AMA VERLAG

MASTERS OF ROCK GUITAR, Peter Fisher. CD TABLATURE

Mezzo secolo di musica rock, solo 20 uomini. 250 esempi di fraseggi, brevi e medio brevi di: Chuck Berry, B.B. King, Albert King, Jeff Beck, Jimi Hendrix, Eric Clapton, Jimmy Page, Ritchie Blackmore, Santana, Summers, Mark Knopfler, Steve Morse, Van Halen, Roads, Gary Moore, Yngwie Malmsteen, Lukather, Joe Satriani, Paul Gilbert, Steve Vai. Informazioni sul suono e la strumentazione. Tecniche usate: alternate picking, i legati, sweep picking o economy picking, tapping, tecnica a due mani, bending e vibrato, dive bomb, effetti armonici, wrench slide, mouse trap, harmonic dive (horse), cat purr, talk/off-pitch, whammy bar. 159 pagine. 

TECHNIQUES AND CONCEPTS FROM 40 YEARS OF ROCK GUITAR with more than 250 licks in the styles of Chuck Berry, Jeff Beck, Mark Knopfler, Joe Satriani, Steve Vai, and many more.

Product Description:
The aim of this book and CD is to document the development of rock guitar playing by thoroughly investigating the styles of twenty distinctive and influential guitar greats, including Chuck Berry, Jeff Beck, Jimi Hendrix, Mark Knopfler, Gary Moore, Eddie van Halen, Joe Satriani, Steve Vai and others. The more than 250 licks selected for inclusion here serve as a reference for anyone in search of authentic sounding material. This book is more than a mere compilation of licks. By presenting detailed information about personal influences, identifiable elements, harmonic material, sound (preferred instruments, amps, effects, etc.) and discographies, the book provides the reader with a well-rounded picture of each individual guitarist. In addition, the level of technical difficulty increases parallel to the chronological sequence, so the book can also be used as a methodically constructed learning aid for beginning to advanced players. The accompanying CD is over 70 minutes in length. It will not only help readers play the licks, but gives them the ability to select each profiled guitarist's music individually. In notation and tablature. Format: Book/CD Set

Welcome to the Masters of Rock Guitar
Foreword
Taking a look at the stylistic variety of the preceding decades, the task of documenting the development of rock guitar playing seems more than difficult. The problems begin with choosing the guitarists. Countless players will have to be left out who could be considered most important.
Undoubtedly you'll miss one guitarist or another who in your opinion is an absolute master of the rock guitar.
In order to maintain a clear perspective, I've found it necessary to restrict myself to twenty guitar heroes. Even in this book, space is limited, so I've tried to select only those really influential guitarists who've been primary forces in the development of guitar techniques. So it's been necessary to leave out guitarists like Frank Zappa, Steve Howe, John Mclaughlin, Pete Townshend, George Lynch, and others, as well as the guitarists from important groups like The Beatles and The Rolling Stones. Although their playing is inseparably linked to their groundbreaking compositions, from a technical standpoint, they're not as revolutionary or innovative as the rest of the "club", those whose playing has been an influence on a large number of other guitarists. The names of the ones I've chosen call to mind certain sounds, concepts and performing techniques that are often demanded of musicians and teachers.
(" Play it like Hendrix / van Halen / Knopfler / Lukather ... " or "Play some of those Police chords ... ") One is seldom asked to playa solo in a Beatles style. The selections here have been made to meet these demands and to serve as a reference work for anyone who is looking for some authentic sounding material. Of course the danger in this sort of undertaking lies in reducing the concept of the book down to a mere compilation of guitar licks. Comprehending a guitarist's style takes more than just having a few licks down. Without the essential background information, such as personal influences, identifiable elements, harmonic material, sound and discography, all of which, along with the licks, give a well-rounded picture of each individual guitarist, you can't do justice to the Masters of the Rock Guitar.
Not that I'm promoting a star cult. Four decades of rock history are personified by these twenty" chosen players", with whose help the stylistically variable development of rock guitar playing can be seen in a clear light. For this reason our brief tour of rock history will begin with those definitive representatives of the blues guitar, B.B,King and Albert King, whose playing still has a lot to offer to the current generation of guitarists. And this, although for many young guitarists (my own age group, by the way) the Era of the Electric Guitar began with Eddie van Halen, and names like Jimi Hendrix and Jimmy Page often bring little more response than a shrug of the shoulders. Of course the level of technical difficulty increases parallel to the chronological sequence. So "Masters of Rock Guitar" not only serves as a reference work, but can also - as an extra, so to speak - be used as a methodically constructed learning aid for beginning and advanced players. The accompanying CD is over seventy minutes in length. It will not only help you to play the licks, but has also the major advantage over other recordings that each of the guitarists can be selected individually. However you choose to use this book, I do hope you'll have a lot of fun reading, playing, listening and working.

