B.B. King - The Definitive Collection
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: B.B. King
Author: Wolf Marshall

Learn the trademark styles and techniques of the most celebrated guitarist in blues! This book/CD pack by Wolf Marshall is a breakdown of B.B. King's guitar style, sound and techniques, with a brief history and lessons for each piece. Covers 16 signature blues tunes, including: Beautician blues -cryin' won't help you -don't answer the door -five long years -just like a woman -paying the cost to be the boss -please love me -riding with the king -rock me baby -sweet little angel -sweet sixteen -three o'clock blues -the thrill is gone -why I sing the blues -you done lost your good thing now -you upset me baby. 

Inventory #HL 00695635

ISBN: 9780634030574
UPC: 073999209907
Width: 9.0"
Length: 12.0"
64 pages

The credentials that establish B.B. King as the King of the Blues are voluminous and indisputable. He is the music's elder statesman, its most visible global ambassador, and an all-important hero and role model to generations of musicians everywhere. Riley B. "B.B." King came on the scene at a time when electric guitar playing was in its infancy. He picked up the gauntlet thrown down by T-Bone Walker in the late 1940s and went on to redefine blues guitar for all time. He built a highly distinctive single-note style which codified the techniques of string bending and finger vibrato. Furthermore, he was among the first to effectively harness the power and tone of a distorted amplifier for its sustain and vocal quality. These factors epitomize the electric guitar in the modern era and remain part and parcel of virtually every contemporary guitar style. Today B.B.'s music is essential listening in all sectors of modern guitar. Countless aspiring players from Buddy Guy, Otis Rush, and Mike Bloomfield to Eric Clapton, Jimi Hendrix, Carlos Santana, Mark Knopfler, and Stevie Ray Vaughan have transplanted King's licks into their repertory or been influenced by his slinky phrasing, as will tomorrow' s guitar stars. In my teenage years I followed my heroes' leads and spent hundreds of hours listening to and assimilating B.B.'s sounds with rewarding results. It is an illuminating and invaluable experience for all guitarists. To this end the following volume is offered. This definitive B.B. King collection is the first guitar signature licks book/CD to fully explore his music and playing style. It is offered as an introduction, a detailed hands-on study, and a tribute to the great blues master. Enjoy.

The titles in this volume came from the following recordings:

KING OF THE BLUES. (Box set: MCA) 'Three 0' Clock Blues," "Rock Me Baby," "Don't Answer the Door," "Paying the Cost To Be the Boss," "Why I Sing the Blues," "The Thrill Is Gone"

SINGIN' THE BLUESfTHE BLUES (FlairNirgin Records) "Please Love Me," "Sweet Little Angel," "Cryin' Won't Help You"

THE BEST OF B.B. KING, Volume 1. (FlairNirgin Records) "Beautician Blues," "Five Long Years"
MY KINO OF BLUES. (EM I-Capitol Special Markets) "You Done Lost Your Good Thing Now"
WHY I SING THE BLUES. (MCA) "Sweet Sixteen"
RIDING WITH THE KING, B.B. King and Eric Clapton. (Reprise) "Riding With the King"

(All instruments from the collection of the author) A Gibson devotee from the beginning, B.B. King first played hollow-body archtop electric guitars. Various photos from the 1950s have pictured him with an ES-5 with P-90s, a Byrdland with Alnico Vs, and an ES-175D with humbuckers. B.B. acquired his first semi-hollow, an ES-335, in 1958 and was seen with a dot-neck 335 at his momentous 1962 ABC-Bluesway recording debut. By the mid 1960s King was playing the luxurious ES-355. This model became his favorite guitar for two decades. The Gibson B.B. King "Lucille" was introduced in 1980 as the B.B. King Custom. Based on the 355, "Lucille" officially joined the fold in 1988 as the flagship of Gibson's semi-hollow line. It features an ebony fingerboard with block inlay markers, fancy multiple binding around the body and headstock, gold-plated hardware, stereo circuitry with two output jacks, and a six-position Varitone switch. B.B.'s personal refinements on the signature instrument include a fine-tuner TP-6 tailpiece, a semi-hollow body without soundholes in an ebony finish, and the name "Lucille" inlayed on the head. "Lucille" delivers the definitive B.B. King tone, allowing the player to fully mix neck and bridge pickups in the center position, an option not available on most Gibson twin-pickup guitars. Listen for yourself. My "Lucille" is heard on most tracks of the accompanying audio. Pictured in the backline is one of the favorite Fender tube amps used by B.B. during the 1960s: a 2x12 Twin-Reverb. B.B. switched to Gibson Lab Series L5 2x12 solid-state amps sometime in the 1970s. He continues to use these and reissue Fender '65 Twin-Reverbs to the present. B.B. strings Lucille with a Gibson B.B. King heavy bottom- light top 10-54 string set and prefers a medium-stiff Gibson pick.

