ART OF THE SHUFFLE. Inside the blues. E' proprio vero che l'incisivo accompagnamento ritmico della musica blues uscì dai tasti del pianoforte, e che la chitarra poi imitò soltanto? Questa edizione sulle varie forme ritmiche blues, approfondirà le radici delle vostre conoscenze fino ai torrenti sotterranei della regione del Delta, delle aride pianure rocciose del Texas, della polverosa Kansas City, delle foreste di New Orleans, dell'asfalto e delle pozzanghere di Chicago. CD. TAB.

Series: Guitar Educational
Softcover with CD - TAB
Author: Dave Rubin

This method book explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. Also includes audio for demonstration of each style and to jam along with. 64 pages.

Price: €27,99



Price: €24,99


BIRTH OF THE GROOVE, R&B SOUL AND FUNK GUITAR 1940-1965. D. RUBIN. La musica di Steve Cropper, Mayfield, Ike Turner, Mickey Baker, Billy Butler, Cornell Dupree, Tiny Grimes, Jerry Jemmott, Johnny Moore, Jimmy Nolen, Clif White, Robert Ward, e tanti altri. CD TAB.

Series: Guitar Educational
Softcover with CD - TAB
Arranger: Dave Rubin

The years 1945-1965 saw a radical and exciting shift in American popular music. Blues and swing jazz helped to produce a new musical form called rhythm and blues, which in turn set in motion the development of soul and funk, not to mention rock 'n' roll. What united these genres was an emphasis on the beat, or the groove, over the melody that would culminate in the syncopated monochord workouts of funk. Along the way, some of the greatest electric guitarists of the postwar years explored the boundaries of the new instrument with a rich array of hot licks. This book/CD pack explores everything from the swinging boogie of Tiny Grimes, to the sweaty primal funk of Jimmy Nolen, to the styles of Mickey Baker, Billy Butler, Steve Cropper, Cornell Dupree, Jerry Jemmott, Curtis Mayfield, Ike Turner and everyone in between. Includes in-depth lessons, historical analysis, rare photos, and a CD with 33 full-band tracks. 88 pages.

Price: €34,99


BLUES GUITAR CLASSICS. Wolf M. Vi è mai capitato di non riconoscere una canzone quando l'avete sentita suonare da Eric Clapton o Gary Moore? In questo libro c'è uno studio su 10 blues songs con personalità a confronto diretto. Albert King e Gary Moore, Lee Hooker, B.B. King e Albert King (i due Re) e Otis Rush, Robben Ford e B.B. king, e Muddy Waters, Clapton e Freddie King, Mike Bloomfield e Jimi Hendrix, Buddy Guy e T-bone Walker, S.R.V. e Slim, altri. CD TAB.

Series: Signature Licks Guitar
Publisher: Signature Licks
Format: Softcover with CD
Author : Wolf Marshall

Learn to play 11 classics, including: Everyday (I Have the Blues) - Hideaway - I'm Your Hoochie Coochie Man - Killing Floor - T-Bone Shuffle - Texas Flood - The Things That I Used to Do , and more.

Song List:
As The Years Go Passing By
Boogie Chillen No. 2
Everyday I Have The Blues
Help The Poor
Hide Away
'm Your Hoochie Coochie Man
Killing Floor
T-Bone Shuffle
Texas Flood
The Things That I Used To Do

80 pages

Price: €19,99



Blues Chops for Guitar
Technique Exercises for the Aspiring Guitarist
By Buck Brown
Item: 07-1042
UPC: 630746710422
ISBN 10: 1929395418
ISBN 13: 9781929395415

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more. Develop your chops practicing exercises in the style of music you enjoy!


About the Author

Chapter I-Blues Rhythm Guitar
Moveable Chords
The I-IV-V Progression-The Twelve Bar Blues
Open-Position Two-Note Shuffle Patterns
Closed-Position Two-Note Shuffle Patterns
Two-Note Shuffle Patterns with a b7
Closed-Position Two-Note Shuffle Patterns with a b7
Chord Shuffle Patterns .
New Blues 7
Chords The 9
Chord The 9-Chord Slide Blues
The 13 Chord
More Dominant 7 Chords
More Shuffle Patterns

Chapter 2- Blues Lead Guitar
Alternate Picking
Finger Independence
The Minor Pentatonic Scale
Strengthening the 3rd and 4th Fingers
String Bending
The Major Pentatonic Scale
String Bending in the Major Pentatonic Scale
Pre- Bends
Pedal Steel-Style Bends
Step-and-a-Half Bends
Combinations with Hammer-ons, Pull-Offs and Bends
Double Stops