On working with this book, Tips & Tricks
Before we begin our tour through the history of rock guitar playing here are a few hints and ideas how to work with this book: Play each lick not only over the chord it appears with, but also over the harmonic extensions. (For example, if C 7 is indicated, play also over C 9 and C 11; if Cm is indicated, play also over Cm7, Cm9, Cm11, etc.) Try them over the diatonic chords of the key, as well. The licks sound somewhat different over every chord (sometimes better, sometimes worse), and you'll find that this way you have seven times as much material as you would have if you only practiced over the suggested chord. Look at my instructions for execution (hammer-ons, pull-offs, slides, etc.) as suggestions. Play around with the licks and see how they sit best under your fingers. Same thing for the rhythm, the choice of octaves and the sound. I've found that you really have to listen (in the deeper sense of the word) to each guitarist before you can develop a true feeling for his style. To really get the feeling for Jimi Hendrix's style, for example, you've got to listen quite a bit. The licks on the CD are just a beginning. Sorry, but there's no way around listening to the original. The discography should help you get your bearings. There are basically two ways to make progress with this book. One way is to go straight through from beginning to end, thereby experiencing the different stages of development in the music. The other possibility is to pick out your heroes in whichever order you want. However you do it, have fun! I have purposely recorded the licks on the CD with relatively neutral backgrounds, so that the stylistic labels IImetal II or IIfusion II, or whatever, won't be stamped on them. You'll have to combine and mix styles if you want to develop your own creativity and find your own style. Don't hesitate to use freshly learned licks in your playing. This is the only way to make them a part of your own repertoire. As to the subject of III don't copy anyone! II, I found a good quotation from Steve lukather: "If you copy only one guitarist, it's stealing. But if you copy a lot of them, it's a science. I play, by the way, almost exclusively 'borrowed' licks.!" With this in mind: LET'S GET BUSY! 

Contents:
Foreword
On working with this book

TIPS & TRICKS
Preparatory exercises
Alternate picking
Legato technique (Hammer-Ons and Pull-Offs)
Sweep or economy picking
Two hand tapping
String bending and vibrato

BLUES AND EARLY ROCK PERIOD
B. B. King - THE KING OF BLUES
Albert King - BORN UNDER A BAD SIGN?
Chuck Berry -THE FATHER OF ROCK 'N ROLL

THE CLASSIC ROCK PERIOD
Jimi Hendrix - THE INVENTOR OF MODERN ROCK GUITAR
Eric Clapton - RESTLESS SLOWHAND
Jeff Beck - THE STRAT CAT
Jimmy Page -THE FOUNDING FATHER OF HEAVY ROCK
Ritchie Blackmore - HARD ROCK GOES CLASSICAL
Carlos Santana - SPIRITUAL LATIN BLUES

MODERN CLASSICS
Andy Summers - MUSIC NEEDS ROOM TO BREATHE
Mark Knopfler - THE SULTAN OF SWING
Steve Morse - MISTER VERSATILITY
Eddie van Halen - THE TAPPING GOD
Randy Roads - TRADEMARK LICKS FROM METAL AND CLASSICAL

