BLACK SABBATH

BLACK SABBATH, THE BEST LICKS. Troy Stetina. Oltre ''10 sacchi'' contenenti i riff più noti dell'hard rock. Accordi pesanti come lenti vagoni carichi si spostano sui binari, scivolando; rapidi scambietti, veloci terzine ne danno la direttoria. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA HARD ROCK CON CD,

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA, PER IMPARARE A SUONARE NOTA PER NOTA LA MUSICA DI TONY IOMMI,  

MASTODONTICI BLACK SABBATH !
UN LIBRO DEDICATO A UNO DEI GRUPPI PIU' ORIGINALI DELLA MUSICA ROCK, AUTORE DI RIFF PESANTI, DELICATE CANZONI, BRANI ORCHESTRALI, PROGRESSIVE, ACCOMPAGNAMENTI JAZZATI, 
I BLACK SABBATH SONO MASTODONTICI PER LA LORO VARIETA' SONORA, PER GLI IMPROVVISI CAMBI DI TEMPO. IL LORO "ARMADIO MUSICALE" E' UNA VERA COUNUCOPIA DI CHITARRE ELETTRICHE, ACUSTICHE, BASSI, PIANOFORTI, FLAUTI, TASTIERE, PERCUSSIONI, SCACCIAPENSIERI, ARMONICHE, EFFETTI SONORI, VOCI, ECC. CHE CONTINUA ANCORA OGGI DOPO PIU' DI 40 ANNI A SORPRENDERCI E AD ESSERE ASCOLTATO CON AMMIRAZIONE, 

The Best of Black Sabbath
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: Black Sabbath
Author: Troy Stetina
Inventory #HL 00695249
ISBN: 9780793587902
UPC: 073999952490
Width: 9.0"
Length: 12.0"
64 pages

INTRODUCTION
Black Sabbath is the original "black metal" band, replete with horror-film
themes and gothic imagery. They pushed music to previously uncharted levels of
heaviness throughout the seventies, and set the stage for the hard-edged styles
of 1980s thrash and death metal, as well as the heavier side of 1990s alternative
rock. Their powerful influence upon countless guitarists throughout the world
cannot be denied.
The story of Black Sabbath began in Birmingham, England in the late
1960s. The quartet-originally composed of vocalist John "Ozzy" Osbourne,
guitarist Tony lommi, bassist Terry "Geezer" Butler, and drummer Bill Wardgained
a fervent local following as a blues band called Earth. After learning that
there was another band going by that name, however, the four renamed
themselves, adopting the monicker Black Sabbath-the title of both an old horror
movie starring Boris Karloff as well as that of a song the group had already
composed. This name perfectly reflected the group's growing interest in
supernatural and occult themes, which would come to dominate their lyrics and
fuel the band's dark image and signature sound.
Their debut self-titled release, Black Sabbath (1970), initially attained only
moderate success. It was their follow-up album later that same year, Paranoid,
which first earned the band international acclaim with such classic metal
masterpieces as "Iron Man," "War Pigs," and of course the title track, "Paranoid."
After extensive touring in both Europe and the United States, a third release,
Master of Reality (1971), cemented the band's growing popularity and commercial
success. Also, on this landmark recording, the band began to experiment for the
first time with ultra-low (C#) tuning, to accompany their dark lyrical sorties with a
deeper and darker tone. This would come to be a dominant and unique
characteristic of the band's sound over the next number of years.
The group's creative powers were still in high gear as the fourth and fifth
albums, Black Sabbath Vol. 4 and Sabbath Bloody Sabbath, were released in
1972 and 1973, respectively. After five ground-breaking albums in just four short
years, their status as the musical voice of the underworld was secured. Further
efforts, including 1975's Sabotage continued to build upon their visionary art-rock
tradition.
As with all important rock, it is as much a social commentary as a musical
force, and Black Sabbath was no exception. Perhaps less obvious than their "evil"
image, one finds upon closer inspection that the majority of lyrics invoke not evil
messages at all, but simply social issues of the time as well as cryptic warnings.
One common theme is to warn of the fate that will befall our evil ways, either as
individuals ("Black Sabbath," "Paranoid") or as a world bent on nuclear
destruction and hatred ("War Pigs," "Children of the Grave")-essentially as if the
band were setting to music the biblical book of Revelation. Another theme is farreaching
science fiction and space travel ("Iron Man," "Into the Void") sometimes
interlaced with mind travel via drug-induced, astral projection ("Supernaut"). The
late sixties psychedelic drug culture morays were also explicitly set forth ("Sweet
Leaf'). In many ways, the band's music was a backdrop reflecting society's
ongoing dialog on priorities, right and wrong, good and evil, and where we are
headed as a culture. Their focus on anti-war, ecology, and mind-expanding drug
themes rode the forefront of controversy and continued to help push these 60s
issues into the next decade.
Looking beyond the black-magic trappings, guitarist Tony lommi is actually
a fairly straight-ahead electric blues-rock player in the vein of Eric Clapton and
Jimmy Page-in particular this is apparent when one examines his lead guitar ...

