HAL LEONARD

PLAYING THE CHANGES: GUITAR. A Linear Approach to Improvising. Mitch Seidman, Paul Del Nero. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Berklee Labs
Publisher: Berklee Press
Medium: Softcover with CD
Author: Mitch Seidman
Author: Paul Del Nero

GUITAR: IMPROVISATION

Effective improvisation can add fun and individuality to guitar performances. This book presents a unique improvisation strategy based on ear training and a linear interpretation of note/chord relationships. You'll learn how to: develop an expectation of sound - master the relationships between notes, modes and harmonies - improvise over jazz standards - identify pitch tendencies within chord progressions, and more. 128 pages.

Create more expressive solos

Effective improvisation can add fun and individuality to guitar solos. In Playing the Changes—Guitar, Mitch Seidman and Paul Del Nero present a unique improvisation strategy based on ear training and a linear interpretation of note relationships.

In this technique, improvised lines are derived from the harmonic construction of chord progressions. Learn how to choose appropriate notes by listening for the tendencies of pitches within modes and tetrachords—groupings of four notes in a scale. InPlaying the Changes—Guitar, you'll explore the possibilities of focused and linear improvisation, and develop your ability to create musically effective melodies with greater freedom and depth of expression.

Comprehensive, step-by-step instruction will guide you as you:

• Develop an expectation of sound—an intuitive sense for which notes to choose and where your chosen notes will lead the melody.
• Master the movement of notes over modes and harmonies.
• Use and learn from the examples on the included CD.
• Become comfortable improvising over jazz standards such as "Blue Bossa," "Tune Up," and "Long Ago and Far Away."
• Create your own chord pads to use as you practice recognizing the tendencies of pitches within chord progressions.
• Tablature included.

If you can read traditional notation and chord symbols, have a basic understanding of functional harmony and have a basic technical capability, you can use this book to learn how to improvise and become more expressive and creative in your music making.

BUZZ

"Very thoughtful and insightful book by Mitch Seidman and Paul Del Nero. This is geared to an intermediate to advanced level of student, but a beginner can certainly find good practice material. The tetrachord ideas are a unique way of addressing the problems of improvisation. If students apply themselves to the exercises, much progress can be made. Highly recommended!"

—Jack Wilkins, Guitarist and Educator

"Mitch Seidman and Paul Del Nero have assembled an impressive and comprehensive book of patterns, exercises, and etudes that really get inside the secrets to jazz improvisation and open up new possibilities to the guitarist at any level of their development. Complemented with a great sounding CD of many different examples, I know I. myself', will find it helpful for a long time to come. Great job, Mitch and Paul!"

—Duke Robillard, Award-Winning Blues Guitarist

"Playing the Changes is a nuts-and-bolts, hands-on method for soloing. Real concepts that will yield real results. A great piece of work!"

—Joe Beck, Jazz Guitarist

"Playing the Changes—Guitar: A Linear Approach to Improvising presents a great way to develop ear training, melodic and harmonic awareness, and the corresponding technique on the guitar. The clearly laid out and demystified program builds a sensitivity and understanding that will enrich any player's improvisational skills, transcending stylistic boundaries. A great contribution to a complete musician's education!"

—Howard Alden, Jazz Guitarist, Concord Recording Artist

Playing the Changes-Guitar

This book began as a series of core courses at Berklee College of Music, developed by
members of the Ear Training Department. In these classes, jazz improvisation students
learn to develop an intuitive, linear sense of improvisation. Some of these techniques have
evolved over centuries, and others have been developed fairly recently. As a method for
training musicians how to improvise, we have found this approach to be uniquely effective.
This book is intended for musicians who can read traditional notation and chord symbols,
have a basic understanding of functional harmony, and have a basic technical capability
on their instrument.
The essential idea is that using just a few notes effectively, in an improvisation, leads to
great musical freedom and depth of expression. By using a few carefully selected notes,
and by listening for where these notes naturally lead, your resulting improvised lines will
become more focused and linear, with natural-sounding resolutions.
In our method, note choices are based on modes and tetrachords (four-note groups,
discussed in lesson 2) that are derived from the chord progression's harmony. Our method
for using them will help you to find notes that will be musically effective, easy to
remember, and appropriate for your instrument, and it will lead you to many new ideas.
After introducing a few technical concepts in part I, the "Progressions" lessons of part II
are each based on a progression from the "jazz standards" repertoire. These patterns of
chords are at the heart of many tunes, and there are infinite ways in which they can be
varied. Individual chords can have variations, melodies can include notes that go beyond
the chords, and distinctive elements in the underlying groove can all lead to countless
possibilities. In addition, these progressions can be transposed to any key and played at
various tempos. Tunes can be created by combining several of these progressions, in
various formal structures. Mastering the ways that notes move over these progressions will
therefore help you as you learn new music.
Berklee has used this approach to train thousands of students to develop their musical
intuition. It has been refined over many years, and we have found it to be uniquely
effective and helpful.
We hope that it helps you to become more expressive and creative in your music making.
Notes about Chord Symbols
Chord symbols don't necessarily include tensions. Tensions may be included in the
notated and comping parts and solos.

