THE VERY BEST OF FINGERSTYLE GUITAR-25 Songs Arranged for Solo Guitar in Tablature-CD TABLATURE

THE VERY BEST OF FINGERSTYLE GUITAR, 25 Songs Arranged for Solo Guitar in Tablature. CD TAB.

25 Songs Arranged for Solo Guitar in Standard Notation and Tablature
Series: Guitar Solo
Softcover with CD - TAB
Composer: Various Composers

An essential collection for all fingerstyle guitarists, this book contains 25 songs in a variety of musical styles. The CD includes complete demonstration performances of all the songs!
72 pages

Ain't Misbehavin'
Auld Lang Syne
Ave Maria
Canon In D
The Christmas Song (Chestnuts Roasting On An Open Fire)
Eine Kleine Nachtmusik
(Everything I Do) I Do It For You
The First Noel
The Girl From Ipanema (Garôta De Ipanema)
In My Life
Jesu, Joy Of Man's Desiring
Liberty Bell March
My Funny Valentine
My Heart Will Go On (Love Theme From 'Titanic')
Ode To Joy
Pomp And Circumstance
Satin Doll
Silver Bells
Tears In Heaven
Unchained Melody

Price: €25,99

THE ULTIMATE BANJO SONGBOOK, 26 Favorites Arranged for 5-String Banjo. 2CD TABLATURE

THE ULTIMATE BANJO SONGBOOK, 26 Favorites Arranged for 5-String Banjo. 2CD TAB.

Various Composers. A great collection of banjo classics, including: Alabama Jubilee -Bye Bye Love -Duelin' Banjos -The Entertainer -Foggy Mountain Breakdown -Great Balls of Fire - Lady of Spain -Rawhide -(Ghost) Riders in the Sky (A Cowboy Legend) -Rocky Top -San Antonio Rose -Tennessee Waltz - UFO-TOFU -You Are My Sunshine, and more. 148 pages.

Series: Banjo
Softcover with CD - TAB
Author: Janet Davis
148 pages.

(Ghost) Riders In The Sky (A Cowboy Legend)
Alabama Jubilee
Blue Moon Of Kentucky
Bugle Call Rag
Bye Bye Love
Duelin' Banjos
Faded Love
Farewell Blues
Fireball Mail
Foggy Mountain Breakdown
Gold Rush
Great Balls Of Fire
How Great Thou Art
Lady Of Spain
Limehouse Blues
Orange Blossom Special
Red Wing
Rocky Top
San Antonio Rose
Tennessee Waltz
The Entertainer
Wheel Hoss
You Are My Sunshine

Price: €25,99



Product Description:
A modern arpeggio handbook and comprehensive training manual for developing fast, flowing arpeggio runs that connect the entire fretboard. Emphasis is on developing fluid, non-shifting arpeggio patterns (across the neck) using hammer-ons and pull-offs for speed and fluidity; and also on developing smooth position-shifting arpeggios (along the length of the neck) using slides. These two types of motion are then connected and combined in an extensive collection of soloing etudes for full assimilation. The result is a complete system of arpeggio pathways that connects every part of the fretboard and facilitates maximum speed, fluidity, and range. Complete whole-neck connections are presented for major 7th, dominant 7th, minor 7th, minor 6th, half-diminished, diminished 7th, major triadic and minor triadic arpeggios.

This book is for all guitarists who are serious about improving their ability to solo over chord progressions using arpeggios, in any style of music; including rock, jazz, fusion, blues, country or pop. Having the ability to instantly outline any chord in a song with a fluid arpeggio run (no matter where your hand is on the neck) is immensely valuable for every guitarist. This book methodically teaches you the skills that make this possible. Loaded with melodic arpeggio passages that can be applied to your music immediately, this is perhaps the most practical and powerful arpeggio book ever written. CD included. Standard notation and Tablature.

Format: Book/CD Set

NON-SHIFTING - Fast & fluid arpeggio patterns for Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(b5), Minor 6, Major Triadic, Minor Triadic chords. Arpeggios are presented in seven different sets. Each set is identified by a number that indicates the string with the lowest root and the finger that plays it in that set (for example, Set 5-1 arpeggios have the root on the 5th string fretted with the 1st finger).Set 5-1 Arpeggios
Set 6-1 Arpeggios
Set 5-4 Arpeggios
Set 6-4 Arpeggios
Set 4-1 Arpeggios
Set 6-2 Arpeggios
Set 5-2 Arpeggios

Practice Suggestions
Soloing Etudes
POSITION-SHIFTING - Fluid, melodic exercises for whole-neck motion.