Chapter 3- Advanced Blues Techniques
Advanced Twelve-Bar Blues Harmony
Pick and Fingers Blues with a
Walking Bass Line
The Minor Blues
Sliding- The Ring-Finger Slide
More Sliding Exercises
Muted Sweeps
The Blues Trill
Downstroke Sweeps
Upstroke Sweeps
Cross Picking, String Skipping, Finger Rolls

Chapter 4-Slide Guitar
String Damping
Slide in Standard Tuning
Slide in G Tuning
Slide in D Tuning

A compact disc is available with each book of this series. Using these discs will help make learning more enjoyable and the information more meaningful. The CD will help you to play the correct notes, rhythms and feel of each example. The track numbers below the symbols correspond directly to the example you want to hear. Track 1 will help you tune to this CD.

To become a better blues guitar player, you need to spend some serious time "learning the moves" -the techniques that blues guitarists employ and the little tricks of the trade that make them sound so good. This book is fJled with exercises that can help you with specific technical problems.
The exercises presented in this book cover all the important blues guitar techniques, such as string bending, pentatonic scales, hammer-ons and pull-offs, double stops, barre chords, advanced chords, pedal-steel tricks, blues changes, and there is even a chapter on slide guitar playing. There are also lots of exercises designed solely to train your fretting-hand fingers to act independently, which is not something they do naturally.
We also cover the picking hand in this book. Alternate picking exercises and pick-and-fingers techniques are examined in detail. Also, there is an extensive look at chords-the best ones to use, how to easily move from one to another, the most common sets of strings on which chords are played, how to recognize when to use anchor fingers and how to employ devices such as harmonics. Technical training is challenging, and may even seem somewhat daunting. But with application on your part, and a willingness to work at each exercise until it is mastered and understood, you will become a much better player. All the exercises follow the philosophical principle of "Occam's Razor," which says that the easiest, simplest way to do things is generally the best way. If you don't like the fingerings I've used, don't use them. But I think they are the easiest and if you give them a chance, you'll probably come to see why rchose them.
There may be some symbols you have not seen before:

I) = Extension 1. Extend (reach) your first finger out of position one fret, but do not move your hand out
of position.

4) = Extension 4. Same as extension 1, except with your 4th finger
I hope this book helps you play cleaner, faster and with better articulation. The goal, as always, is no mistakes. See you at the gig.

Buck Brown knows that guitar playing is the "real job" his mom always told him to get. In the past 35 years, he has been fortunate to play with such great artists as Nils Lofgren, Tony Trischka, Stacy Phillips, Dave Hamburger, Robert Lee Castleman, Mark Egan and all ot the incredible teachers at the National Guitar Workshop (where he taught from 1984 to 1991). Buck has written ten National Guitar Workshop publications (under the name Robert Brown) including Chord ConnectwrlJ, his masterwork on guitar harmony.
As a composer, he has written music for innumerable episodes ofAmerua J MOJt Wanted, has won an Emmy Award in Cleveland, a Bronze Medal at the New York Film Festival and has been nominated twice tor Helen Hayes Awards in Musical Theatre. When he is not on the road, Buck plays and teaches in Washington, D.C., is married to the fabulous chanteuse Rebecca Davis, uves with three dogs, bats right, throws right and plays loud.

Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools.
Each book addresses skills needed for a specific style. For example, Jazz Chops covers the finger independence needed for smooth, rapid changes between complex jazz chords in the context of important progressions, such as ii-V-I. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more.
Rock Chops deals with all the important soloing techniques, such as speed picking, sweeping, tapping, harmonics, scale sequencing and so on.
Develop your chops practicing exercises in the style of music you enjoy~or if you are a multi-style guitarist, go through all three! 

Price: €21,99


BLUES GUITAR RULES. Peter Fischer. 167 Pagine, 125 esempi, 11 basi. CD TAB.

Product Description:
An in-depth look at the practical and theoretical concepts of traditional and modern blues guitar, covering all the important technical, rhythm and improvisational ideas. The book is divided into three stages: easy blues, blues & blues rock styles, and jazz blues. Stage 1 describes the development and basis of blues guitar, and is particularly appropriate for beginners. Stage 2 goes off more in the rock direction and gives the reader an insight into the concepts and licks of several influential guitarists including Clapton, Hendrix, Robben Ford, Stevie Ray Vaughan, Gary Moore, and others. Stage 3 features a number of concepts that come from jazz that can also be used in a blues context. A great number of examples and blues jam tracks appear on the accompanying CD. In notation and tablature.

