTOINE DOMINO, DAVE BARTHOLOMEW

1964 - IN MY ROOM - BEACH BOYS
BRIAN WILSON AND GARY USHER

1957 - KEEP A KNOCKIN - LITTLE RICHARD
RICHARD PENNIMAN

1958 - LA BAMBA - 
ADAPT & ARR BY RITCHIE VALENS

1955 - LET IT BE ME - EVERLY BROTHERS
BECAUD / CURTIS / DELANOE

1934 - MILK COW BLUES - ELVIS PRESLEY
KOKOMO ARNOLD

1957 - MY SPECIAL ANGEL - BOBBY HELMS
DUNCAN, JIMMY

1964 - OH, PRETTY WOMAN - 
ROY ORBISON  / DEES BILL

1960 - ONLY THE LONELY (KNOW THE WAY I FEEL)
ROY ORBISON AND JOE MELSON

1958 - PETER GUNN (FROM "PETER GUNN") - DUANE EDDY
MANCINI HENRY

1958 - ROCKIN ROBIN - BOBBY DAY
JIMMIE THOMAS

1961 - RUNAWAY - DEL SHANNON
SHANNON, DEL / CROOK, MAX D.

1966 - SEA CRUISE - FRANKIE FORD
SMITH, HUEY P.

1959 - SHOUT - ISLEY BROTHERS
O'KELLY ISLEY,RONALD ISLEY,RUDOLPH ISLEY

1958 - SIXTEEN CANDLES - THE CRESTS
DIXON, LUTHER/KHENT, ALLYSON

1933 - SMOKE GETS IN YOUR EYES - THE PLATTERS
JEROME KERN; OTTO HARBACH

1958 - STAGGER LEE - 
HAROLD LOGAN, LLOYD PRICE

1958 - SUMMERTIME BLUES 
JERRY CAPEHART  / EDDIE COCHRAN

1956 - TAMMY - DEBBIE REYNOLDS
RAY EVANS/JAY LIVINGSTON

1957 - TEQUILA - THE CHAMPS
CHUCK RIO

1957 - THE STROLL - THE DIAMONDS
CLYDE OTIS AND NANCY LEE

1960 - THE WANDERER - DION AND THE BELMONTS
MARESCA, ERNIE

1957 - WAKE UP, LITTLE SUSIE - EVERLY BROTHERS
BRYANT, BOUDLEAUX / BRYANT, FELICE

1960 - WALKING TO NEW ORLEANS - FATS DOMINO
ANTOINE DOMINO, DAVE BARTHOLEMEW

1963 - WIPE OUT - 
THE SURFARIS

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