Guitar: Wolf Marshall
Drums: Mike Sandberg
Bass: Michael Della Gala
Keyboards: Ted Vaughn. John Nau plays keyboards on "Just Like A Woman"
Sax and Brass: The Roland Coltrane Orchestra

Produced by Wolf Marshall at Marshall Arts Music
Special thanks to Alex Perez, Del Breckenfeld, and Bill Cummiskey, Fender Musical Instruments.
Extra special thanks to Matt Ferguson, Paul Moses, and David Rohrer, Gibson USA.

Words and Music by 8.8. King and Jules 8ihari
Figure 1-lntro and Verse 1
"Three 0' Clock Blues" was Riley B. King's breakthrough hit and is a cornerstone of his legacy. This auspicious track has humble origins. A reworked Lowell Fulson tune, it was recorded in 1951 using portable tape equipment and the local Memphis YMCA as a makeshift studio. The resulting performance was released as an RPM single, reaching #1 on the R&B charts in 1952. "Three 0' Clock Blues" captures B.B. as an emerging blues artist in transition. It was during this period that he first named his guitar "Lucille" and was still very much under the spell of T-Bone Walker guitaristically. The phrasing, tone, and several key mannerisms clearly reflect Walker's approach. Nonetheless, this is a landmark B.B. moment marking an important evolutionary point in blues guitar history and presaging future classics like "Sweet Little Angel" and "Five Long Years." "Three 0' Clock Blues" is a smoldering slow blues in Bb.It begins with a four-measure intro entering on the V chord, a device commonly found in blues arrangements. In the verse Lucille adopts the dialoguing role, playing off vocal phrases with terse answering guitar fills typical of B.B.'s question-and-answer style. Throughout the intro and verse fills, most of B.B.'s lines are based on a mixture of the B~ Mixolydian mode (B~-C-D- E~-F-G~-Ab) and Bbminor pentatonic scale (B~-Db-E~-F-A~) resulting in a familiar juxtaposition of dominant seventh and minor sounds. The microtona! quarter-step bend, an important chromaticism of blues, is used freely in B.B.'s guitar lines, generally to color the third and seventh degrees of the scale. The prominent E note in measure 2 indicates use of the Bb Blues scale. Measures 3 and 4 contain swing lines reminiscent of Charlie Christian. In many characteristic phrases, as in measures 3, 12, and 16, the Db note acts as a C# leading tone into the 0 note, the major third of a Bb arpeggio figure. Here it is heard in two specific forms: an ascending arpeggio in measure 12 and a descending arpeggio in measure 16. The latter is a frequently-used cadence lick. Both forms remain B.B. King trademarks to the present. The slur in measure 7 is attributable to T-Bone and provides an early clue as to the genesis of a classic B.B. King lick. In the coming years B.B. often incorporated the practice of sliding into a unison tonic note on adjacent strings as a phrasing mannerism and a position-shifting tactic. It will henceforth be named The BB. Shift Lick in this volume to avoid redundancy. The tone is typical of B.B.'s sound in the early 1950s and emanates from an archtop electric guitar (probably his Gibson ES-5) with heavier strings mated to a slightly overdriven tube amp. 