About the Authors
The concepts in this book come from the curriculum developed by the creators of Berklee's Performance Ear Training courses. These concepts have been used to train thousands of musicians in improvisation.

Mitch Seidman
Guitarist Mitch Seidman is a Professor of Ear Training at Berklee College of Music. He has thirty
years of experience as a professional guitarist and music educator, and has performed throughout
New England, as well as in ew York, Los Angeles, and Washington, D.C. He has appeared
overseas at jazz festivals in France and Germany, and was an artist-in-residence for the Centro
Cultural Norteamericano in Costa Rica. Mitch has recorded with Harold Vick, Harvie S (formerly Harvie Swartz), Ted Brown, Alan Dawson, and Joe Hunt, and has performed with John Pisano, Teddy Kotick, Joe Beck, George Garzone, Herb Pomeroy, Hal Crook, Holly Hofmann, Vera Auer, Michael Formanek, Tyrone Brown, Eddie Jones, and Freddie Moore, among numerous others. He has recordings on Jardis (Germany), Cadence, and Brownstone Records.
Mitch holds a bachelor of composition from Berklee College of Music and a master's in music education from Boston University. He is a contributing editor to 20th Century Guitar magazine.

Paul Del Nero
Bassist Paul Del Nero is Associate Professor of Ear Training at Berklee College of Music. Paul is an
active performer, recording artist, educator, and clinician. He has performed internationally on
acoustic and electric bass, with small groups and big bands, in festivals, clubs, and shows, and on
radio and television. Artists he has performed with include Hal Crook, Charlie Rouse, James Williams, Hal Galper, Donald Byrd, Junior Mance, Mose Allison, Jimmy Guiffre, Butty Tate, Benny Golson, and Bob Moses. He has recorded with record labels including Concord, Candid, and GM. He has appeared at various jazz festivals, including Vienne, Toulon, Berlin, Los Angeles, and ew York, and was Artist in Residence at The Banff Centre. Paul is a recipient of the USIA Grant under the American Cultural Specialist Program. He holds a bachelor of music from Berklee and a master's from New England Conservatory of Music.

Playing the Changes-Guitar
CD Tracks
Mitch Seidman:
Paul Del Nero:
Tony Germain:
Bob Tamagni:
Guitars
Bass
Piano
Drums
Recorded at PBS Recording in Westwood, MA by Peter Kontrimas.
CMaj7 to C-7 .
CMaj7 to F-7 .
Tetrachord Demonstration .
CMaj7 Chord Pad .
CMaj7 Pad with Improvisation: C Major Tetrachord .
Practice Vamp 1: Play Along .
Practice Vamp 1: Lower Tetrachord .
Practice Vamp 1: Upper Tett'achord .
Practice Vamp 1: Modal Exercise .
Practice Vamp 1: Mixed-Rhythm Modal Exercise
Practice Vamp 2: Play Along .
Practice Vamp 2: Modal Exercise .
Practice Vamp 2: Mixed-Rhythm Modal Exercise .
Blue Bossa: Etude .
Blue Bossa: Play Along .
Blue Bossa: Mode Practice .
Blue Bossa: Mixed-Rhythm Modal Exercise .
Blue Bossa: Improvisation .
Tune Up: Etude .
Tune Up: Play Along " .
Tune Up: Mode Practice .
Tune Up: Mixed-Rhythm Modal Exercise .
Tune Up: Improvisation .
Valse Hot: Etude .
Valse Hot: Play Along .
Valse Hot: Mode Practice .
Valse Hot: Mixed-Rhythm Modal Exercise .
Valse Hot: Improvisation .
Blues: Etude
Blues: Play Along
Blues: Mode Practice
Blues: Mixed-Rhythm Modal Exercise
Blues: Improvisation
Long Ago and Far Away: Etude
Long Ago and Far Away: Play Along
Long Ago and Far Away: Mode Practice
Long Ago and Far Away: Mixed-Rhythm Modal Exercise
Long Ago and Far Away: Improvisation
Lady Bird: Etude
Lady Bird: Play Along .
Lady Bird: Mode Practice
Lady Bird: Mixed-Rhythm Modal Exercise
Lady Bird: Improvisation
Just Friends: Etude
Just Friends: Play Along .
Just Friends: Mode Practice
Just Friends: Mixed-Rhythm Modal Exercise .
Just Friends: Improvisation