Format: Book/CD Set


Outline of the Study Plan
CD Playlist
Six Tips for Practicing
The Story of the Blues - How the Blues came to be

Stage 1 - The Blues made easy
Chapter 1 - Blues Basics, Part 1
Chapter 2 - Simple Blues Rhythm Patterns
Chapter 3 - The Turnaround
Chapter 4 - Easy Blues Lead Guitar
Chapter 5 - Easy and Early Blues Styles

Stage 2 -- Blues
Chapter 6 - Blues Basics, Part 2
Chapter 7 -- Blues Rock in the 60's and 70's
Chapter 8 -- Texas Blues
Chapter 9 -- Fusion Blues
Chapter 10 -- Modern Blues Rock

Stage 3 -- Jazz Blues
Chapter 11 -- Dominant Jazz Blues
Chapter 12 -- Minor Jazz Blues
Chapter 13 -- Major Jazz Blues
Chapter 14 -- Jazz Blues Comping
Chapter 15 -- Jazz Blues Turnarounds
Chapter 16 -- Jazz Blues Licks and Lines
Chapter 17 -- Classic Blues Sounds

Price: €26,99

BASIC BLUES GUITAR Private Lessons Steve Trovato LIBRO CD TABLATURE Kansas City Jazz Swing-Shuffle

BASIC BLUES GUITAR, Private Lessons. Steve Trovato. CD TAB.

Publisher: Musicians Institute Press

Play rhythm guitar in the style of Stevie Ray Vaughan, B.B. King, Chuck Berry, T-Bone Walker, Albert King, Freddie Green, and many other blues greats! The CD includes 40 full-demo tracks and the instruction covers all styles of blues and the essential chords, patterns and riffs.

Price: €18,99

BLUES TURNAROUNDS inside the blues phrases for guitar Dave Rubin and Rusty Zinn BOOK CD TABLATURE


BLUES TURNAROUNDS. Inside the blues. A compendium of patterns & phrases for guitar. 76 tracks. Dave Rubin and Rusty Zinn. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Author: Dave Rubin
Author: Rusty Zinn

Written by blues expert Dave Rubin and Rusty Zinn, one of the finest young guitarists and singers on the contemporary blues scene, this book/CD pack provides the beginning to advanced blues guitarist with all of the essential turnarounds and so much more! The CD includes 76 demonstration tracks. 40 pages.


The art of The Turnarounds

W.e. Handy, known as the "Father of the Blues" due to his early efforts at promoting the form, published "Memphis Blues" in 1912, a song containing the first written solo, or "jass (zz)" break. A series of 12-bar verses with a 16-bar bridge, the last verse contains an end turnaround resolving to the I chord (see Fig. 1). It appears to be the first hard copy of the descending, diminished blues turnaround pattern (I-I7-Io-iv6-I) that, in the hands of Lonnie Johnson in the late twenties, and particularly Robert Johnson a decade later, would become the template for virtually all subsequent blues turnarounds.


The idea of ending a verse of music on the V (dominant) chord and resolving back to the I chord is suggested in twelve-measure, modal folk tunes from the mid-1500s in England. Music from this period did not have tonality (chord changes); however, the direction of the vocal line and musical accompaniment could be seen to imply changes. Roughly 100 years later music starts to appear with I-V-I implied changes in measures 11 and 12. It would take until the time of the Civil War in the 1860s and just after, however, for 12-bar, I-IV-V blues to take shape, and even longer for resolution to the V chord in measure 12 to become the norm.

Both W.e. Handy and Big Bill Broonzy, among others, have frequently cited "Joe Turner Blues" from the 1890s as the first recognized 12-bar blues. Indeed, it fits the format but does not include a verse or end turnaround. In fact, it would take Handy's "St. Louis Blues" (1914) to contain a i-II7-V-V7 turnaround (see Fig. 2) in the minor key "tango section" that begins, "St. Louis woman, with your diamond ring ... "

Price: €59,99



By Wayne Riker. For Guitar. Guitar Method or Supplement. Blues. Book & CD. 96 pages. This book teaches how to organize all your great ideas into power-packed leads by providing a complete analysis of 16 full-length solos. Each one is discussed in detail, covering everything from the particular blues form to the structure and techniques used. Styles include Chicago blues, Delta blues, rock blues, slow blues, "Stormy Monday" style and the minor blues. All 16 solos are performed on the accompanying CD.