Beautician Blues - Words and Music: B.B. King, Jules Bihari - 1964
Cryin' Won't Help You - Words and Music: B.B. King, Jules Bihari - 1955
Don't Answer The Door - Words and Music: B.B. King - 1995
Five Long Years - Words and Music: B.B. King - 1966
Just Like A Woman - Words and Music: B.B. King - 1966
Paying The Cost To Be The Boss - Words and Music: B.B. King - 1968
Please Love Me - Words and Music: B.B. King, Jules Bihari - 1952
Riding With The King - Words and Music: John Hiatt - 1983
Rock Me Baby - Words and Music: B.B. King, Jules Bihari - 1964
Sweet Little Angel - Words and Music: B.B. King, Jules Bihari - 1956
Sweet Sixteen - Words and Music: B.B. King, Jules Bihari - 1967
Three O'Clock Blues - Words and Music: B.B. King, Jules Bihari - 1952
The Thrill Is Gone - Words and Music: Roy Hawkins, Rick Darnell - 1951
Why I Sing The Blues - Words and Music: B.B. King - 1969
You Done Lost Your Good Thing Now - Words and Music: B.B. King, Jules Bihari - 1960
You Upset Me Baby - Words and Music: B.B. King, Jules Bihari - 1954

Price: €23,99


MASTERING BLUES GUITAR. the complete electric blues guitar method, beginning, intermediate, mastering, Wayne Riker. Il Blues in 12 battute, shuffle, intro, tournarounds, scale, tecnica blues, l'improvvisazione, modo misolidio, arpeggi di settima dominante, fraseggi, double-stop, blues in 8 battute, accordi diminuiti, la scala naturale minore blues, il ritmo del delta blues, la secondaria dominante, jazz blues. CD TABLATURE

Complete Blues Guitar Method: Mastering Blues Guitar
By Wayne Riker

This advanced volume in the comprehensive method for blues guitarists is also great for rock players who want to develop a blues edge. Covers theory from blues scales, composite scales, and the Mixolydian mode to arpeggio superimpositions and the 8-bar blues, with examples of gospel blues, minor blues and others. Also contains licks in the styles of blues masters such as Muddy Waters, Big Bill Broonzy, Freddie King, B. B. King, John Lee Hooker and many others. All music is shown in standard notation and TAB. 144 pages.


All three books are loaded with:
• Large, easy-to-read scale and chord diagrams
• Examples in standard music notation and TAB
• Tons of licks in the styles of the blues masters
• Blues techniques and theory used in lead and rhythm guitar playing
• Plenty of eight- and twelve-bar solo examples

Perfect for beginning blues and rock/blues guitarists. Included are tips in basic blues theory and left-hand techniques.You will also discover the rhythm styles of Texas Swing, slow and minor blues, and styles of blues greats such as MuddyWaters, Buddy Guy and many others. Call-and-response phrasing, intros, turnarounds, endings and improvisation are also covered. This is the best step-by-step blues method for guitar that teaches the substance and style of the blues.

This book is great for the guitarist who knows the basics of blues guitar and is ready to take the next step. Topics include blues techniques and phrasing, R&B- and funk-blues fills, non-scale tones, chord extensions and substitutions, and more.You will start with a quick review of basic materials and finish with "Licks of the Masters."

This advanced method for blues guitarists is also a great method for rock players who want a blues edge.This book includes everything from blues to composite scales, the Mixolydian mode, arpeggio superimpositions, the eight-bar blues, gospel blues, minor blues and more. It also includes techniques and licks of the great players like Muddy Waters, Big Bill Broonzy, Freddie King, B.B. King, John Lee Hooker and many others.This is the most thorough method for electric blues guitar.

Since this book explores a wide variety of blues styles and improvisational ideas, it is not absolutely necessary that you proceed chapter by chapter. However, the book has been organized in a way that progressively adds new terms and information in each chapter. Don't assume you know everything about a subject, even if it's one of your strengths. Everyone approaches the blues from a different perspective, so if one new concept that you learn from this book helps your playing, it's worth it. No book can make you a better player. You have to go out and play to improve. A book can provide new vocabulary that can be added to your musical repertoire. Whether you play informally or professionally, try immediately plugging examples you like into your playing. For the single-note examples, experiment with different phrasing, add your own notes to extend a lick or play the same lick on different string sets. The musical definition section at the beginning of this book should be used as a glossary. Look up any terms or concepts you don't understand. You should read the basic theory section to make sure you have no gaps in your understanding of keys, intervals, harmonized scales, etc. Taking a college level course or obtaining a couple books in theory is a good way of improving your theoretical knowledge. Becoming a good musician as well as a good guitarist is essential, particularly if you are going to play professionally.