THE NEW GUILD OR GUITAR HEROES WITHOUT END
Yngwie Malmsteen - NEO-CLASSICAL METAL WITH EGO PROBLEMS?
Gary Moore - STILL GOT THE BLUES
Steve Lukather - CONTROLLED ECSTASY
Joe Satriani - WORTH WAITING FOR
Steve Vai - HIS ROYAL DARKNESS
Paul Gilbert - FROM THE E MINOR TO THE HIP SCALE

BEST IN THE WEST, NASHVILLE GUITAR. Richard Kochli. CD TABLATURE

The History, the Players and the Technique of Country Guitar by Richard Kochli

276 pagine di esempi di Country, Rockabilly, Swing, Nashville, blues, Rock. CD TABLATURE

A comprehensive analysis of American country music from a European perspective, this massive 275-page book comes with a companion CD with 97 tracks. Everything from basic rhythm accompaniment to blazing bluegrass solos is addressed including: Carter lead style, fingerpicking, rockabilly riffs, Nashville lead styles, Western swing and honky-tonk, country blues and rock, Cajun history and styles, and a forecast of the future of country. The book is carefully structured with progressively arranged exercises, theory lessons and original and traditional tunes.

This book should prove to be an important resource for country music enthusiasts. All 387 musical examples appear in both standard notation and tablature. Complete lyrics are provided when applicable. Köchli's love and mastery of the entire spectrum of country music is evident throughout.

To me, country music, or just "country" is one of the basic, high voltage,
artistic movements of the 20th Century. It's a movement and a style that, like
jazz, grew out of the huge melting pot of the United States. Country jumps,
it's alive, it's down home - and it comes from the heart. Those who don't
know it may reduce it to the cliches of "Marlboro-Country" or cowboy movies.
But, they couldn't be more wrong: the country sound is a rich mix of musical
influences, and the innovations of some brilliant instrumentalists. And, best
of all, its approachable, hands-on music; if you play the guitar, you've got to love it.
"Best In The West" is not only my humble attempt to close a gap in the
sector of European instructional literature, but also a way to pay my dues.
When I was in your shoes a couple of years ago, I benefited from some
terrific musicians who reached out to me with their music and instruction
books. Now, I'm honored to be able to make my won contribution by helping
you learn this great style. I also hope, through these chapters and exercises,
that your guitar will become a little more personal - and more exciting.
The book intends to give you a far-reaching overview covering all of the
major guitar styles and techniques to be found in country. Over three
hundred exercises, licks, and traditionals, as well as explanations, styles,
analyses, and hints from the "real world" are meant to inspire you on your
way to becoming a true country player. But country is a lot more than
technique, so I try to give a brief historical background for each major style,
and a little bit about the people who made it happen in the first place.
Therefore, each of the ten chapters starts with some information meant to
put you in the right mood, while the individual workshops contain examples
of the great pioneers of each particular style.
Playing country music is meant to be enjoyed by all sorts of people, so this
book wasn't written with just professionals in mind; it offers something for
everyone. Every chapter is separated into three levels of difficulty:
• Level 1: For newcomers: basic introductory playing as a prerequisite.
• Level 2: For the more advanced: some experience in playing country music and emphasis on variety and specific styles.
• Level 3: For the pros and country-cats: specific techniques, styles, and new horizons.
Of course, there is no strict borderline between the different levels. They
can't be more than a guideline for your selection of exercises. Learning is an
individual thing, so if you're ready to move before I am partner, take off.
The final chapter, "Theory", offers a summary of the most important basics,
scales, chords, and so on. It's meant to help you understand concepts more
easily, and to support and accelerate your learning process.
Originally, country music was a simple form of expression, which was deeply
rooted in the human spirit and spoke to people where they lived. So, it's
important to keep in mind that technical skill is secondary to the "feel" of the
music, its emotion. Because of this, the enclosed CD helps you get started
by introducing you to the sounds, and wide variety of nuances, in country

Table of Contents
Preface .
CD Index .

Chapter 1: The Basics Of The Country Rhythm Guitar .
Some History .
The First Rhythms Level 1 .
The Capo .
The Shuffle Rhythm .
Basic Country Rhythms .
The alternating bass .
Bass runs .
The Carter backup lick .
Basic bass runs .
Hammer-on Level 2 .
Pull-off .
Workshop - Jimmie Rodgers .
Ghost Notes Or Dead Notes Level 3 .
Ghost Notes With Fills And Bass Runs .
Barre Chords In Backup Playing .
Riffs .
Combination of various types .
High Class Backups With Open Chords .
Discography .