Welcome to Blues Lead Guitar Solos. This book pravides a great opportunity for
you to learn how to better structure and shape a blues solo by studying 8- and 12-
bar solos in a variety of keys. Some of these solos extend through two and three
choruses, creating 16-, 24- and 36-bar scenarios. In solos with more than one chorus,
the end of each chorus is marked with a double bar. Eleven blues solo styles,
including Chicago, Delta, rock, slow, "Stormy Monday," minor, funk, jump, jazz and
gospel, are analyzed harmonically, rhythmically and melodically to help you learn to
create a strong musical solo. Make sure to use the accompanying CD to hear the
rhythmic feel, tempo and chord voicings for each example. The CD also includes a
backing track for each solo, allowing you to practice jamming along with the band. At
the back of the book there is a scale glossary and an arpeggio glossary as references
for many of the licks used in these solos and for creating your own.
This book assumes that you are familiar with:
• Reading standard music notation and/ or tablature
• Scales: major, minor, pentatonic and the modes of the major scale
• Blues techniques such as bending, slides, vibrato and so on
• Music theory, including chord construction and diatonic harmony (using
Roman numerals to describe chord progressions, such as I-lV-V)
• Chord extensions and alterations, such Cg or C749
• The most basic blues form, the 12-bar blues.
There is a quick review of reading standard music notation and tablature on the
following four pages (6-9). For basic information about music theory, check out any
or ali of the following books from the National Guitar Workshop and Alfred:
Beginning Blues Guitar (Alfred #8230)
Intermediate Blues Guitar (Alfred #8233)
Creating a solo is like writing a story. You want to present a thoughtful beginning,
middle and end that tell a tale that will capture the audience's attention. Many of
these solos are compilations of ideas l've generated by listening to players in ali
styles of music. As you compile your own vocabulary of licks, make sure you are
always aware of what chord the lick is being used against. A lick that works well on
the I chord may not work as well over the V chord, and so ono
Apply the ideas in this book along with information fram other sources, such as the
Blues Licks Encyclopedia (Alfred #18503). If you haven't already, start playing with
other musicians. Learning to play strang, musical solos is difficult unless you jam with
other musicians and hear the dynamics of your solo in a graup setting. Jam with a
friend, join a group, attend jam sessions or play along with backing tracks.

About the Author .

Dedication .

Introduction .

Reading Music Notation and Tablature (TAB)

-A Quick Review .

Pitch .

Time .

Triplets .

Swing 8ths ,

Tablature (TAB) .


Chapter 1 -Chicago Blues .

Chicago Blues Shuffle .

Analysis .

Three Nights in Chicago .

Analysis .


Chapter 2 -Delta Blues .

Slow Delta Shuffle .

Analysis .


Chapter 3 -Rock Blues .

Three that Rock .

Analysis .


Chapter 4 -Slow Blues .

Two Slow .

Analysis .

Blue Three Times .

Analysis .


Chapter 5 -Blues in the Style 01 "Stormy Monday" .

Stormy .

Analysis .


Chapter 6-Minor Blues .

Minor Blues in A .

Analysis .

Eighths Straight, No Chaser .

Analysis .


Chapter 7-Funk Blues .

In a Blues Funk .

Analysis .


Chapter 8-Jump Blues .

Jump! .

Analysis .

Swing, Jump 'n' RolI .

Analysis .


Chapter 9-Jazz Blues .

Two Jazzy .

Analysis .


Chapter 10- 8-Bar Shuffle Blues .

Big Bill 's Changes .

Analysis .


Chapter 11-Gospel Blues .

Preachin' the Blues .

Analysis .

The Chapel of Blues .

Analysis .


Scale Glossary .

Arpeggio Glossary ,


A compact disc is included with this book. Using the CD will help make learning more enjoyable and the information more meaningful. The symbol below appears at the top of the first page of every solo. If will help you find the track on the CD.

With Solo, Track 02

Backing Track, Track 03


The CD provides recordings of the author performing the solos in this book and backing tracks for you to practice with. Track 01 will help you tune to the CD. For the sake of musicality, an intro has been added to each solo on the CD. The solo as transcribed in the book begins several bars into each track.