Arpeggio Runs with a 16th Note Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triadic, Minor Triadic)
Arpeggio Runs with a Triplet Feel
(3 runs each for: Minor 7, Dominant 7, Major 7, Diminished 7, Minor 7(f5), Minor 6, Major Triad, Minor Triad)

Practice Suggestions
Soloing Etudes

Appendix: "Guide For Using This Book"
Tablature Symbols Key

Price: €29,99



Product Description:
Four exciting concert solos for flamenco guitar from Juan Martín’s best-selling album ‘The Andalucian Suites’. This is the first of the four suites on the album. These suites are transcribed into standard notation and flamenco tablature (cifra), with introductory playing notes by Juan Martín. The four solos on the accompanying CD are performed by Juan.

The complementary and contrasting variety of styles and rhythms of the four solos provide a brilliant display of Juan’s artistry and the expressive capabilities of the flamenco guitar. Each solo is complete in itself. A powerfully evocative Zambra Mora is followed by the much-requested rumba ‘La Feria’, then a gently melancholic Milonga and finally a thrilling Bulerías, which combines modern elements with pure gypsy falsetas from Moron del la Frontera. These solos provide an exceptional opportunity to learn and enjoy the music of a master flamenco guitarist, whose two volumes of graded ‘Solos Flamencos’ are already Mel Bay best-sellers.
Format: Book/CD Set 48 pages


Biographical Note
The Four Solos, with playing notes
Key to Symbols and Notation
Evocación de la Invasión Árabe AD 711 (Zambra Mora)
La Feria (Rumba)
Alborada (Milonga)
Gitanos (Bulerías)

Price: €25,99


SERRANO JUAN & COREY WHITEHEAD, FLAMENCO CLASSICAL GUITAR TRADITION, VOLUME 1, A Technical Guitar Method and Introduction to Music. 176 Pagine. 4 CD, no TAB.

Product Description:
This beginning guitar method is written for aspiring classical or flamenco guitarists who want to learn how to read music up to the intermediate level. Music from the Spanish tradition such as Romanza, Pica-Pica, El Vito, Café de las Chinitas, Perfidía, La Virgen de la Macarena and flamenco music of Juan Serrano provides a technical and musical foundation that improves facility in playing scales, arpeggios, tremolo, and rasgueado.

Tablature is not included as the one of the primary aims of this book is to improve note reading and the comprehension of the fundamental elements of music. Performances of all musical examples are available online that includes one performance at tempo for each of the more than 230 musical examples. Short repertoire pieces from Gaspar Sanz, Dionisio Aguado, Fernando Sor, Mauro Guiliani, Ferdinand Carulli, and Mateo Carcassi are included at the end of the book and are repertoire studies that will prepare guitarists for further study in classical and/or flamenco guitar.

Product Number: 21029
Format: Book
ISBN: 0786674652
UPC: 796279100489
ISBN13: 9780786674657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/18/2008


