WARNER BROS. PUBLICATIONS

DICKENS BILL "THE BUDDHA", FUNK BASS AND BEYOND. SHEET MUSIC BOOK WITH CD & BASS TABLATURE.

Metodo per chitarra basso a 4 corde, anche se in copertina Dickens ha un basso con 7 corde. 

Dickens ha suonato con Al DiMeola, Chaka Khan, Dennis Chambers, Steve Morse, Pat Metheny e molti altri.

ACCORDI, PENTAGRAMMA, TABLATURE.  

Funk Bass and Beyond

By Bill "The Buddha" Dickens and Bobby Rock

CATEGORIA: Bass Guitar Method or Supplement
FORMATO: LIBRO & CD
Bill "The Buddha" Dickens è un talento fenomenale della chitarra basso la cui reputazione ha raggiunto il leggendario status cult come uno dei bassisti più famosi del mondo. Bill Dickens insegna in questo libro"must"  tutte  sue meravigliose tecniche (funk grooves and patented slap, pop, and percussive techniques). Tutto è dimostrato sul CD e i brani musicali sono trascritti con notazioni standard e tablature.

Imparerai:

• Thump, pluck, hummer, and ghost -note techniques
• Basic, intermediate, and advanced variations
• Hip-hop grooves
• The buddha Rope
• Advanced riffs
• Six complete play-along tracks

Bill "The Buddha" Dickens -- Funk Bass and Beyond by Bill "The Buddha" Dickens and Bobby Rock. For Bass Guitar. Bass Guitar Method or Supplement; Method/Instruction. Rock. Book & CD. 88 pages. Published by Alfred Music Publishing.

Acknowledgments

Musical Credits

About the Authors

Introduction

Tuning

How To Use This Book

How To Use the CD

KeyTo Symbols

Section l: The Funk Arsenal

Chapter l: The Thump

Chapter 2: The Pluck

Chapter 3: Thumb/Pluck Combinations

Chapter 4: The Hammer-Ghost·Note Style

Chapter 5: The Hammer-Real-Note Style

Chapter 6: Thumb/Pluck/Hammer Combinations

Chapter 7: The Pull

Chapter 8: Thumb/Pluck/Hammer /Pull Combinations .

Chapter 9: Triplets

Chapter 10:· Putting It All Together

Section 2: Hip-Hop

Chapter 11: Hip-HopTechniques

Chapter 12: The Concept

Section 3: The Buddha Rope

Chapter 13: The Exercises

Chapter 14: Practice Routines

Section 4: Advanced Solo & Groove Riffs

Chapter 15: My Signature Rolling Technique

Chapter 16: Burning With Arpeggios

Chapter 17: Advanced Left Hand Studies

Section 5: Play-Along Chorts

Chort l: Red Fox .

Chort 2: Two Days Off .

Chart 3: No Ho Nights .

Chort 4: LincolnStreet

Chart 5: Cosmotron

Chort 6: Deep Pockets

Section 6: In Closing

Appendix l: Buddha's Essential Funky Listening List

Appendix 2: Buddha's Seven Steps to Musical Enlightenment

Contact/Product Info

Proiect Manager

Aaron Stang

•

Editor

Aaron Stang and Colga n Bryan

•

Music Transcription and Notation

Hemme Luttjeboer

•

Cover Design

Ernesto Ebanks

•

Book Design and Layout, Music Typesetting

Dancing Planet MediaWorks

•

Photos Courtesy

Michael He and Bill Conklin

•

Audio Production

Bill Dickens and Bobby Rock

PETTEWAY AL, CELTIC, BLUES AND BEYOND. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

After Dark
Alphonso Brown is Back
The Darkest Hour
E Funk
Lightning Rod
Meant to Be
Meant to Be
She Moved Through the Faire Slinky Soozie
Smoky Mountain Morning
Spindrift
St. Clair's Rag
Station to Station
The West Wind
Tony's Rag

Acoustic Masterclass Series: Al Petteway -- Celtic, Blues, and Beyond
SERIES: Acoustic Masterclass
CATEGORY: Guitar Method or Supplement
VERSION: Guitar TAB
FORMAT: Book & CD
--------------------------------------------------------------------------------
Guitar arrangements transcribed by the artists themselves, in standard notation and tab. Each edition includes a masterclass-style CD in which the artist walks you through the key aspects and techniques for each arrangement.