Chapter 2: Bluegrass Backup .
Some History .
Bluegrass Rhythm Guitar Level 2/3 .
G-run .
Additional chord strokes .
Fewer chord strokes .
Ending .
Barre - G-run .
Discography .

Chapter 3: Carter Lead Style .
Maybelle's Story Level 1 .
Maybelle's Technique .
Maybelle's Flower .
John Hardy .
Will The Circle Be Unbroken Level 2 .
Farther Along .
Discography .
Wreck Of Old 97 Level 3 .

Chapter 4: Bluegrass Flat-Picking 50105 .
The Lead Guitar In Bluegrass Level 1 .
Bluegrass licks in G major .
Bluegrass licks in C major .
Bluegrass licks in D major .
Solo In G Level 2 .
Solo In C .
Short Analysis .
Fiddle Tunes Level 3 .
Workshops - Three Great Flat Pickers '" .
Alton Delmore .
Doc Watson .
Clarence White .
Cross- Picki ng .
Discography .

Chapter 5: Finger-Picking .
Some History .
Introduction To Finger-Picking Level 1 .
Backup Picking .
Basic patterns .
Alternating bass .
Bass runs .
Melody Picking .
Expanding The Basic Patterns With Fill-ins Level 2 .
Sliding .
Bending .
3/4 Time Patterns .
Workshops .
Sam McGee .
Merle Travis
Travis-Picking With Moveable Chords Level 3 .
Workshop - Chet Atkins
Finger-Picking Licks To Show Off "
Lead Picking .
Discography

Chapter 6: A Rockabilly Trip
Some History
Backup Basics Level 1 .
Moveable Backup Riffs .
Expanding The Basic Backup Riffs Level 2
Workshop - Scotty Moore .
Plectrum and finger-picking combination
Rockabilly Lead Licks
Rockabilly Solo Level 3
The slightly different lecture for the pro
Discography

Chapter 7: Nashville lead Styles
Some History
Workshop - Luther Perkins Level 1 .
Lead Basics .
The four variations of the major pentatonic scale .
Improvising with different scales .
Harmonizing .
Chord licks .
Double note licks .
Combinations Of The Used Material. .
Nashville Hammer-on And Pull-off Licks Level 2 .
Pedal Steel Bending .
Chicken-Picking .
Ghost otes / Muted Trills Lead-ins .
Workshop - James Burton .
Country Rock - What It Really Is .
Workshop - Pete Anderson .
Open String Adventures Level 3 .
Twin Leads .
Nashville Specials .
Bottleneck slide .
Bend behind the nut. .
The magic chromatic race .
Harmon ics .
Workshop - Albert Lee .
Discog raphy .

Chapter 8: Western Swing And Honky Tonk .
Some History .
Texas Style Camping Level 1 .
The sock rhythm .
Passing chords .
Western Swing Lead Guitar Level 2 .
Hanky Tonk Lead Guitar .
Diminished Scale Level 3 .
Workshop - Eldon Shamblin .
Discography .

Chapter 9: Cajun .
Some History .
Quick Style Analysis Level 1 .
Cajun Workshop Level 2/3 .
Discography .

Chapter 10: The New Generation .
Workshops .
Danny Gatton .
Brent Mason .
More Nashville Hot Shots .
Ray Flacke .
Steve Wariner .
Jerry Donahue .
Final Workshop .