A Note from the Authors
The Guitar - A Brief History
La Guitarra (poem)
Parts of the Classical Guitar
Parts of the Flamenco Guitar
Names of the Open Strings
Note Locations on the Fretboard
Sitting Position and Holding the Guitar
The Fingers of the Right and Left Hand
Fingernail Shape and Maintenance
Picados (Scales) - Apoyando (Rest Stroke) and Tirando (Free Stroke)
Arpeggios (Broken Chords)
Tremolo (Preparatory Exercise)
Rasgueado (Strumming)
Basic Elements of Music Notation
Musical Expression Symbols
The Musical Alphabet
Half Steps and Whole Steps
The Major Scale
The Open Treble Strings
Systematic Arpeggio Exercises
Alternating Index and Middle Fingers...
The Open Bass Strings
Playing on the Bass and Treble Strings
Notes on the First String
Notes on the Second String
Music in Two Parts
Playing Eighth Notes
Notes on the Third String
Sevillanas I (Trio)
Sharps and Flats on the 1st, 2nd and 3rd strings
The Fifth Position on the First String
The Natural Sign
Romanza in A Minor
Sixteenth Notes
Estudio No. 2
Estudio No. 2 (Duet)
The Major Scale
The Natural (Relative) Minor Scale
The A Harmonic Minor Scale
The A Melodic Minor Scale
The Chromatic Scale
Notes on the Fourth String
Fandango Duo
Notes on the Fifth String
Historia de un Amor
The Dotted Quarter Note
Notes on the Sixth String
Farrucas (Bass Line)
El Zorongo (Bass Line)
El Zorongo (Melody)
Playing the F Major Chord
Playing Two Notes Together (Double-Stops)
El Vito
Sevillanas Intro
The Natural Notes
Sharps and Flats on the Bass Strings
The Chromatic Scale
El Rancho Grande
Alternating Bass and Chord Progression
El Rancho Grande (Duet)
Ascending and Descending Slurs: Ligados
Left Hand Agility Exercise
Chords in C Major and A minor
Las Mañanitas
Scales and Chord Progressions
Rumba Rhythm
Scales and Chord Progressions cont
The House of the Rising Sun
Variations on a Theme from Asturias
C Major Arpeggio and Chord Inversion
The A Minor Arpeggio and Chord
The G Major Arpeggio and Chord
The F Major Triad
Barré Chords
Chord Progressions
Café de Chinitas
La Virgen de la Macarena
The High D and E on the First String
Pica-Pica Melody (Guitar I)
Pica-Pica Accompaniment (Guitar II)
Pica-Pica Accompaniment (Guitar III)
Pica-Pica Accompaniment (Guitar IV)
Pica-Pica (quartet)
Chord Substitution
Key Signatures
The Circle of Fifths
Major and Minor Scales in the First Position
More Chords in the Circle of Fifths...
Allegro by Ferdinand Carulli
Allegretto by Carulli
Andante by Carulli
Allegro in E minor by Carulli
Etude in G Major by Carulli
Andantino by Carulli
Larghetto by Carulli
Menuet by Robert de Visée
Lección 38by Dionisio Aguado
Clarines de los mosqueteros del rey de Francia by Sanz
Allegro by Mauro Guiliani
Andante by Ferdinand Carulli
About the Authors

Price: €27,99



About Salsa & Afro Montunos for Guitar
By Carlos Campos. For Guitar. Latin. Level: Beginner. Book/CD. 85 pages.

Salsa and Afro Cuban Motunos For Guitar, by Carlos Campos. Finally the first instructional book showing guitarists how to play Salsa styles. Following on from his highly successful Salsa piano/keyboard instructional books Carlos Campos has created a book for guitarists with over 400 examples (60 examples recorded on the CD) with each more...example for 2-3 and 3-2 clave. There is both written music and tablature These Salsa patterns can be used for Jazz, Latin Jazz and Flamenco musical styles.



Salsa has become quite a dance craze. Its popularity has grown from the Cuban and Puerto Rican community to include most of the Americas, Europe, and even Japan. New Salsa bands are forming everywhere from New York to Los Angeles, from Tokyo to Paris. But despite its increasing popularity, many musicians find that Salsa and the other genres of Afro Cuban Music are still very difficult to feel and play in an authentic relaxed way. This type of music with its unique concept of the Clave presents quite a challenge for the aspiring young performer. In the past, the only way to learn how to play Salsa was to live in an area where Salsa was already very popular so that one might connect with as many authentic musicians as possible; learning one pattern here, another there, via a very slow learning process that could take years if not decades to accomplish. Even though the process of immersing oneself fully and experientially in the music style of our choosing is absolutely necessary for our musical growth, the need for concise, well written, and organized materials, written by someone who knows and lives this type of music is also essential.

We at ADG, believe that Mr. Campos' books are doing exactly that. We believe that he has done a great service by writing his first two books titled "Salsa: Afro-Cuban Montunos for Piano" and "Salsa: Further Adventures in Afro-Cuban Music", and now with his latest book "Salsa: Afro-Cuban Montunos for Guitar". Mr. Campos is helping to expand the area of Salsa studies to include all guitar players and students. 

