ARTISTI VARI

GENUINE ROCKABILLY GUITAR HITS. Contiene 24 canzoni:

LIBRO PER CHITARRA CON TABLATURE

Il mondo ha conosciuto la prima volta rock and roll nella seconda meta degli anni '50 quando sono arrivati i primi hits di Elvis Presley, Buddy Holly e Carl Perkins. I chitarristi rockabilly di quel periodo - Scotty Moore, Eddy Cochran, Cliff Gallup, Carl Perkins, Paul Burlison, James Burton, Buddy Holly e altri - sono diventati gli Idoli dei musicisti rock negli anni '60, '70 e '80, e la loro musica sarà sempre la pietra di paragone per la chitarra rock. Nelle pagine del libro troverete la trascrizione di tutte le parti di chitarra, l'accompagnamento, e i solo completi. Ci sarà anche qualche trascrizione musicale dei loro discepoli - musicisti contemporanei come Albert Lee, Dave e Phil Alvin dei Blasters e gli The Stray Cats.

Il Rockabilly ebbe inizio quando i musicisti bianchi del Sud iniziano a suonare il Rhythm and Blues eletrico. Hanno registrato  le "cover" hits di "Good rockin' tonight" (la versione di Wynonie Harris fu il più grande record di ascolto nel 1948). Hanno anche scritto le proprie melodie e riproposto le canzoni country e bluegrass in stile rockabilly. In ogni caso conservavano il sapore e lo stile degli artisti Afro-Americani la cui musica non arrivava all'audience bianca. Naturalmente, i musicisti rockabilly anno portato le proprie radici country, bluegrass e gospel music nel R&B. La musica nuova che è emersa era il ROCK AND ROLL. Per Alan Freed e altri disc jockey che la promuovevano, la formula era chiara: far suonare ai musicisti bianchi la musica popolare nera degli anni '50.

Una delle differenze tra il Rockabilly e il R&B era che la chitarra era molto prominente. Le prime rockabilly band erano composte dal basso verticale, la chitarra elettrica, il cantante e la batteria. La chitarra ritmica spesso acustica e il piano erano optional, gli ottoni erano rari; qualche gruppo composto da due chitarre non avevano la batteria. Quasi tutti i solos venivano suonati con la chitarra elettrica. La chitarra solista imitava molto lo stile delgli assoli a double-note di Chuck Berry e T-Bone Walker, il fingerpicking di Merle Travis, e il fingerpicking blues di Lightin' Hopkins e Big Bill Bronzy. E a tutto questo miscuglio un poco di aggiunta di stile Jazz di Les Paul.

GENUINE ROCKABILLY GUITAR HITS. Contiene 24 canzoni: -American music (the Blaster) -believe what you say (Rick Nelson) -bluejean bop (Gene Vincent) -boppin' the blues (Carl Perkins) -boppin' the blues (Rick Nelson) -everybody's tryin to be my baby (Carl Perkins) -good rockin' tonight (Elvis Presley, Scotty Moore) -holly hop (Buddy Holly) -Marie, Marie (The Blaster) -my baby thinks he's a train (Rosanne Cash) -Oh bay babe (Johnny Burnette) -put your cat closes on (Carl Perkins) -rock around the clock (Bill Haley and the comets) -rock billy boogie (Johnny Burnette) -Rock this town (Stray cats) -rockabilly music (Ray Campi) -skinny Jim (Eddie Cochran) -strollin guitar (Eddie Cochran) -summertime blues (Eddie Cochran) -Susie-Q (Dale Hawkins) -tear it up (Johnny Burnette) -train kept a rollin' (Johnny Burnette) -twenty flight rock (Eddie Cochran) -wake up little Susie (the Everly brothers). TABLTURE

Most of the world first learned about rock and roll in the second half of the '50s when Elvis Presley, Buddy Holly and Carl Perkins had their first hits. The rockabilly guitarists of this period - Scotty Moore, Eddie Cochran, Cliff Gallup, Carl Perkins, Paul Burlison, James Burton, Buddy Holly and the rest - became the idols of '60s, '70s and '80s rockers, and their music will always be the touchstone for rock guitar. You'll find their solos and backup playing transcribed and their style analyzed in the pages that follow. There are also some transcriptions of music from their disciples - contemporary players like Albert Lee, Dave and Phil Alvin of the Blasters, and The Stray Cats. Rockabilly started when white Southern performers began playing electric rhythm and blues. They recorded "covers" of R&B hits, like "Good Rockin' Tonight" (Wynonie Harris' version was the biggest R&B record of '48). They also wrote their own tunes and covered country and bluegrass songs. In all cases, they borrowed the flavor and styles of African-American artists, whose music was unlikely to reach white audiences. Naturally, the rockabilly players brought their country, bluegrass and gospel music roots to R&B. The new music that emerged was ROCK AND ROLL. To Alan Freed and other disc jockeys who promoted it, the formula was clear: get white musicians to play popular '50s race music.