This book is dedicated to my parents, Virginia and Walter Riker, and to my two children, Tara and Trent, who have all stood by me in the best and worst of circumstances.

I would like to recognize the people whose musical influence and inspiration have helped shape this book: Dion Grody, Walt Riker III, Craig Linenberger, Greg Gucker, John Varner, Dr. Unicio Violi, JohnAbercrombie, AIAlpert, Marc Sussman, Dave English, Kimbo Smith, Les Wise, Don Mock, Ron Eschete, Howard Roberts, and special thanks to Nat Gunod, David Smolover, and all my colleagues at the California campus of the National Guitar Summer Workshop.

An audio recording is available for every book in this series. We hope it will make learning with these books easier and more enjoyable. This symbol will appear next to every example that is played on the audio recording. Use the recordingand your rewind button!- to help insure that you are capturing the feel ofeach example, interpreting the rhythms correctly, and so on. If you have the compact disc version of this book, you can use the Track numbers below the symbol to go directly to the examples for any page. Have fun! How to Use This Book 



CHAPTER 1-The Twelve-Bar Blues .
Shuffle BIues .
BIues-Rock Rhythms .
The Closed-Position Rhythm Patterns .
Funk Blues .

CHAPTER 2-lntros, Turnarounds, Vamps and Endings .
Intros .
Turnarounds .
Vamps .
Endings .

CHAPTER 3-The Blues Scale .
Closed Position Blues Scales .
Open Position Blues Scales .
Analyzing ScaleTones .

CHAPTER 4-Blues Techniques .
Left Hand Techniques .
Picking Techniques .

CHAPTE 5 - Improvisational Concepts .
Composite Blues Scales .
The Mixolydian Mode .
The Dominant 7th Arpeggio .
Arpeggio Superimposition .
The Major Triad .
The Minor Triad .
Targeting Chord Tones .

CHAPTER 6-Licks Over the I7-IV7-V7 Blues .
Licks Over the 17Chord .
Licks Over the IV7 Chord .
Licks Over the V7 Chord .
Double-Stop Licks .
Octaves .


CHAPTER 7-The Eight-Bar Blues .
The Diminished 7th Chord .
The Diminished 7th Arpeggio .
Eight-Bar Blues Solos .


CHAPTER 8-Slow Blues .
Basic Slow BIues .
Stormy Monday Blues .
The Augmented Chord .


CHAPTER 9-Minor Blues .
The Natural Minor Blues .
Altered Minor Blues .


CHAPTER 10 - Blues Rhythms With Fills
The Delta Blues .
Bass Fills .
Horn Fills .


CHAPTER 11 -Pop Blues .
Secondary Dam inants .
The Dorian Mode .


CHAPTER 12-jazz Blues .
Alte rnate Changes .
Be-bop BIues .
Walking Bass Blues .
Every Beat Blues .
JazzWaltz BIues .

APPENDIX-Blues Guitarists You Should Hear 

Price: €33,99

REAL BLUES GUITAR Kenn Chipkin T-Bone Walker Stevie Ray Vaughan Eric Clapton CD TABLATURE LIBRO

REAL BLUES GUITAR. Iniziando dagli esempi più primitivi e semplici di Shuffle, l'autore ci suggerisce via via numerose varianti spingendoci ad inventarne delle nostre. Sono esaminate tutte le caratteristiche essenziali del Blues, il modo mixolydian, i ritmi le melodie, la parte solista, le scale minori pentatoniche e le scale maggiori pentatoniche fino ad arrivare alla fusione con queste ultime, con esempi presi da, Eric Clapton, Buddy Guy, B.B King, Albert King, Johnny Winter, T-Bone Walker e di Stevie Ray Vaughan. Interessante la parte dei "turnarounds" (parte finale, iniziale o momento di transizione) ove sono a confronto diretto 14 esempi di diversi Bluesmen nei quali risalta come, anche pur suonando praticamente le stesse note, ognuno esprime il suo carattere. CD di oltre 48 minuti. CD TAB.