Price: €39,99

RENBOURN JOHN FINGERSTYLE GUITAR Folk Blues & Beyond Celtic Melodies & Open Tunings & The Jazz Tinge 3CD TABLATURE

RENBOURN JOHN, FINGERSTYLE GUITAR: Folk, Blues & Beyond; Celtic Melodies & Open Tunings; & The Jazz Tinge. 3CD TAB.

Product Description:
This comprehensive Guitar Workshop Audio Series book/3-CD set brings together a variety of fingerstyle arrangements featured in three of John Renbourn's video lessons. Illustrates unique and exciting fingerstyle techniques in the performance of traditional ballads and other tunes, using standard and several alternate tunings. In notation and tablature. Includes an extensive discussion about the tunes in the collection. 120 PAGES
Format: Book/3-CD Set

Song Title: Composer/Source:
Abide With Me/Great Dreams From Heaven John Renbourn
Anji John Renbourn
Buffalo John Renbourn
Bunyan's Hymn John Renbourn
Cherry John Renbourn
I Saw Three Ships John Renbourn
Judy John Renbourn
Lament For Owen Roe O'neill John Renbourn
Lindsay John Renbourn
Little Niles John Renbourn
Lord Franklin John Renbourn
My Dear Boy John Renbourn
My Sweet Potato John Renbourn
Sandwood Down To Kyle John Renbourn
The Blarney Pilgrim John Renbourn
The English Dance John Renbourn
The Mist-Covered Mountains Of Home John Renbourn
The Orphan John Renbourn
The South Wind John Renbourn
Tramps And Hawkers John Renbourn
Transfusion John Renbourn
Watch The Stars John Renbourn
White House Blues John Renbourn

Price: €39,99


THE BOSS BOOK. Minuziosa descrizione di tutti i pedali della Boss. CD

The Ultimate Guide to the World's Most Popular Compact Effects for Guitar
Series: Book
Publisher: Hal Leonard
Medium: Softcover with CD
Author: Various Authors

Why have guitarists bought over seven million Boss compact effects? Read this book and you'll understand! The Boss Book includes: the story in complete detail of every Boss compact effect ever made; super color photos, design history, trivia, tricks and secrets; candid interviews with the Boss founder and design engineers; essays on musical trends and famous players; and much more. As a bonus, the accompanying CD features 72 guitar sounds with control settings and detailed equipment set-ups so you can take your guitar playing to another dimension! 122 pages.

"I've used Boss pedals since their inception ... For me, Boss has always stood for simplicity, reliability and great sounding, very high-quality effects."

Jeff "Skunk" Baxter (Doobie Bros., Steely Dan)

Price: €199,99



Product Description:
Johnny Rector has been recognized for years as one of America's top jazz guitar writers. Here, for the first time, he presents an analysis of modern chord progressions, extensions, alternations, substitutions and a "hands-on" series of exercises designed to utilize and apply these important concepts to the guitar fingerboard. This book was written as a self-study guide to the intermediate, advanced and professional guitarist who has not had the opportunity to study material of this kind with a first-class competent teacher-artist, although such a teacher can be of great assistance in learning to apply the material. It shows unusual chord forms and progressions beyond the basics. Written in standard notation.

Format: Book/CD Set

Price: €31,99

HALL JIM A Step-by-Step the Styles and Techniques of a Jazz Guitar Genius Signature Licks CD TABLATURE

HALL JIM, A Step-by-Step Breakdown of the Styles and Techniques of a Jazz Guitar Genius, Signature Licks. CD TABLATURE

Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Adam Perlmutter
Artist: Jim Hall

Discover the quiet elegance of one of jazz guitar's most renowned players with this Signature Licks book/CD pack. Each song chapter contains in-depth analysis and audio with slow demos. 80 pages