Al Petteway has a unique solo guitar style that mixes varied influences, from folk and Celtic music, to R&B and blues. Includes: After Dark * Alphonso Brown Is Back in Town * The Darkest Hour * E Funk * Eureka Hotel * Lightning Rod * Meant to Be * Requiem * She Moved Through the Faire * Slinky Soozie * Smoky Mountain Morning * Spindrift * St. Clair's Rag * Station to Station * The West Wind * Tony's Rag.

ACOUSTIC MASTERCLASS

16 SOLO GUITAR MASTERPIECES
DAZZLING CONTEMPORARY FINGERSTYLE GUITAR
MASTERCLASS CD INCLUDED

Acknowledgments
Thanks to all the folks who helped make this project a reality.
Years ago, after hearing a tune on one of my early albums, James Jensen of Solid Air Records
had the idea for me to do a blues-oriented recording. The resulting solo guitar project, Shades
of Blue, would not have happened without him.
Aaron Stang of Warner Bros. Publications has been a great inspiration during this project and
its sister DVD. His kind patience and knowledge of guitar were instrumental in making it all
come together.
Frank LaRouche helped immensely by transcribing my music so that the folks at Warner Bros.
Publications would have something from which to work.
And finally, my wife, Amy White, helped every step of the way by being my best ~usical editor
and my best friend.

TRANSCRIBED BY: FRANCOIS LaROUCHE

Introduction
A number of varied techniques are represented in this book. Some come directly from my
blueslrock guitar past and others from playing lute in the university madrigal group or playing
funk bass with a top-40 dance band during the '70s. My acoustic guitar career began with some
serious flatpicking of bluegrass, newgrass, and swing during the '80s and eventually led to writing
and interpreting Celtic music for fingerstyle guitar in the '90s. I'm always amazed at how much of
each style stays with me when I sit down to write or arrange a tune for fingerstyle guitar.
Playing Celtic music in DADGAD tuning taught me new ways to approach the guitar and brought
me full circle to the blues and rock styles of my youth. I was struck with how easy it was to play
these styles on an acoustic guitar when three of the strings are tuned down a whole step and the
bottom two strings make an open fifth. Suddenly, I could bend notes as I did on electric guitars,
and with a bit of practice, I could even add bass and drum parts to accompany myself. A whole new
world opened to me.
Most of the tunes in this book are from my Shades of Blue album on Solid Air Records. I let the spirit
of improvisation carry me many times during the recording of that album, and most of the tunes
are played a bit differently each time I revisit them. In addition, there are three pieces that are more
from the Celtic side of the spectrum and are also included on the DVD Celtic, Blues and Beyond.
These tunes also differ somewhat from my original recordings. The important thing is to get the
melody and the feeling in each of the tunes. The rest is up for grabs. I think it's always best for each
guitarist to reinterpret the tune to fit his or her style and showcase his or her own strong points.
In every case, however, it is important to set up a hierarchy within the parts of an arrangement. The
melody is always played loudest, the bass line a bit softer, and the chord flll notes softer yet. This
approach helps separate the different parts and make everything clearer and easier to listen to.
Ballad tunes should be played as if they were being sung. The music should breathe and not feel
restricted by the meter.
The next few pages contain specific notes about each of the tunes included in this collection. I hope
you enjoy everyone of them.
AI Petteway

The Compositions

After Dark
This one is a relatively straightforward jazzy blues built from a melody and bass line. Note that the
first section is played with a swing feel as if the tune were in 12/8. The second part is played straight
and a bit faster. The transition back to the swing feel happens over a few measures and should be
gradual and smooth.