Additional recordings for this book are available on its associated Website

Contents
CD Tracks
Introduction .
PART I. Getting Oriented
Lesson 1. Pitch Axis .
Lesson 2. Tetrachords
Lesson 3. Modes .
Lesson 4. Practice Vamp 1: One Mode .
Lesson 5. Practice Vamp 2: Two Modes
PART II. Progressions .
Lesson 6. Two Modes .
Lesson 7. Three Modes .
Lesson 8. Three Modes .
Lesson 9. Three Modes .
Lesson 10. Four Modes
Lesson 11. Four Modes
Lesson 12. Five Modes
What's Next? .
About the Authors .
 

THE GIBSON 'BURST 1958-1960. Jay Scott, Vic DaPra. BOOK 

LIBRO ILLUSTRATO .

The Gibson 'Burst 1958, '59, '60
Series: Guitar
Publisher: Centerstream Publications
Format: Softcover
Author: Jay Scott
Author: Vic DaPra

A musical instrument or a cultural icon? Certainly, the Gibson Les Paul “Sunburst” Standard has become the single most desirable and collectable electric guitar ever made. The late '50s middle-of-the-road guitar emerges as the turn-of-the-century Holy Grail. With over 300 'Bursts shown and 16 pages of full color photos, this is the book for all collectors. Also includes a 1958, '59, and '60 Sunburst Les Paul serial number list.

“Since the first publication of this book til today, the Sunburst has continued to inspire me and new generations of musicians. Thank you, Les.” – Jimmy Page

Inventory #HL 00000423
ISBN: 9781574242034
UPC: 884088069261
Width: 9.0"
Length: 12.0"
128 pages

Certainly, the Gibson Les Paul "sunburst" Standard has become the singularly most desirable and collectable electric guitar ever made. Its repute and value are virtually common knowledge and its marque has almost become a household name. Its devotees invest mortgage-size sums into individual examples and kings' ransoms into life-long collections of the blue-chip, investable guitar, and lovingly lavish nicknames on the objects of their affection in a kind of dementia author Richard Smith has referred to a sunburst psychosis. But it wasn't always so. despite contemporary sunburst enthusiasts' need to elevate the instrument to the sanctum sanctorum, sound historical perspective and an insight into corporate reasoning insinuates that the company viewed the new 1958model askance, as a bit of a pariah, a second-rate guitar, a marketing and design compromise. contemporary hysteria and emotion aside, the sunburst Standard followed a Les Paul goldtop sales slide that had decreased Les Paul model production 200%by the mid-fifties. Obviously, Gibson reasoned correctly, it was time for a change. But how to shore up slumping sales of the company's second-best solidbody? The answer was reasonable - and typical - for a traditional firm like Gibson: put a flamed maple top with a sunburst finish on the model. In every sense this was a retrogression for the Les Paul model, and Gibson knew it. the gold-finished Les Paul had been a stretch for the company, a bold stroke of color and daring for the stodgy, sunburst-and-natural-finish-oriented manufacturer. So, when the corporate decision was made to return to the sunburst finish, it was, in a very real sense, a de-evolution, a step backwards. One even gets the impression of boardroom exasperation and resignation, of not knowing what to do next with the damn model. combined with the fact that the standard was relatively cheap -- the Super 400, L-5, Byrdland, ES-350,the higher line thinlines and other were the company's heavy hitters; even the Les Paul Custom cost almost twice as much as the Standard -- a feeling of near-indifference emerges: "Well,the goldtop was good for us for a few years but sales are in the toilet now. So let's go back to the look that got us where we are; we'll make the thing look like a baby L-5 or Super 400, put a sunburst finish on it since Fender seems to be doing okay with their Stratocaster, price it cheap and pitch it as a second instrument for the pro who doesn't want to take his L-5 to the gig or to the guy who wants to sit home and play and won't feel bad about laying out 250 bucks for a guitar that sort of looks like our good stuff.... and see if it flies."
No, it didn't. And for one reason or another (primarily poor sales) the guitar was removed from the line at the end of 1960after an unremarkable 2 1/2 years in Gibson's – another Gibson solidbody debacle, certainly not of the magnitude of Gibson's BIG faux pas, the Korina series, but surely nothing to write home to Kalamazoo about. With such inauspicious beginnings, even the most devout 'burst worshippers must admit, the Standard was not a glowing success.... and it seems Gibson knew it wasn't going to be. Or else how does one explain the almost casual disregard the company showed in matching curly maple tops on many of the Standards? Or the fact that 75% of all Standards do not have dramatic figure in their maple caps ... or little or no figure at all? Or the reason such a light-fugitive (light sensitive) red aniline dye was used for the cherry sunburst when Gibson knew it was going to fade and was well aware of the availability of better, more durable, more light-fast, more costly dyes? (Michael Dresdner, "Restoration Clinic," Vintage Guitar Bulletin, Vol 3 No.1, Jan., 1984). The answer to all these rhetorical questions is obvious. But as all of us have so often learned in the dominion of the classic American guitar yesterday's debacle sometimes turns into today's treasure; the past's pariah reappears as the present's avatar. In the case of the 1958-'60Les Paul Standard, a late-'50's middle-of-the-road yawner emerges as the turn-of-the-century Holy Grail. The prodigal son has returned home a saint.