SABBATN, BLOODY SABBATN
Words and Music by Frank lommi, John Osbourne, William Ward, and Terence Butler
Figure 20 -Intro, Verse, and Interlude
The recording of Sabbath Bloody Sabbath, the band's fifth effort, was the
occasion of a famous band story. They had set up in an old English casti e to compose
and record a bit. Strange things began to happen right away. A fire spread
unexpectedly from the fireplace, and Ozzy, sleeping nearby, woke at the last moment
and narrowly escaped. Shortly thereafter, several members of the band witnessed an
unknown man walk into a room, and upon following him, found that the room was
empty and the only other door out of it was locked from the inside. They began to tell
each other horrifying stories, and in the end, were ali so scared they had to leave the
castle that same night!
The album was finally completed (in the welcome security of the recording
studio) and released in December, 1973. The title track shows a broadening influence
in terms of arrangement and textures. Acoustic guitars were implemented in a
significant way, and Rick Wakeman (Yes) was brought on board for keyboard duties.
Again played in the slack down tuning, the riff makes clever, Hammering straight, also, palm mutes are maintained entirely on the, natural minor scale (Aeolian mode). Structurally, this tune is somewhat of a departure from Sabbath's norm, as it includes a vocal-driven, chorus-type section which acts as a lower-energy point,
counterbalancing the main riff with acoustic textures. Clean electric guitars (Gtrs. 2 &
3) add relaxed pentatonic-style melodies over the six-string acoustic guitar (Gtr. 4)
which strums a cycling Am9-G/D progression. In measure 33, the G/D chord appears
as a Gmaj7/D, lending a jazz-inspired feel. Measures 39-40 replace the G/D chord
with a revolving D-A progression over a D string pedal tone which functions to build
back into the original riff...

Learn the trademark riffs and solos of one of hard rock's greatest bands, with this excellent book/CD pack that breaks down the guitar styles and techniques of Tony Iommi. Songs include:

Black Sabbath
Children Of The Grave
Heaven And Hell
Into The Void
Iron Man
N.I.B.
Paranoid
Sabbath, Bloody Sabbath
Supernaut
Sweet Leaf
Symptom Of The Universe
War Pigs (Interpolating Luke's Wall)
64 pages

BLACK SABBATH, WE SOLD OUR SOUL FOR ROCK N' ROLL. TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE

Edition
Series: Guitar Recorded Version TAB

Guitar tab for 16 hard-rocking songs from the double live LP:

Am I Going Insane (Radio)
Black Sabbath
Changes
Children Of The Grave
Fairies Wear Boots (Interpolating Jack The Stripper)
Iron Man
Laguna Sunrise
N.I.B.
Paranoid
Sabbath, Bloody Sabbath
Snowblind
Sweet Leaf
Tomorrow's Dream
War Pigs (Interpolating Luke's Wall)
Warning
The Wizard