By Kenn Chipkin
SERIES: Contemporary Guitar Series
CATEGORY: Guitar Method or Supplement

The only blues guitar method that captures the authentic feel of the blues. Beginning with basic rhythm and lead guitar techniques, the book systematically guides you through the styles of blues guitar masters such as Albert King, B.B. King, Stevie Ray Vaughan, T-Bone Walker, Johnny Winter, and more. With tablature.

Price: €26,99



Series: Guitar Method
Publisher: Cherry Lane Music
Softcover with CD - TAB
Composer: Toby Wine

Another highly influential player to emerge in the 1950s was the immortal Albert Collins.
Born in Leona, Texas, Collins was raised in Houston and spent his teenage years hanging out
with and absorbing the music of T-Bone Walker, John Lee Hooker, Clarence "Gatemouth" Brown,
and others. By the late 1950s, he had become a popular local performer and cut his first singles
for the Kangaroo label. Collins' 1962 recording of "Frosty," which would become his trademark
tune, was a smash-hit and helped propel him to wider recognition. He remained in Texas, however,
for the bulk of the 1960s, working day jobs, hitting the club circuit in the evenings, and
recording for small, regional labels. It wasn't until the end of the decade that Albert landed a contract
with Imperial Records and took to the national stage, opening for bands like the Allman
Brothers and reaching the young, white audiences who went crazy for his slashing guitar work
and patented strolls through the crowd. Collins was a true road warrior, touring relentlessly
throughout the 1970s, but did little recording until 1978 when he released Ice Pickin', the first of
seven strong albums for Alligator Records. Albert (along with the Vaughan brothers, Jimmie and
Stevie Ray) helped spearhead the Texas blues revival during the 1980s, but his career was cut
tragically short. Collins fell victim to liver cancer and succumbed in 1993, less than two months
after his 61st birthday.
The great black players of the 1950s helped drive the Texas sound to new heights of
swaggering, head-shaking toughness. Their bravura playing and gunslinger attitudes only served
to strengthen their image as the new cowboys of the Wild West. But the music was changing and
growing all over America. A young white man from Mississippi named Elvis Presley was gaining
national prominence, playing and singing the music of the black masters and, for better or for
worse, introducing it to an entirely new and different audience. The owner of Sun Records, Sam
Phillips, had been working from a rather cynical, if familiar, ideology: A white performer who sang
and moved like the best of the black performers would, potentially, be a huge seller. Phillips of
course was dead-on in his assumption, as Elvis's place in American popular culture is virtually
unmatched, but his impact may have been even wider than Phillips could have dreamed. By playing
the music of the black masters on the national stage, Elvis introduced the world of the blues
to many whites who had never before heard anything like it. There is great controversy over the
value of his contribution, its authenticity, and whether this music was "stolen," appropriated, or
merely re-interpreted, but his enormous success was one major factor in the widening of the
blues audience during the 1950s and 1960s. At the same time, black audiences across the country
continued to embrace the blues and its new, more urban sound. Though the struggle for
equality and civil rights was a still a fledgling movement, blacks did find themselves with relatively
more leisure time and disposable income. Nightclubs and juke joints that featured blues artists
or played blues albums were doing better than ever, and, in Texas, the music was thriving in both
small ensembles and larger, horn-driven groups alike.
The 1960s were years of great tumult in America, and the changes that affected society
as a whole were also felt in the world of the blues. For the first time, the music ceased to grow in
popularity; record sales suffered, or remained, at best, at a status quo. Rock began to capture
the attention and imagination of young audiences, but despite its obvious roots in the blues, did
not cause many younger fans to look further to its source. Two diametrically opposed groups of
blacks-those who sought political upheaval and revolution and those who hoped to achieve
assimilation and financial success in the "white" world-both began to view the blues with scorn.
In the simplest terms, the former group felt that the music was a remnant of slavery and of a time
when the liberty of their people had been trampled and their opportunities denied. The latter
group looked at the blues as something more of an embarrassment, as a representation of their
people as a mostly rural, illiterate, and unskilled group of day laborers and itinerant drunks. This
is not to say that black people had abandoned the blues altogether, but rather that many had
begun to subject the music and its meanings to greater scrutiny than ever before. Some left the
music behind, favoring the infectious sounds of rock and R & B, or caught on to the new movement
in jazz, spearheaded by revolutionary young musicians keenly aware of the struggles for
civil rights and an equal piece of the American pie. Amidst all of this turmoil, the music never
ceased, and a wealth of great blues musicians forged on, spotlight or no. Players like Freddie ...