Jim Hall (1930-) was steeped in classical music before he came to jazz. Hall attended the Cleveland Institute of Music, then moved to Los Angeles, California, where he studied nylon-string guitar with Vincente Gomez. While on the West Coast, he began to make a name for himself as a jazz guitarist, playing in the quintet of drummer Chico Hamilton, from 1955 to 1956, and in the trio of reed player Jimmy Giuffre, from 1956-1959. He also worked with modern improvisers such as pianist John Lewis and alto saxophonist Lee Konitz, and in 1960 toured South America (where he was exposed to bossa nova) with singer Ella Fitzgerald.
Around the same time, Hall moved to New York City, where through several intense collaborations, he was established as one of the world's most sophisticated jazz guitarists. From 1961 to 1962, he was a member of the tenor saxophonist Sonny Rollins's great quartet, with which he recorded the seminal album The Bridge. In the '60s Hall coled a quartet with trumpeter Art Farmer; he also recorded with the quartet of alto saxophonist Paul Desmond and found ideal duet partners in pianist Bill Evans and bassist Ron Carter. With Evans, Hall recorded two albums, Undercurrent (1962) and Intermodulation (1966), two of the most intimate and beautiful recordings in all of jazz. (From Intermodulation, see the transcription of "My Man's Gone Now," on page 34.) It was while performing in these fertile contexts that Hall found his own voice, an understated modern style characterized by melodic finesse, harmonic sophistication, and structural awareness-a logical extension of the language developed by such jazz-guitar pioneers as Charlie Christian, Wes Montgomery, and Django Reinhardt. This approach has been of profound influence to countless modern guitarists, including Hall's student Bill Frisell, who sounds radically different than Hall, but has a strikingly similar guitar conception. Hall's approach is best witnessed on the excellent albums he has recorded under his own name, including Concierto (1975), Jim Hall Live! (1976), and All Across the City (1989), transcriptions from all of which can be found on the following pages.
Besides being one of jazz's premier guitarists, Hall is a celebrated arranger and composer. In 1997, he won the New York Jazz Critics Circle Award for Best Jazz Composer/Arranger; his composition for jazz quartet and string quartet, "Quartet Plus Four," earned the Jazzpar Prize in Denmark, and his works for string, brass, and vocal ensembles can be heard on the albums Textures (1997) and By Arrangement (1998). In 2004, the Baltimore Symphony Orchestra debuted Hall's Peace Movement, a concerto for guitar and orchestra, dedicated to the cause of international harmony. That same year, for all his accomplishments as a composer, arranger, and performer, Hall was named a Jazz Master by the National Endowment for the Arts.
One of Hall's most recent projects, Hemispheres, was recorded with Bill Frisell and features one disc of duets and a second disc that adds the rhythm section of bassist Scott Colley and drummer Joey Baron. The album is available at Hall's Web site where a fan can catch of glimpse of what goes into the creation of the guitarist's recent projects. Meanwhile, when not composing or working with his own trio, Hall-ever the adventurous artist-has been playing with various modern improvisers, including saxophonists Joe Lovano and Greg Osby, and guitarist Pat Metheny. For now in the sixth decade of his career, Hall remains as vital a musician as ever.
The selections on the accompanying CD are based on the following recordings:
ALL ACROSS THE CITY-Concord Jazz: "Big Blues"
ALONE TOGETHER-Milestone: "Autumn Leaves," "St. Thomas-
BALLAD ESSENTlAL-Concord Jazz: "Prelude to a Kiss"
CONCIERTO-CTI: "You'd Be So Nice to Come Home To"

(All Of A Sudden) My Heart Sings - HAROLD ROME - 1941
Angel Eyes - MATT DENNIS - 1946
Autumn Leaves - JOSEPH KOSMA - 1947
Big Blues - JAMES S. HALL - 1978
My Man's Gone Now - GEORGE GERSHWIN - 1935
Prelude To A Kiss - DUKE ELLINGTON - 1938
St. Thomas - SONNY ROLLINS - 1963
Scrapple From The Apple - CHARLIE PARKER - 1957
Tangerine - VICTOR SCHERTZINGER - 1942
Things Ain't What They Used To Be - MERCER ELLINGTON - 1942
Without A Song - VINCENT YOUMANS - 1929
You'd Be So Nice To Come Home To - COLE PORTER - 1942