In preparing the revisions and additions for this resuscitated edition of our Sunburst book, my co-author, Vic DaPra and I had numerous conversations about content, of course, but eventually virtually all our talks edged into a more - how shall I say this – philosophical realm. More precisely, we invariably came to discuss, somewhat sadly, somewhat bemusedly, the astronomical prices that particular examples of the guitar had achieved over the past few years. 'Bursts have skyrocketed in value from low-five-figure collectibles to six-figure untouchables, sometimes commanding prices in excess of $200,000.affordable only by millionaires. 'Burst ownership has become the province of high-profile authors and their publishers, prominent actors, doctors and lawyers ...entrepreneurial titans, not musicians. Vicwould chuckle that many of the original proponents of the model couldn't begin to afford one now.
This begs the obvious question, then: what precisely are we dealing with here ...now ...precisely? Is this a musical instrument or a cultural icon? Apparently, its very nature has changed along with its raison d'etre. The days when dirty white boys blared jungle music on these hammers of the gods and in so doing busted down all kinds of walls have clearly past; a 'burst is as much a guitar nowadays as a Louis Quatorze table is an eating platform. Sure, occasionally still, some atavistic giant like Slash, Joe Perry, Joe Walsh or Billy Gibbons has the balls to step center-stage and burn on an original sunburst Les Paul like the old days unafraid he might fracture a headstock and so ruin his investment. But what has become painfully evident is that the nature of the beast, the 'burst's essence, has changed. Indisputably, the epoch of 'burst-as-bauble is upon us. The sunburst-finished 1958-1960Les Paul Model/Les Paul Standard is now the domain of the super-rich; Peter Green need not apply. What New York City-based, sunburst maven Doug Myer of Dan Courtenay's Chelsea Guitars so aptly wrote about Slash, the last-ever, 'burst welding, guitar god, several years ago now seems equally apropos to the instrument he proffered: after he bashed his way through the temple doors with his flametops, the closed behind him forever. Jay Scott (I can't believe I'm still in) Rochester, New York, 2005
1959 Standard/E Clark. Photo W. Draffen

Vic DaPra has always been an intergral part of the music scene in the Pittsburgh, PA area. A lifelong devotee of the guitar about which he would eventually co-author two books, Vic receied his first 'burst as a gift in the early 1970s; it cost a then-outrageous $1600. Since that time he has owned many examples of what has become a pre-eminent American collectible. Along with partner Tim Matyas, he opened the Guitar Gallery in Canonsburg, PA in 1985,preferring Gibson Historic Les Paul reissues and other high quality six-strings.