Learn to play the blues Texas-style! This book/CD pack contains a complete history of the Texas blues style, common blues techniques and ideas for both lead and rhythm guitar, solos by the masters, recorded demos of every example, a suggested reading and listening list, and more! Also includes 10 songs that personify this unique genre:

Be Careful With A Fool
Change It
Dirty Pool
Hide Away
Long Way From Home
(They Call It) Stormy Monday (Stormy Monday Blues)
T-Bone Shuffle
Telephone Song
Wall Of Denial

64 pages

Price: €24,99


ROBILLARD DUKE, CLASSIC GUITAR STYLES OF. A Guide to Playing Authentic Blues, Jazz and Rock 'n' Roll. Basi complete con preascolto di 11 blues, R&B, swing, jazz. CD TAB.

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

Master musician Duke Robillard provides fans and fellow guitarists an inside look at the techniques and philosophy behind his classic American guitar style. This book/CD pack includes: 11 complete songs; more than 25 photos; tips on choosing a guitar and getting a great sound; country blues chords, modern electric blues chords and swing blues/jazz chords; jazzy turnarounds, jazz/blues accompaniment; and much more! The CD contains original music recorded by Duke exclusively for this project, and the book includes a biography, selected discography, recommended listening list and tablature. 88 pages.

Price: €24,99

TEXAS BLUES GUITAR Musician institute LIBRO CD TABLATURE Stevie Ray Vaughan-Johnny Winter

TEXAS BLUES GUITAR, musician institute. Tra mangiare una bistecca a Dallas, e una scatoletta a New York, c'è una grossa differenza; così è per il Blues. La chitarra ritmica e solista, di S.R.V., Winter, T-Bone, Freddie King, Albert Collins. Con 34 jam. CD TAB.

Robert Calva
Publisher: Musicians Institute Press

Musicians Institute instructor Robert Calva covers rhythm and lead guitar in the styles of Stevie Ray Vaughan, Johnny Winter, T-Bone Walker, Freddie King and Albert Collins. He teaches: 24 common blues licks; common blues "box" positions; shuffle blues, slow blues, Latin blues & straight blues; and more. The book includes standard notation & TAB, and the CD features 34 full-band tracks.

Price: €22,99



Why folks have the blues
How to use this book
The notation of fingerstyle guitar music

Four-Beat Fingerpicking Blues Licks
Patterns for C
Patterns for G
Patterns for D
Patterns for A
Patterns for E
Patterns for B
Patterns for F

Eight-Beat Fingerpicking Blues Licks
Patterns for C
Patterns for G
Patterns for D
Patterns for A
Patterns for E
Patterns for B
Patterns for F

Introductions and Turnarounds
Key of C
Key of G
Key of D
Key of A
Key of E

Price: €59,99


Acoustic guitar magazine, ACOUSTIC BLUES GUITAR ESSENTIAL. 10 lezioni, 6 canzoni. CD TAB.

Series: Guitar Collection
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: Various Authors
Straight from the experts at Acoustic Guitar magazine! The 12 private lessons in this book/CD pack are full of helpful examples, licks, great songs, and excellent advice on blues flatpicking rhythm and lead, fingerpicking, and slide techniques from some of the finest teachers around, including Mike Christiansen, Acoustic Guitar music editor Dylan Schorer, Stefan Grossman and many others. The book shows all examples in both standard notation and TAB, and the CD allows you to play and replay the lessons and songs until you've perfected them.