Alphonso Brown Is Back in Town
My name really is Alphonso Brown Petteway. I always fancied Alphonso Brown as my funk bass playing alias. The primary techniques used in this tune combine a funk bass sensibility with blues licks.
The hardest part (and the most satisfying) is keeping that downbeat happening at all times. The
intro and the funky rhythmic patterns that occur throughout the piece use a technique I came up
with to imitate bass and drums playing together. My right hand maintains a constant slap on the
strings by playing notes on the downbeat with the back of my nails and by pulling the string away
from the fingerboard with the flesh of my finger for any notes on the upbeat. With the addition of
hammer-ons and pull-offs, this technique can result in an incredible groove. You can teach yourself
this technique by playing simple melodies on one string while maintaining the downbeat hit on the
strings. It's not easy, but once you get it, you'll be able to improvise easily. During the main section
of the tune, I use a pretty straightforward technique of muting the bass string with my right-hand
palm while playing blues licks with my fingers. There's lots of bending and snapping going on.

The Darkest Hour
This one is a total improvisation. I used the trick of tuning the entire guitar down a step so that I
could bend the strings further and with more expression.

E Funk
Again the hierarchy of melody, bass, and chords comes into play. The "x" represents a rhythmic hit
on the strings. You can execute the funky bass lines by pulling the string away from the fingerboard
and letting it slap down for the note to sound. This technique takes very little effort but results in a
nice loud slap sound.

Eureka Hotel
Here's a great use for DADGAD tuning: Play the melody in parallel octaves on
three pairs of strings. The repeating bass notes on the downbeat keep this tune
rolling along, and the melody comes right out of the chords. Many times, my
fingers are holding down the entire chord even when I play only one or two notes
of it. That way, I'm safe if I hit one of the other strings by accident or if I want to
fill out the chord a bit more.

Lightning Rod
This tune evolved from an exercise I wrote for my students to teach them how
to jam with themselves. Learning to playa repeating quarter note on the low
E string while improvising on top can lead to hours of fun.

Meant to Be
In DADGAD, the key of Am lends itself nicely to blues styles. On this tune, I set up a rhythmic
pattern with my right hand hitting the strings on beats 2 and 4 rather than on every beat. This
creates a nice backbeat to play the melody over. The same technique is used as in "Alphonso
Brown," where any notes that fall on 2 or 4 must be played with the back of the nails to maintain
the rhythmic pattern. Many times I'll stretch notes up without releasing them or start
notes at the top of a stretch and bring them down. Both of these techniques sound great on
acoustic guitar.

She Moved Through the Faire
Traditionally sung a cappella, this melody in the Mixolydian mode falls nicely under the fingers
without having to change positions. Remember to breathe and let the tempo relax at the ends of
phrases. These kinds of tunes just don't sound right if they are played with a metronomic feel. In
measure 23, the triplet can be played by alternating the thumb and first finger or using all three
fingers on the right hand in quick succession on the one note.

Requiem
This tune needs lots of space as well. The ornaments are very Celtic, but the chord structure is not.

Slinky Soozie
I cheated on this one by tuning the entire guitar down a whole step. Many of my favorite blues
techniques involve stretching pairs of strings. On an electric, it's easy, but with a wound mediumgauge
third string on an acoustic, it's nearly impossible unless you tune down. Since I wanted
to play in standard tuning, this meant tuning down all six strings. It really feels slinky when
you do this.

Smoky Mountain Morning
This Celtic-sounding piece evolves into more of a mountain tune complete with the sound of
a frailing banjo. DAD GAD tuning is wonderful {or these kinds of things because of its modal
character. The melody in the frailing section is played with the thumb while the backs of the first
and second fingernails are used to strum in a down-up pattern creating a banjo-like drone.

Spindrift
The right-hand arpeggio in measures 3 and 7 is played T 1 2 3 2 1 T. Practice this
move slowly until it becomes relaxed and flows easily from the tips of your fingers.
I used this arpeggio to relax my right hand when warming up since it's almost
impossible to do when the muscles in your hand are tensed.

St. Clair's Rag
Simple alternating bass lines drive this Am rag.

Station to Station
The technique used here is the same as the one in the second half of "Smoky Mountain
Morning:' The melody is played in octaves, and the chords are strummed with the fingertips
using a down-up pattern. The intent is to imitate a train speeding up to full speed before pulling
into the next station. The rhythm should be kept even as it speeds up and then slows down. On
some of the double-stops, use vibrato to emulate a slide guitar.