112 pages

BLACK SABBATH, ANTHOLOGY. Anthony Iommi a 12 anni suonava, come tutti i suoi famigliari, la fisarmonica. Dopo pochi mesi con i Jethro Tull come chitarrista, formerà alla fine del 1969 i Black Sabbath. L'ultimo giorno di lavoro nella fabbrica siderurgica dove era impiegato, una macchina gli taglia i polpastrelli del medio e dell'anulare. Il giorno dopo avrebbe dovuto suonare in Germania. Per un mezzo anno non può fare niente, poi cerca di ricominciare. Suona solo con due dita, perché è troppo doloroso quando preme le corde. "Quasi tutti mi dicevano di smettere, senza saper quanto era importante per me suonare, non sapevo come fare". Solo un suo amico insisteva perchè continuasse, e gli portò un disco di Django Reinhardt, il famoso jazzista gitano che suonava solo con due dita a causa di un incendio nella sua carovana. Stupito e incoraggiato da quel musicista, si costruì dei polpastrelli finti e anche se inizialmente non riusciva a sentire le corde ricominciò a suonare, adattando alla condizione delle sue dita i bendings e vibrati. La canzone N.I.B. (nib, in inglese vuol dire pennino) chiamata così perchè in quel periodo la barba del batterista Bill Ward, sembrava il pennino di una penna a inchiostro. Per ragioni di design della copertina, e per dare un senso criptato, di mistero, il titolo fu puntato; N.I.B.: Nativity In Black. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA METAL .

SPARTITI PER VOCE E CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE . 

This unique collection of 27 of Black Sabbath's greatest songs will be a hit with your favorite HM guitarist. Includes such headbangers as Iron Man, Paranoid, and War Pigs. All guitar solos are notated in both standard notation and tablature.
128 pages
Contents:
A Hard Road
A National Acrobat
Black Sabbath
Chidren Of The Grave
Chidren Of The Sea
Country Girl
Dirty Women
Fairies Wear Boots/Jack The Stripper
Heaven And Hell
Iron Man
Junior's Eyes
Looking For Today
N.I.B.
Neon Knights
Never Say Die
Paranoid
Planet Caravan
Sabbath, Bloody Sabbath
Sleeping Village/A Bit Of Finger
Snowblind
Supernaut
Sweet Leaf
Tomorrow's Dream
Under The Sun/Every Day Comes And Goes
Voodoo
War Pigs
The Wizard

BLACK SABBATH, GUITAR. SHEET MUSIC BOOK FOR VOCAL AND GUITAR WITH TABLATURE. 

LIBRO DI MUSICA HARD ROCK. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Contiene: black sabbath -N.I.B. -war pigs -paranoid -planet caravan -iron man -sweet leaf -after forever -children of the grave -supernaut -snowblind -sabbath bloody sabbath -symptom of universe -never say die. TABLATURE

BLACK SABBATH, PARANOID. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA HARD ROCK,

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE.  

Black Sabbath - Paranoid

Series: Guitar Recorded Version TAB
Artist: Black Sabbath

Ten-song matching folio: Electric Funeral - Fairies Wear Boots (Interpolating Jack the Stripper) - Hand of Doom - Iron Man - Jack the Stripper - Luke's Wall - Paranoid - Planet Caravan - Rat Salad - War Pigs (Interpolating Luke's Wall).

Inventory #HL 00690142
ISBN: 9780793567294
UPC: 073999247237
Width: 9.0"
Length: 12.0"
48 pages

Guitar World: "Paranoid", il brano del secondo album che ha segnato l'inizio del successo, è considerato da molti il brano più rappresentativo dei Black Sabbath.