Jay Scott is a Jesuit-educated throwback whose publications include The Guitars of the Fred Gretsch Company, '50s Cool: Kay Guitars, Sunburst Alley and the first edition of this book as well as dozens of articles for such periodicals as Guitar World and 20th Century Guitar magazines. His life has been notably unremarkable and unproductive, save for the generation of his glorious, albeit autistic, son Gianni Lux Amlfi-Scognetti Scott, himself a published author and illustrator of two books, Playing Games and From Pumpkin Seed To Pumpkin Pie (Parker Publishing), and the few aforementioned sporadic insights.

This revitalized version of our paradigmatic Sunburst book is lovingly dedicated to my co-author Vic DaFra whose implaceable goading and cajoling inevitably led to my revising this edition. If I had a nickel for every time Vic would, you'll excuse the expression, fan the flames of my interest in it's revision using Gerard Manley Hopkins' famous finishing couplet from "The Windhover" "... And blue bleak embers, ah my dear, fall, gall themselves and gash gold vermillion" , I'd have enough money to buy an original 'burst. Here's to the once-and-future Pharoah of Flame!! To Steve DiVenuta, the office tiger, who coalesced all our efforts to bring this project to - I use the word loosely – fruition. To Ron Middlebrook, Centerstream Publishing Finally and most gratefully to Larry and Jim Acunto of 20th Century Guitar magazine/ Seventh string Press - for 20 years of friendship and association and for graciously and generously releasing on this book thereby allowing yet another guitar book to be foisted on the already – over· helmed, guitar-related public.

Contents:
Scott Frielich, Top Shelf Music
Chelsea Second Hand Guitars
Art Atwood
Au th0rs
Preface
Jimmy Page
Robby Kriger
Introduction .
Prologue .
1958's
Tradition to 1959 .
Color Section
Tabacco Sunburst Finish.
Burst with Bigsbys.
1960's.
The Patent Applied for (PAF) Humbucker .
Cherry Sunburst.
7000 Series
Sunburst Les Paul Serial Number List .

Aknowledgements
The authors wish to thank the following businesses and individuals without those participation this book would have been less complete:
Tom Wittrock, Third Eye Music Gary Winterflood
Richie Frieman, We Buy Guitars Mark Quinton
Kosta Kovachev Scott Chinery
Albert Molinaro Rudy Pensa
Revised Layout: Dave Collins

COUNTRY GUITAR PLAY-ALONG Vol. 17. BOOK WITH CD & TABLATURE

LIBRO DI MUSICA COUNTRY, CON CD. 

CD DI BASI PER VOCE, E VOCE E CHITARRA. 

SOFTWARE, PROGRAMMA PER RALLENTARE LE TRACCIE AUDIO, LOOP. ECC. ECC.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

Series: Guitar Play-Along
Softcover with CD - TAB
Artist: Various
All guitars: Boug Boduch
Bass: Tom McGirr
Keyboards: Warren Wiegratz
Drums: Scott Schroedl

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch! 8 songs:

1971 - AMIE - GRAIG FULLER - PURE PRAIRIE LEAGUE
1991 - BOOT SCOOTIN' BOOGIE - BROOKS & DUNN
1992 - CHATTAHOOCHEE - ALAN JACKSON
1956 - FOLSOM PRISON BLUES - JOHNNY CASH
1987 - FOREVER AND EVER, AMEN - RANDY TRAVIS
1990 - FRIENDS IN LOW PLACES - GARTH BROOKS
1975 - T-R-O-U-B-L-E - TRAVIS TRITT
1969 - WORKIN' MAN BLUES - MERLE HAGGARD

FUNK BASS BIBLE. SHEET MUSIC BOOK BASS TABLATURE

LIBRO DI MUSICA FUNK.

SPARTITI PER VOCE E BASSO CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Series: Bass Recorded Versions TABLATURE

Artist: Various Artists
32 funk classics transcribed note-for-note with tablature for bass, 264 pages