Tony's Rag
This one is just a fun rag based on thousands of similar rags I've heard. The time signature says
4/4, but it feels more like it is in 2/4 when played up to speed. If you tap your foot, tap on beats
1 and 3 instead of all four to get this feel. Pay close attention to the cascading line that appears in
measures 43 and 44. It's a tricky one since some of the higher notes are played on the lower
strings. Using open strings in conjunction with fingered notes can be really effective, especially
in fast passages like this one.

The West Wind
Better known as an Irish tune called "The South Wind," this old Celtic piece is claimed under
different names by all of the Celtic nations. Since I learned it from a piping record, it had a
decidedly Scottish flavor. One of the typical musical figures in Scottish music is the "Scottish
Snap." Typically written as a 16th-dotted-eighth-note pattern, it appears here as a 32nd-dotted16th-
note figure due to the tune being transcribed in 6/8 rather than 3/4. It still sounds exactly
the same.

Outro
DADGAD Tuning Track
DADDAD Tuning Track
DGCFAD Tuning Track
Standard Tuning Track

Introduction :
Performance Notes
After Dark
Alphonso Brown Is Back in Town
The Darkest Hour
E Funk
Eureka Hotel
Lightning Rod
Meant to Be
She Moved Through the Faire
Requiem
Slinky Soozie
Smoky Mountain Morning
Spindrift
St. Clair's Rag
Station to Station
Tony's Rag
The West Wind
Title
Contents
Page CD Track

AI Petteway
The Guitarist
AI Petteway has played music professionally since he was 12 years old, performing nearly
every type of popular, folk, and classical music. Though his primary instrument has always
been the guitar, he has also studied lute, string bass, percussion, and music composition. His
compositions for acoustic fingerstyle guitar are strongly influenced by his love of Celtic
music and his own roots in folk, rock, and blues. His recordings, music books, and instructional
videotapes have helped to win him international acclaim and appearances on National
Public Radio. Before relocating from Takoma Park, Maryland, to the mountains of western
North Carolina, AI was awarded 45 Wammies by the Washington Area Music Association,
including the top honors of Artist of the Year and Musician of the Year. He was the recipient
of two Maryland State Arts Council Individual Artist Awards for Music Composition and has
performed at the Vice President's Residence and the White House. His playing is featured on
more than 60 recordings by some of the world's best-known folk and Celtic musicians, and
his music is heard daily between segments on NPR. He performs extensively with his wife,
Amy White. He teaches private lessons and records acoustic music in their home studio in
Fairview, North Carolina. He is also the Guitar Week coordinator for the world-famous
Swannanoa Gathering music camp at Warren Wilson College near Asheville, North Carolina. 

TROVATO STEVE, CLASSIC COUNTRY GUITAR. DVD

Getting the Sounds: Classic Country Guitar With Steve Trovato
SERIES: Getting the Sounds
CATEGORY: Guitar DVD
FORMAT: DVD
--------------------------------------------------------------------------------

GET THE SOUNDS OF:

CHET ATKINS

BRIAN SETZER

ALBERT LEE

JAMES BURTON 

AND MANY MORE!

This DVD shows you how to create all the great country guitar sounds. From shimmering "clear as country water" sounds, to driving rockabilly: every sound you need to survive the Nashville studio scene. Special DVD features include: additional video previews, "getting to know your amplifier" interactive features, and much more!

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

YOUNG NEIL, HARVEST MOON. BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.  

Authentic GUITAR-TAB Edition
includes complete Solos

Per ogni canzone indicata l'accordatura, e il capotasto mobile. Molti dei musicisti di questo disco del 1992, hanno suonato anche nel famoso disco Harvest del 1972. Neil Young suona la chitarra, il Banjo, il piano, e canta.

Neil Young – Harvest Moon
Series: Guitar Recorded Version
Format: Softcover - TAB
Artist: Neil Young

Notes and tab for the 10 gorgeous acoustic tunes from Harvest Moon, the informal “sequel” to Harvest, released 20 years later in 1992. Songs: Dreamin' Man • From Hank to Hendrix • Harvest Moon • Natural Beauty • Old King • One of These Days • Such a Woman • Unknown Legend • War of Man • You and Me.
 

 Unknown Legend 
 From Hand to Hendrix 
 You and Me 
 Harvest Moon 
 War of Man 
 One of These Days 
 Such a Woman 
 Old King 
 Dreamin' Man 
 Natural Beauty