Chapter 11: Theory .
The Fret Board .
Intervals and Degrees ,
The Nashville Lead Sheet. .
The Most Commonly Used Major Keys And Their Degrees .
The Most Commonly Used Minor Keys And Their Degrees .
Popular Country Schemes .
Simultaneously Played Intervals .
Position Oriented Overview .
Special Character Reference ,

CD INDEX
Contents (Example - Topic)
1 - The shuffle rhythm .
3 - The bass run .
4,7- Carter backup lick .
9 - Old Smokey (trad.) .
11 - The Days Of 49 (trad.) .
13,15,17,18 - Hammer-ons and pull-offs in backup playing .
20 - We Don't Forget You, Jimmie .
21 - Bury Me Beneath The Willow (trad.) .
22 - The Forzen Logger (trad.) .
23, 25, 27, 28, 29, 30, 31 - Muting .
33,34 - Ghost note rhythms with fills and bass runs (C major) .
36,38,39 - Ghost note rhythms with fills and bass runs (G major) .
40,41,42 - Ghost note rhythms with fills and bass runs (A major) .
44,46,47 - Ghost note rhythms with fills and bass runs (E major) .
49,50 - Ghost note rhythms with fills and bass runs (0 major) .
51,52 - Two exercises (expanded ghost note backup style) .
54,56,59,60 - Barre chords in backups, E-type .
61,63,64,65 - Barre chords in backups, A-type .
66 - Barre chords in the backups, G-type .
67,68 - Barre chords in the backups, C-type and combinations .
69, 70 - High class backup with open chords .
71,72,74,76 - The G-run (G chord) .
78, 79, 80, 81, 83, 84, 85, 88, 89 - G-run over G, 0, A, and E .
90,92,93 - Additional or less chord strokes .
94,95,96 - Ending .
97 - Banks Of The Ohio (trad.) .
98 - Roll In My Sweet Baby's Arms (trad.) .
99 - Cripple Creek (trad.) .
100 - All Your Good Songs .
101, 103, 104 - Barre G-runs .
107,108 - Maybelle's Flower / John Hardy (trad.) .
109 - Will The Circle Be Unbroken (trad.) .
110 - Farther Along (trad.) .
111 - Wreck Of Old 97 (trad.) .
112, 114, 115, 117, 118, 119, 120 - Bluegrass licks in G .
123,124,125,126 - Bluegrass licks in C .
128,129,130 - Bluegrass licks in 0 .
132 - Bluegrass solo in G .
133 - Roll In My Sweet Baby's Arms (trad.) .
134 - Bluegrass solo in C .
135 - Banks Of The Ohio (trad.) .
136 - Fiddle tune "Turkey In The Straw" (trad.) .
137 - Blues For Alton .
138 - Billy In The Low Ground (trad.) .
139 - Nine Pound Hammer (trad.) .
144, 146, 149 - Simple classical picking patterns .
150,151 - Basic pattern 1a .
154, 157 - Basic pattern 2a .
159,160,162 - Pattern 3 and 4 as well as exercise .
163, 164, 165 - Alternate bass and bass runs .
167 - Jesse James (trad.) .
168,169,171,172 - Extended patterns (H and P) .
173,174 - Extended patterns (SL, B) .
175 - Exercise with different techniques .
176, 177, 178, 179 - 3/4 time patterns .
180 - I Never Will Marry (trad.) .
182 - For Sam .
184 - Travis-picking "Take This Hammer" (trad.) .
185 - Travis-picking "Worried Man" (trad.) .
186,188,190 - Travis-backup patterns .
191 - Travis-picking "I'm A Pilgrim" (trad.) .
192 - Travis-picking with moveable chords "Careless Love" (trad.) .
193 - Mister Chetman .
195,196,197,199,200/202,201,203,204 - Licks to show off .
206, 208 - Lead picking .
209 - Boogie riff .
211 - Exercise with strokes using seventh chords .
213,214,217 - Variations of boogie runs, ending run .
218,220 - Movable backup riffs .
224,225, 226, 227 - Extended boogie riffs .
229 - Exercise "Bluesy Third" .
231 - The Scotty-Beam .
232,234,235,236,237 - Rockabilly lead licks .
238 - Nashville Cats Don't Stray .
239, 240 - Workshop Luther Perkins .
242,243 - Pentatonic basic scale variation 1 .
246 - Pentatonic exercise .
247, 248, 250, 252 - Pentatonic basic scale variation 2 .
255,257,260 - Pentatonic basic scale variations 3 and 4 .
261 - Improvisation with different scales .
262,265, 268, 269, 271, 273 - Chord licks .
274 - Exercise in Hank Snow style .
275, 277 - Double note licks .
279 _ Tom Dooley (trad.) .
280 - Exercise solos in sectors .
281,284,286 _ Nashville hammer-on and pull-off licks part 1 .
287,288,289, 290 - Nashville hammer-on and pull-off licks part 2 .
292, 293/294 - Nashville hammer-on and pull-off licks part 3 .
296,298,299,301 - Nashville hammer-on and pull-off licks part 4 .
302,304, 305 - Nashville hammer-on and pull-off licks part 5 .
307,309,310,311,313 - Pedal steel licks part 1.. .
316,318,319,321,323,324 - Pedal steel licks part 2 .
326,327,329,330 - Pedal steel licks part 3 .
331 - Pedal steel exercise .
332 - Different chicken-picking techniques .
333,334,335 - Chicken-picking techniques with ghost notes and trills .
336 - James' Hate Tele .
337 - Nothing To Prove .
338 - Exercise with pedal steel bending using open strings .
341/342,344 - Open string hot lick .
349,350,352 - Melodic roll patterns .
354 - Exercise twin lead .
355 - Jenny In Hawaii. .
356,358,360 - Bend behind the nut licks, chromatic race .
361 -A Little Bell- Waltz .
362 - Wizard Albert .
363,364 - Sock rhythms, passing chords .
376 (inc!. 375) - Will The Circle Be Unbroken .
377 - Honky- Tonk-Heartaches .
378 - Playboy Eldon .
379 - Cajun style .
381 - Les Jolies Filles De Louisiana .
382 - Danny's One-Man-Band .
383 - Master Mason's Turbo! .
387 - Slick Country .
Jamtrack 1 (G, "Roll In My Sweet Baby's Arms"; bluegrass, oldtime country)
Jamtrack 2 (C, 12-bars binary, country rock, -blues, -pop)
Jamtrack 3 (A, 16-bars Rockabilly shuffle)
 