Tony Iommi: Credo che la ragione per cui quel brano è venuto così bene sia stato che abbiamo avuto molto tempo per lavorare a tutto il materiale. Suonavamo per sette session di 45 minuti all'incirca ogni giorno, in un vecchio e polveroso club in Svizzera, di fronte a tre o massimo 10-12 persone per volta.
Quell'atmosfera di sei settimane di lavoro ci ha resi molto concentrati e determinati. E ci ha anche dato la possibilità di sperimentare di più, perchè avevamo abbastanza canzoni per ogni session su cui lavorare. Ci ha dato la possibilità di affinare il materiale prodotto e di riarrangiare canzoni esistenti.

GW: Com'è stato il processo di registrazione per quell'album?

Iommi: Abbiamo registrato l'album in tempi strettissimi, in pochissimi giorni, con un piccolo otto-tracce in uno studio in Regent Sound in Inghilterra. E' stato un po' come registrare in un garage. Abbiamo piazzato un microfono di fronte al mio armadietto e ho suonato le tracce con tutta a band, inserito un overdub e basta, tutto qui. Fatto. Per noi è stato come suonare live. Pensavamo che un paio di giorni fossero più che sufficienti per registrare e mixare un album.

GW: Cosa ti ha portato a scegliere un' amplificazione Laney?

Iommi: La ragione è molto semplice: la Laney era di Birmingham. Era all'epoca una azienda nata pressapoco nella stessa nostra epoca, nel 1968. Ci sono stati molto d'aiuto ed abbiamo anche lavorato insieme. Ci hanno fornito tutta la amplificazione di cui avevamo bisogno.

GW: Hai suonato con una Fender Stratocaster nel primo album dei Sabbath, ma per Paranoid hai cambiato per una Gibson SG; come mai?

Iommi: E' successo che la mia Stratocaster si ruppe mentre stavamo registrando il primo album. Si ruppe il pickup e in quei giorni non riuscivo a trovare un pickup nuovo. La mia SG era la mia seconda chitarra. Era sempre lì in giro ma non l'avevo mai sfruttata a dovere. In tutto questo decisi di utilizzarla. Da allora non l'ho più cambiata.

GW: Ci puoi mostrare come suoni l'inizio di "Paranoid"?

Iommi: Certo. Ho visto molti chitarristi suonare questo riff in settima posizione, ma io non lo faccio così. Lo suono in dodicesima posizione. Lo suono così perchè la corda del MI [E5] ha un suono notevolmente più dark rispetto alle stesse note prese in settima posizione.
 

"Never Say Die" (Aug. 1997)
Overcoming overwhelming odds, and the right way to play "Paranoid"

At long last, Guitar World proudly presents this first instalment of a new column by the Godfather of Metal, the inimitable Tony Iommi. For nearly three decades, Iommi has been the mastermind behind the legendary and often groundbreaking heavy guitar-driven riffs of the bastard sons of British hard rock, Black Sabbath.

Hello there! Welcome to my first Guitar World column. I'm looking forward to sharing with you in these pages my thoughts on playing, equipment and the music business. Actually, this isn't the first time I've written a column - I used to do one many years ago for an English music magazine called Beat Instrumental. I did it for about eight months and it was great fun, and I'm sure this one will be too.

NEVER SAY DIE

Although my handicap has received quite a bit of press over the years, a lot of people are very surprised when they find out that I'm missing two fingertips from my fretboard (right) hand. (I'm a lefty.) After all, that is a fairly serious affliction for a guitarist. Specifically, I lost the tips of my middle and ring fingers in an accident I had at work - they got caught in a piece of machinery. Ironically, the day the accident happened was my last day at that job before turning professional musician, as I was all set to go to Germany on tour with a band. The timing couldn't have been worse - not that there's ever a good time to cut off the ends of two of your fingers!

As you can imagine, it was an awful experience and I went through a terrible period of depression because I was convinced that my guitar playing days were over for good. I went to dozens of different doctors and hospitals and they all said, "Forget it. You're not going to be able to play guitar again."