One of the ways rockabilly differed from R&B was that the guitar was more prominent. The early rockabilly band consisted of an upright bass, electric guitar, a singer and a drummer. Rhythm guitar (often acoustic) and piano were optional, horns were rare; some two-guitar bands even lacked a drummer. Nearly all solos were played on electric guitar. The lead guitar borrowed heavily from the single and double-note styles of Chuck Berry and T-Bone Walker, the up-the-neck fingerpicking of Merle Travis, and the more basic fingerpicking blues styles of acoustic blues guitarists like Lightnin' Hopkins and Big Bill Broonzy. A little Les Paul-style jazz added to the brew.
THE TWELVE BAR BLUES. Most of the early rockabilly hits were twelve-bar blues tunes, or were based on that form. In this book, "American Music," "Boppin' The Blues," "Everybody's Tryin' To Be My Baby," "Holly Hop," "My Baby Thinks He's A Train," "Put Your Cat Clothes On," "Rock Around The Clock," "Oh Baby Babe," "Rock Billy Boogie," "Skinny Jim," "Tear It Up," "Train Kept A-Rollin" and "Twenty Flight Rock" are all twelve-bar blues tunes and five others are only slight variants of the blues format! Here's the twelve-bar form, expressed in terms of I, IV and V chords (tonic, subdominant and dominant) in the key of E. The final bar of this twelve-bar form is often called a "turnaround," because the V chord "turns the progression around" and leads the ear back to a repeat of the whole twelve bars or to an ending. 

IL BLUES A 12 BATTUTE.

La maggioranza dei primi Hits Rockabilly erano in 12 battute, o leggete variazioni della progressione armonica Blues.

L'ultima battuta è chiamata anche TURNAROUND, perchè riporta all'inizio del pezzo.

Boogie Woogie Bass Figures 

Per l'accompagnamento e in certi casi per i solo, i chitarristi rockabilly spesso eseguono i modelli boogie sulle corde basse. Hanno preso questa tecnica d'accompaniamento dai chitarristi blues come Big Bill Broozy, Lightnin' Hopkins e John Lee Hooker i quali, probabilmente imitavano la mano  sinistra dei pianisti boogie-woogie. Piu fhits  cile eseguire questi Modelli nella tonalità MI e LA perchè MI e LA sono le corde basse aperte.

Blues Fingerpicking

Lightnin' Hopkins e molti altri chitarristi del Texas blues hanno popolarizzato lo stile fingerpicking dove il pollice suona un'accompagnamento continuo di quattro accenti per battuta sulle note basse mentre medio e indice suonano la melodia sincopata sulle corde alte. Il fraseggio musicale della chitarra di James Burton in “Susie-Q” il suo ritmo e la melodia sono un tipico esempio di questo stile chitarristico del pollice.

ASSOLI AD ACCORDI

Spesso i chitarristi Rockabilly suonano gli assoli con gli accordi "CHORD SOLOS", usandoli in prima posizione o spostando una parte dell'accordo.

TITOLI:

-American music (The Blaster - Dave and Phil Alvin)

-believe what you say (Rick Nelson - James Burton)

-bluejean bop (Gene Vincent - Cliff Gallup)

-boppin' the blues (Carl Perkins)

-boppin' the blues (Rick Nelson - Joe Maphis)

-everybody's tryin to be my baby (Carl Perkins)

-good rockin' tonight (Elvis Presley - Scotty Moore)

-holly hop (Buddy Holly)

-Marie, Marie (The Blaster - Dave and Phil Alvin)

-my baby thinks he's a train (Rosanne Cash - Albert Lee)

-Oh bay babe (Johnny Burnette and Rock and Roll Trio -Paul Burlison)

-put your cat closes on (Carl Perkins)

-rock around the clock (Bill Haley and the comets - Danny Cedrone)

-rock billy boogie (Johnny Burnette and Rock and Roll Trio -Paul Burlison)

-Rock this town (Stray Cats -Brian Setzer)

-rockabilly music (Ray Campi - Richard Bennett)

-skinny Jim (Eddie Cochran)

-strollin guitar (Eddie Cochran)

-summertime blues (Eddie Cochran)

-Susie-Q (Dale Hawkins - James Burton)

-tear it up (Johnny Burnette and Rock and Roll Trio -Paul Burlison)

-train kept a rollin' (Johnny Burnette - and Rock and Roll Trio -Paul Burlison - Paul Burlison)

-twenty flight rock (Eddie Cochran)

-wake up little Susie (the Everly brothers - Chet Atkins).