A Little Bell - Waltz R. Kochli
All Your Good Songs R. Kochli
Banks of The Ohio Arranged by R. Kochli
Billy in The Low Ground Arranged by R. Kochli
Blues for Alton Written & Arranged by R. Kochli
Bury Me Beneath The Willow Arranged by R. Kochli
Careless Love Arranged by R. Kochli
Cripple Creek Arranged by R. Kochli
Danny's One-Man-Band R. Kochli
East Virginia Arranged by R. Kochli
Farther Along Arranged by R. Kochli
For Sam Written & Arranged by R. Kochli
Honky-Tonk-Heartaches R. Kochli
I Never Will Marry Arranged by R. Kochli
I'm A Pilgrim Arranged by R. Kochli
James' Hote Tele R. Kochli
Jenny In Hawaii R. Kochli
Jesse James Arranged by R. Kochli
John Hardy Arranged by R. Kochli
Les Jolies Filles De Louisiana R. Kochli
Master Mason's Turbo! R. Kochli
Maybelle's Flower R. Kochli
Mister Chetman Written & Arranged by R. Kochli
Nashville Cats Don't Stray R. Kochli
Nine Pound Hammer Arranged by R. Kochli
Nothing To Prove R. Kochli
Oh When The Saints Arranged by R. Kochli
Old Smokey Arranged by R. Kochli
Playboy Eldon R. Kochli
Roll In My Sweet Baby's Arms Arranged by R. Kochli
Slick Country R. Kochli
Take This Hammer Arranged by R. Kochli
The Days of 49 Arranged by R. Kochli
The Frozen Logger Arranged by R. Kochli
The Scotty-Beam R. Kochli
Tom Dooley Arranged by R. Kochli
Turkey in The Straw Arranged by R. Kochli
We Don't Forget You, Jimmie Written & Arranged by R. Kochli
Will The Circle Be Unbroken Arranged by R. Kochli
Wizard Albert R. Kochli
Worried Man Arranged by R. Kochli
Wreck of Old 97 Arranged by R. Kochli