Price: €17,99



A Guide to the Essential Scales, Licks and Soloing Techniques
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Softcover with CD - TAB

Composer: Robert Calva

This private lesson with MI instructor Robert Calva covers: 10 complete solos in notes & tab; common scales and licks; blues, major, minor and combined tonalities; playing over changes; recommended listening; and more. Each musical example is demonstrated on the accompanying CD, which also includes rhythm-only tracks so you can practice your own solos. 48 pages.


... not on the same level as him, then figure out what you need to do to strengthen those elements in your
playing. I hope you get the idea. The idea is to compare your playing to that of the greats and to try to get
your playing as close to that level as possible. Or, as one of my teachers told me, "set your sights high
and endeavor to reach them with integrity." If you do this you will be greatly rewarded.
4. Listen! You should Iisten to a wide variety of music. This kind of goes with what I mentioned in the
first point. There are on/y two types of music: good music and bad music. Music is music is music. The
longer I play as a musician and learn and Iisten to different styles of music, the more I am aware of the
similarities between different styles. Remember, there are only twelve notes in music. Twelve notes! What
makes each style different is the rhythm-not the notes. So, with this in mind I recommend that you Iisten
to a variety of music ali the time. Although I lave playing blues, blues-rock, R&B, and other roots
music, I enjoy listening to and learning from many styles of music. I have a varied collection of records,
tapes, and CDs that provide me with a lot of inspiration and musical ideas. I lave taking a melody I learned
from a classical piece, jazz tune, or a country tune and using it in one of my blues-rock solos. I encourage
you to do the same.
In closing I would Iike to share with you some of my thoughts and viewpoints on music and playing
the guitar that will hopefully give you some food far thought and increase your awareness. I always
encourage my students to think of themselves as musicians first and guitarists secondo You and I are
musicians whose main instrument and means of musical expression just happens to be the guitar.
Because of this, our main goal when we play should be to make good music. We should not be trying to
impress people with our technique or the latest hot licks we've just learned. The idea is to make good
music. What defines good music can be very subjective and differs from person to person. In spite of this,
there are some universal principles and characteristics that are common to good music. One characteristic
of good music is balance. It has the right proportions of melody, harmony, and rhythm. Good music
also has the right amounts of unity, variety, tension, and release. As you practice your soloing and record
yourself periodically Iisten for the right balance of unity and variety in your playing. As l've said earlier in
this book, it is okay to repeat musical ideas (as long as you don't overdo it). Repetition adds unity to
music, while developing your musical ideas adds variety to music. Aiso listen far tension and release in
your playing. If you have too much tension in your playing, your music will never have a sense of completion
or resolution. Too much release and your playing goes nowhere; it is emotionally flat. / have tried
to illustrate these concepts in the solos far this book. If you have learned the solos in this book well, then
you have already learned some good examples of how they work in music. Now ali you have to do is apply
that knowledge to the good music that you make. If your primary goal as a musician is to make good
music every time you play, then people will respond favorably to your music and you will be head and
shoulders above those who are not so driven. To be great at music, or anything else in life far that matter,
takes humility. Humility is teach-ability. You must be willing to learn far the rest of your Iife. Music is a
constant learning and growing processoYou never arrive at a certain piace or reach a level where you cannot
learn more. There is always something new to learn in music; there will always be room for improvement
in your playing. The longer I play and study music, the more I am impressed by what I do not know.
I find great joy in learning new things about music and playing the guitar daily. I hope it is the same far you.
Finally, I would Iike to thank you for purchasing this book/CD. I hope you got a lot aut of it and that it
has improved your playing and furthered your musical education. I really enjoy helping people learn to
play music on the guitar. My desire is for you to be the best player that you can be. So, keep on learning,
practicing, and playing. Or, to put it another way, keep on pickin' and a' grinnin'!
How to Use This Book .
Chapter 1: Common Scales Used in Blues-Rock .
The CAGED Method .
The Crossover Technique .
Learning the Scales .
Practicing the Scales .
Scale Exercises .
Circle of Fifths Method .
Scale Diagrams .
Summary .
Chapter 2: Blues Tonalities .
Texas Shuffle .
Turn for the Worse .
Funkin' It Up .
Southern Boogie .
Chapter 3: Major Tonalities .
Ballad in D .
Foolin' Around .
Chapter 4: Minor Tonalities .
I Adore U .
Dori Ann .
Chapter 5: Combining Tonalities: Playing Over Changes .
Tomorrow's Kiss .
Not For The Faint of Heart .
Parting Words-Food for Thought .
Recommended Listening .
About the Author .
About the CD .
Price: €19,99
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