While I was down in the dumps though, a friend of mine, who happened to be my foreman at work, brought me a record of [world-renowned Gypsy jazz guitarist] Django Reinhardt who, at the time, I'd never heard of before. My friend said, "Listen to this guy play," and I went, "No way! Listening to someone play the guitar is the very last thing I want to do right now!" But he kept insisting and he ended up playing the record for me. I told him I thought it was really good and then he said, "You know, the guy's only playing with two fingers on his fretboard hand because of an injury he sustained in a terrible fire." I was totally knocked back by this revelation and was so impressed by what I had just heard that I suddenly became inspired to start trying to play again.

I tried playing right-handed for a while but that didn't work out for me so I bandaged my two damaged fingers together and started playing lefty again using just my first (index) and little fingers. I then decided to go a step further by trying to bring my two injured fingers back into the game. What I did was this: I melted down a "Fairy Liquid" [an English dishwashing detergent] bottle, made a couple of blobs of the plastic and then sat there with a hot soldering iron and melted holes in them so they'd fit on the tips of my injured fingers, kind of like thimbles.

When I got the caps to fit comfortably, I ended up with these big balls on the ends of my fingers, so I then proceeded to file them down with sandpaper until they were approximately the size of normal fingertips.

It took me quite a while to get them exactly right because they couldn't be too heavy or thick but had to be strong enough so they didn't hurt the ends of my fingers when I used them. When I had sculpted my "thimbles" to the right size and tested them I realized that the ends weren't gripping the strings so I cut up a piece of leather and fixed pieces to the ends of them. I then spent ages rubbing the leather pads so they would get shiny and absorb some oils and would help me grip the strings better. I filed down the edges so they wouldn't catch on anything and it worked!

Once I had done this it took me quite a while to get used to bending and shaking strings with those two fingers because I obviously couldn't feel anything. It was difficult to even know where my fingers were and where they were going. It was just a matter of practicing and persevering with it, using my ears to compensate for my lost tactile sense.

In the years since my story was publicized more than a few musicians who have had similar afflictions have told me that my "never say die" attitude has inspired them to keep going. However bad something may seem at first, you've got to try to overcome it because sometimes the "impossible" is possible. It was really depressing at first, but after hearing Django, I just wouldn't accept defeat. I was sure there had to be a way around my problem.

PARANOID: THE RIGHT WAY

Anyway, that's enough about my missing fingertips! Let's finish up this first column with some music. Over the years a lot of guitar magazines and books have transcribed my "Paranoid" main riff but nearly all of them did so incorrectly. They invariably get the notes right but the position on the neck is always wrong. I saw one recently that made the same old mistake. Nearly everyone (most professional transcribers included) assumes that I play the E5 power chord that the riff is based around on the 5th and 4th strings at the 7th fret. Well, I don't! I play the chord on the 6th and 5th strings at the 12th fret. I play it here because, to my ears, the E5 power chord at the 12th fret definitely sounds darker and more ominous than the 7th fret grip. (Compare both figures by playing them back-to-back and you'll hear exactly what I mean.) So, the correct way to play the opening riff to "Paranoid" is as shown in FIGURE 9.

Regarding the three grace-note hammer-ons that occur on the 5th string at the very beginning of the riff-they're definitely played by "feel" and will sound wrong if you perform them too quickly or too slowly. To get them right, listen to the recording carefully a few times until you've memorized the way that part of the riff sounds. Like the saying goes, "if you can hum it, you can play it!" See you on the road with the OzzFest.

Electric Funeral

Fairies Wear Boots (Interpolating Jack The Stripper)
Hand Of Doom
Iron Man
Jack The Stripper
Luke's Wall
Paranoid
Planet Caravan
Rat Salad
War Pigs (Interpolating Luke's Wall)

48 pages