Around The Bend
Blues In G
Boll Weevil Blues
Fill 'Em Up
Guitar Rag
Keep On Sailin'

72 pages
This book-and-CD package offers ten in-depth lessons for players of all levels, taught and recorded by the master teachers of Acoustic Guitar magazine. The book is divided into four sections: Rhythm, Lead, Fingerpicking, and Slide. Start with Mike Christiansen's concise explanation of chord accompaniment and Dylan Schorer's crunchy rhythm and bass lines. Put some "wail" into your music as you bend strings with Glenn Weiser. Join the Society of the Big Thumb while learning to fingerpick with Kenny Sultan. And log onto Dale Miller's guide to selecting and setting up a guitar for slide. In addition to these great lessons and tips, you'll also get six complete songs to play.



Strumming a 12-Bar Blues - Mike Christiansen
The Blues Shuffle - Dylan Schorer
Boogie-Woogie Bass Lines - Dylan Schorer
Blues Chords up the Neck - Glenn Weiser


Learning to Solo - Mike Christiansen
Bending Strings - Glenn Weiser


Fingerstyle Blues Basics - Kenny Sultan
Your First Guitar Rag - Dale Miller


Acoustic Slide Essentials - Dale Miller
Slide Guitars and Setup - Dale Miller


Boll Weevil Blues
Around the Bend
Fill ’Em Up
Guitar Rag
Keep On Sailin'
Blues in G

Price: €26,99


By Keith Wyatt
SERIES: Beyond Basics
CATEGORY: Guitar Method or Supplement

Acoustic Blues Guitar teaches blues chord forms, stylistic licks and patterns, blues scales, turnarounds, solo country blues style guitar, independent bass line and melody ideas, and more. The book includes a full-color photo section showing all types of slides. Written in standard notation and tablature.


ACOUSTIC BLUES GUITAR, Keith Wyatt. oltre 50 esempi di frasi e assoli, forma degli accordi, turnarounds, fingerstyle blues, lo stile di Lightnin' Hopkins, Muddy Waters, Lonnie Johnson, Robert Johnson. CD TABLATURE

Welcome to Acoustic Blues Guitar.
In the 1920's and 1930's, there were some great players, such as Lonnie Johnson, Blind
Lemon Jefferson and Robert Johnson. The style and influence of these players established
a tradition that to this day still appeals to everyone from casual listeners to professional musIcians.
This book presents traditional, roots oriented blues with contemporary training methods
that will allow you to immediately understand and apply these useful, versatile concepts to your style.
Section I covers all the basics you will need to know regarding the acoustic blues style:
chord shapes, progressions, chord embellishments. strum patterns, bass-lines, the shuffle
groove and turnarounds. Section II focuses on solo-style blues guitar, demonstrating
musical examples, scales, melodic patterns, licks and fingerpicking.
If you love the blues, have an acoustic guitar and two hands, then you are ready to go to work.

One nice thing about acoustic blues is that you do not need expensive and complicated tools
or devices. The main thing you need is a guitar that is set up well. There are a few simple
tools and devices that you might like to keep in your guitar case: extra strings, picks, slides
[glass or metal) and a capo.
Strings: It is amazing what a fresh set of strings can do to bring out the best sound of a
guitar. If you play regularly, try not to leave the same set of strings on any longer than a month.
You might want to use light or extra-light strings to reduce muscle fatigue and sore
fingertips. Later, lighter strings will enable you to learn the valuable technique of "bending in
pitch" a lot sooner. After you learn this technique correctly, you might want to experiment
with using heavier strings. Different gauges [thickness) of strings have a different sound
quality, and you will need to experiment until you find the sound you like.
Picking Techniques: There are different techniques for striking the strings that you should
experiment with as you learn the examples in the book:
• Playing fingerstyle [without a pick) produces a warm sound, but it's not as clear and you
have to work harder to produce a wide range of volume. This technique is better for solo
style where you combine bass-lines and melody.
• Using a pick will give you a wider range of volume and it is easier to play single-note lines
and melodies. A pick gives you the option of playing single-note melodies with your fingers
and bass-lines with your pick, but you have to train weaker fingers to play fingerstyle
melody-lines. Playing fingerstyle with a flat-pick is often called hybrid-picking.
• A thumb-pick is primarily designed for down-strokes to play fingerstyle bass-lines, but they
are a little awkward for playing single-note melodies.
• Finger-picks are also available, to be combined with the thumb-pick to get a brighter
sound. This technique is used more for banjo than guitar.
The most important thing to consider when choosing a technique is the sound. While you
might find one of these techniques easier than the others, you should still practice the
technique that will give you the best sound even if it takes a little longer. Flat-picks come in a
variety of sizes, shapes and materials that affect the sound and feel. When using a flat-pick,
experiment with different thicknesses and different materials to learn their effect on the sound.