1976 - BRICK HOUSE - The Commodores - Parole musica: Lionel Richie
1973 - CAN YOU HANDLE IT - Graham Central Station - Parole musica: Larry Graham
1976 - CAR WASH - Rose Royce - Parole musica: Norman Whitfield
1969 - CISSY STRUT - The Meters - Parole musica: Leo Nocentelli, George Porter, Artur Nevil, Joseph Modeliste Jr
1967 - COLD SWEAT, PT. 1 - James Brown - Parole musica: James Brown, Alfred James Ellis
1976 - DAZZ - Brick - Parole musica: Edward Irons, Reginald Hargins, Raymond Ramson
1974 - DO IT ('TIL YOU'RE SATISFIED) - B.T. Express - Parole musica: Billy Nichols
1976 - DR. FUNKENSTEIN - Parliament - Parole musica: George Clinton
1980 - FANTASTIC VOYAGE - Coolio - Parole musica: Stephen Shockley
1975 - FIGHT THE POWER 'PART 1' - The Isley Brothers - Parole musica: O'Kelly Isley,Ronald Isley
1974 - FIRE - Ohio Players - Parole musica: Ralph Middlebrooks
197o - FUNK #49 - The James Gang - Parole musica: Joe Walsh, Dale Peters, James Fox
1978 - GET OFF - Foxy - Parole musica: Carl Driggs, Ismael Angel Ledesma
1991 - GIVE IT AWAY - Red Hot Chili Peppers - Parole musica: Anthony Kiedis, Flea, John Frusciante, Chad Smith
1973 - HIGHER GROUND - Red Hot Chili Peppers - Parole musica: Stevie Wonder
1976 - I WISH - Stevie Wonder - Parole musica: Stevie Wonder
1978 - LE FREAK - Chic - Parole musica: Nile Rodgers, Bernard Edwards
1981 - LET'S GROOVE - Earth, Wind & Fire - Parole musica: Maurice White, Wayne Vaughn
1977 - LOPSY LU - Stanley Clarke - Parole musica: Stanley Clarke
1989 - LOVE GAMES - Level 42 - Parole musica: Mark King, Philip Gold
1975 - LOVE ROLLERCOASTER - Ohio Players - Parole musica: Ralph Middlebrooks
1975 - LOW RIDER - War - Parole musica: Sylvester Allen
1971 - MR. BIG STUFF - Jean Knight - Parole musica: Joseph Broussard
1974 - PICK UP THE PIECES - Average White Band - Parole musica: James Hamish Stuart, Alan Gorrie, Roger Ball, Robbie McIntosh, Owen McIntyre, Malcolm Dancan
1995 - POWER - Marcus Miller - Parole musica: Marcus Miller
1981 - RUN FOR COVER - Marcus Miller
1992 - SEX IN A PAN - Victor Wooten - Parole musica: Victor Wooten
1978 - STAY - Rufus - Parole musica: Chaka Khan, Richard Calhoun
1982 - 19STAY WITH ME TONIGHT - Jeffrey Osbourne - Parole musica: Raymond Edward Jones
1996 - SUMTHIN', SUMTHIN' - Maxwell - Parole musica: Musze, Leon Ware
1981 - SUPER FREAK - Rick James - Parole musica: Rick James, Alonzo Miller
1986 - WORD UP - Cameo - Parole musica: Larry Blackmon, Tomi Jenkins

KING B.B., ANTHOLOGY. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA BLUES. 

SPARTITI PER VOCE E CHITARRA : 

ACCORDI, PENTAGRAMMA ( NOTE ), TABLATURE. 
 
Series: Guitar Recorded Version
Artist: B.B. King

The All Music Guide praises B.B. King in no uncertain terms as the single most important electric guitarist of the last half century. This outstanding new book in our Guitar Recorded Versions series provides note-for-note transcriptions with tablature for 35 hits from this living legend from 1950 to 2000, 216 PAGES. 

Inventory #HL 00690492
ISBN: 9780634030581
UPC: 073999560886
Width: 9.0"
Length: 12.0"
216 pages

SONG LIST:

Ask Me No Questions
B.B. Blues
Bad Luck Soul
B.B.'s Boogie
Beautician Blues
Chains And Things
Cryin' Won't Help You
Don't Answer The Door
Everything I Do Is Wrong
Five Long Years
Fools Get Wise
Get Off My Back Woman
I Want You So Bad
It's My Own Fault Darlin'
Just Like A Woman
King Of Guitar
King's Special
Lucille
Miss Martha King
A New Way Of Driving
Paying The Cost To Be The Boss
Please Accept My Love
Recession Blues
Riding With The King
Rock Me Baby
She's Dynamite
So Excited
Sweet Little Angel
Sweet Sixteen
Three O'Clock Blues
The Thrill Is Gone
Watch Yourself
When Your Baby Packs Up And Goes
You Done Lost Your Good Thing Now
You Upset Me Baby