151 pagine. TABLATURE

Serie: Guitar Recorded Version TABLATURE

PUNK ROCK GUITAR STYLES. T. Hurtwitz. Dal garage-rock di Lou Reed e Iggy Pop, le cantine newyorkesi con Ramones, New York Dolls, Richard Hell & Voidoids, i punk club Inglesi dei Sex Pistols, Clash, Jam, i californiani X, Bad Religion, NOFX, Blink 182, il reggae e lo Ska degli Slits, la scena Grunge degli Offspring, Green Day, Nirvana. SHEET MUSIC BOOK METHOD WITH CD & GUITAR TABLATURE . 

LIBRO METODO CON CD DI MUSICA PUNK. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PAENTAGRAMMA, TABLATURE. 

By Tobias Hurwitz
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD
Licks in every substyle of punk including the New York scene, the LA scene, the London scene, thrash and grunge, with detailed information about important artists and their contributions. All licks are shown in standard music notation and TAB and demonstrated on the CD.

This book is devoted to teaching you how to put some punk in your guitar playing. While even beginning-level players will enjoy using this book, it does assume you have some experience reading standard music notation and TAB.

The term "punk" can be a bit confusing. What are the differences between "thrash," "oi," "hardcore," "emo," "ska," "new wave," "glam" and "old school," all of which-and more-have been used to describe musical splinters of the punk style. Everyone knows what punk rockers look like. They ride skateboards on St. Mark's Place in Manhattan or Hollywood Boulevard in Los Angeles. They lean against walls at your local mall. Everyone's seen them: kids with attitudes, sporting brightly colored mohawks, black leathers, chains and tattoos. You can spot them from across a parking lot. Their message is clear-they're punks. But punk isn't just a look. It's also a widespread subculture and a group of definable musical styles. This music may be best described by first saying what it is not. Punk is usually not funky and it is equally distant from classical music. It's not pretty and it won't sooth an infant like a waltz played on a tiny music box. It is the opposite of these things-it is fast, loud, crude music. This high-energy rock music intends to shock, amaze and disgust the listener by any means possible. Punk music is typified by the pulse-pounding styles of bands such as The Ramones, The Clash, The Sex Pistols and Nirvana. The earliest glimmerings of punk rock began in the late 1960s and early '70s with the emergence of Lou Reed and Iggy Pop. But, the nihilistic anarchy we now call "punk" didn't fully crystallize until the mid I970s, when the "first wave" of punk was in full swing. This first wave began in Manhattan with bands such as The New York Dolls, The Ramones, The Vibrators and The Dead Boys. It quickly spread to London where it became a much stronger force. Some early UK bands were The Sex Pistols, The Jam,The Buzzcocks and The Clash. Other scenes popped up all over the world. Los Angeles was very significant, spawning The Germs, The Circle Jerks, NOFX, X, Black Flag and many others. The L.A. hardcore scene even stayed alive through the metal-soaked I980s, helping to bridge the gap between the first and second waves of punk. The constant touring of first-wavers such as The Ramones, The Clash and 999 also helped to keep punk alive during this, its most difficult period. The second big wave of punk was popularized in Seattle, Washington by Nirvana in 1992.This new punk was aptly named "grunge" and inspired bands in California such as Green Day, The Offspring and Blink 182. Grunge lionized the shoe gazing, flannel clad slackers of the I 990s. It was only a slight variation on '70s punk. The music, though imbued with modern production values retained the same high energy and deliberate amateurism. Grunge brought punks their first American chart-topping successes. Punk grew wildly popular, becoming a large part of the new mainstream. Punk is a powerful force in rock music and pop culture. Its influence is felt everywhere from the cinema to the cyber world, to literature, art and even your own music store or mall. Punk's colorful history is clearly still unfolding, and will continue to shock and amaze us for many years to come. This book explores the role of the electric guitar in that history. 