Introduction .
Tuning notes .
Preface .
BASICS: Open Position Chords .
Example I: The E Chord .
Example 2: The E7Chord .
Example 3: The A Chord .
Example 4: The A7 Chord .
Example 5: The B7 Chord ,
Example 6: Combine Ali Three Chords ,
Example 7: D & D7 Chords .
Example 8: C7 ,
Example 9: F7 ,
Example I0: Gand G7 Chords .
Example Il: Bass·Chord Pattern ,
Example 12: Blues Progression In E .
Example 13: Blues In A .
Example 14: Blues In C .
Example 15: The Quick·Change Progression .
Example 16: The Shuffle Groove .
Example 17: Left·Hand Embellishments .
Example 18: A7 Embellishment .
Example 19: Whole Progression .
Example 20: E7 Variation .
Example 21: Quick·Change in E .
Example 22A: E7 to A7 Bass·line .
Example 22B: A7 to E7 Bass-line .
Example 22C:Another A7 to E7 Bass-line .
Example 22D: B7 to A7 Bass·line .
Example 22E: The Whole Bass·line Progression .
Example 23: The Jimmy Reed Progression ,
Example 24: Up.Strokes and Accents .
Example 25: Blues Rhythm Lick '
Example 26: Full Progression .
Examples 27. 28: .
Example 29: Blues in E Turnaround .
Example 30 A: A7 Embellishments .
Example 30 B: D7 Embellishments .
Example 30 C: Blues In A .
Example 30 D: E7 to D7/F# .
Example 30 E: Blues In A .
Example 31: Blues In A Turnaround .
Example 32A: E7 Blues Lick .
Example 32B:A7 Lick .
Example 32C: B7 Lick .
Example 32D: E7 Lick .
Example 32E:A7 Lick .
Example 32F: Turnaround Variation ,
Example 32G: Whole Progression .
Example 33. More Blues Bass·llnes .
Example 34: E7 Inversions .
Example 35: Chromaticism .
Example 36: Blues Chord Solo I .
Example 37 A: A7 Inversions .
Example 37B:A7 Inversions with Chromatics .
Example 37C: Chord Solo Turnaround .
Example 37D: Blues Chord Solo 2 .
Example 37E: Blues Chord Solo 3... .
Examples 38A-381: E Blues Licks 1-9 .
Examples 39 A-3 9H .
Example 391: Muddy Waters Progression .
Example 39J: Muddy Waters Turnaround .
Examples 40-4 2 .
Price: €26,99


Baker Duck, FINGERSTYLE BLUES GUITAR 101. 11 distinti Blues in 26 minuti, solo per chitarra. CD TAB.

Duck Baker's Fingerstyle Blues Guitar 101,
Product Description:
A collection of 12 great acoustic blues guitar solos by Duck Baker in notation and tablature. The solos are intermediate to advanced in difficulty and successfully capture the earthy myriad of influences comprising classic American blues guitar stylings. Chords, scales, keys and turnarounds for the blues are taught in this method book. Standard notation and tablature. All songs from the book are included on the CD.

Format: Book/CD Set

Song Title: Composer/Source:
Baby Let Me Follow You Down
Blues In A
E Blues #1
E Blues #2
Make Me A Pallet On Your Floor
Seven Point One
Sister Kate
Still Staggerin'
The Deep Blue C
The Dirtman Cometh
The Jackson Stomp
The Mighty Midget

Price: €20,99
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