Punk Rock Sub-Style Chart Inside Front Cover

About the Author

About Punk

Chapter One-Punk Guitar

Building Blocks

Scales

The Major Scale

TAB

The Minor Pentatonic Scale

The Blues Scale

Basic Chords

Power Chords

Octaves

Barre Chords

Chapter Two-Pre-Punk

In the Style of Lou Reed

In the Style of Iggy Pop

Chapter Three- The New York Scene

In the Style of The New York Dolls

In the Style of The Ramones

In the Style of Richard Hell & The Voidoids

Chapter Four -The London Scene

In the Style of The Sex Pistols

In the Style of The Clash

In the Style of 999

In the Style of The Jam

Chapter Five- The California Scene

In the Style of X

In the Style of Bad Religion

In the Style of NOFX

In the Style of Blink 182

Chapter Six-The Reggae and Ska Influence

Skanki n'

Bass Lines

In the Style of The Slits

Chapter Seven-Grunge-Punk

In the Style of Nirvana

In the Style of The Offspring

In the Style of Green Day

A compact disc is included with this book. This disc can make learning the examples in this book easier and more enjoyable. This symbol will appear at the beginning of every example or song:

TRACK I

Use the CD to make sure that you are capturing the feel of the examples. interpreting the rhythms correctly and so on. The track numbers below the symbols correspond directly to the example or song you want to hear. Track I will help you tune your guitar to the CD. Have Fun!!

CHALLENGE THE MASTERS, MORE. Secondo volume di estratti di musica classica per chitarra elettrica. Contiene: da "sinfonia n.5 in do minore, op.67" (Beethoven) -da "simfonia n.9 in re minore, op.125" (Beethoven) -da "studio trascendentale n.5" (F. Liszt) -da "rapsodia Ungherese n.2" (F. Liszt) -da "Valse Impromptu" (F. Liszt) -da "Rondo op. 1" (Chopin) -da "Sinfonia n.29" (Mozart) -ecco la marcia (Mozart) -da "sinfonia n.41 in do minore, K. 551" Jupiter (Mozart) -da "sinfonia n.35 in re maggiore K. 385 "Haffner" (Mozart) -da "Requiem K. 626" (Mozart) -da "L'oro del Reno" (Wagner) -da "Requiem" (G. Verdi) -"Studio trascendentale" (F. Liszt) -da "Requiem" (Mozart) -greensleeves (Anonimo del XVI secolo) -"Water music" (Handel) -"Fantasie impromptu, op. 66" (Chopin). SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA METAL NEOCLASSICO PER CHITARRA ELETTRICA .

SPARTITI CON ACCORDI, PENTAGRAMMA E TABLATURE . 

LATIN AMERICAN JAZZ FOR FINGERSTYLE GUITAR. John Zaradin. CD TABLATURE

LIBRO DI MUSICA LATINA , CON CD .

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRANMMA, TABLATURE . 

England's John Zaradin is a gifted performer both in jazz and in the field of classic guitar. He is especially knowledgeable in the wide and diverse world of Latin American guitar solo and rhythm styles. This book contains six solos based on the Rumba Rhythm (Mosaico de Rumbas) and six solos in the Bossa-Samba mode (Ambientes Brasileiras). Each solo is scored in both notation and tablature and reflects the vitality, rhythm, and improvisatory nature of this idiom.

Format: Book/CD Set
CD contents:

RUMBA:

Piedra de Toques

Conchicha de Mar

Preciso de Voçe

Arremolinando

Quintumba

Carumba! Como no?

BOSSA / SAMBA

Samba Risoleta

Que Distança

Esperança

Teardrops

Primavera

Solidão

POP/ROCK GUITAR PLAY-ALONG VOL.4 CD. SHEET MUSIC BOOK with GUITAR TABLATURE. 

LIBRO DI MUSICA ROCK POP, CON CD.  

CD DI BASI COMPLETE PER VOCE E, VOCE E CHITARRA. 

LIBRO PER VOCE E CHITARRA : 

PENTAGRAMMA, ACCORDI, TABLATURE. 

Serie Guitar Play-Along ti aiuterà a imparare a suonare le tue canzoni preferite in modo facile e veloce. Segui la tablature, ascolta il CD per capire come dovrebbe essere il suono della chitarra, per poi suonare seguendo le basi. Nel libro sono inclusi la melodia e le parole in caso volessi cantare. 

Contiene 8 canzoni:

TITLES: 
- Breakdown (Tom Petty)
- Crazy Little Thing Called Love (Queen)
- Hit Me with Your Best Shot (Pat Benatar)
- I Want You to Want Me
- Lights (Journey)
- R.O.C.K. in the U.S.A. (A Salute to 60's Rock)
- Summer of '69 (Bryan Adams)
- What I like About You (The Romantics)