(Jim Hall Live!, 1976)
Words by Earl Brent
Music by Matt Dennis
Figure 3-lntro, Head, and Solo (Chorus 1)
While many of Jim Hall's studio recordings show the guitarist to be thoughtful and
well-mannered, in concert he has been known to play with abandon. This side of Hall can
be heard on Jim Hall Live!, one of his finest live recordings, taken from a series of dates
in 1975 at Toronto's Bourbon Street. The recording finds Hall in top form, paired with
bassist Don Thompson and drummer Terry Clarke.
One of the highlights of the album is a Latin-tinged take of the jazz standard "Angel
Eyes," which was originally a 32-bar AABA song. Hall & Co. double the tune's harmonic
rhythm, so that the form is now 64 bars in length. (A chord that originally occupied two
beats now gets four beats, an entire bar.) Hall starts things off by moving a barred Am7
shape in parallel fashion against the open A string, resulting in some interesting polychordal
harmony, such as the m/A chord (voiced A-A~-m-F, low to high) on beat 1 of bar
2 and the B/A (A-F~-B-m) on beat 1 of bar 4. He also throws various dominant and
diminished chord voicings into the mix, including the partial E7#9 (A~/m-D-G) in the last
part of bar 2 and mo (A~-D-F) on beat 1 of bar 6.
After closing out the intro with the same Am7 chord with which he started, Hall
takes the head (beginning at bar 17). He sticks pretty close to the original melody, adding
his own idiosyncratic touches here and there. One such Hall-ism involves placing an
octave-based idea at the end of a phrase-a striking, broken-octave fill appears in bars
23-24; a variation of this, in bar 39; and, in bar 72, a semi-chromatic descending line
played in fully voiced octaves. Throughout, there's a strong blues feel, especially in bar
32's fill, which comes from the A minor pentatonic scale (A-C-D-E-G), albeit unpredictably
ordered. A subtler touch involves ending certain phrases with a 12th-fret harmonic
on string 5 (see bars 30, 46, and 78), which lends a nice timbral contrast to the fretted
Beginning in bar 49, Hall uses a neat trick that effectively separates the bridge
from the A-section: while holding selected melody notes (upstemmed), he adds chord
stabs (downstemmed), not unlike a pianist would do with two hands. Also, Hall ventures
a little farther from the melody in this section-in bar 53, check out the improvised, angular
line that begins with a major 7th (B~to A) leap. These unique details give the listener
a taste of what's to come in Hall's excellent solo.
In the first A-section of his first chorus, Hall introduces an A minor pentatonic idea,
and then sees it through various permutations. He keeps it simple here; the only noticeable
jazzy melodic content is the Am11 arpeggio (A-C-E-G-B-D) in bars 108-109.
Throughout, Hall interjects some of the same chord voicings as found in the intro, most
often the E7=9chord. At the same time, he uses space wisely; for example, see the rests
in bars 107-108 and 116-117.
Hall steps out melodically in the bridge of the first chorus. In bars 122-123, he
plays a 6th-based motif that reappears later in the solo, and in bars 125-127, he smoothly
hits a variety of interesting note choices: the 7 (F#) on the Gm7 chord (the absence of
a pianist gives Hall harmonic leeway), the #9 (E~/m) on C7, and the #11 (B) on Fmaj7.
Beginning in bar 128, Hall plays a fleetingly-fingered line involving chromatic lower-neighbor
tones. This leads directly into a witty reference to Duke Ellington's "Raincheck" in bars
129-131. Quotation is an indispensable improvisational tool, and Hall masterfully adjusts
the melodic contour of "Raincheck" to suit the changes at hand, sailing with ease into the
b7 (A) of the B7 chord and the 3rd (G#) of the Emaj7 chord.



THINGS AIN'T WHAT THEY USED TO BE (Jazz Guitar: Jim Hall Trio, 1957)
By Mercer Ellington
Figure 15-Head and Solo
While Jim Hall's style is strikingly modern, it is deeply rooted in the traditional
sound of the blues. This is especially apparent in Hall's interpretation of the Mercer
Ellington classic "Things Ain't What They Used to Be," from his 1957 debut album, Jazz
Guitar: Jim Hall Trio, on which "Tangerine" (see page 56) also appears.
"Things Ain't What They Used to Be" is based on a 12-bar blues in m major,
played here with a neat, overlapping pair of ii-Vs in bars 8-11 (F7-m7-Bm7-Ab7-m7).
Hall kicks things off by playing the head twice, the first time accompanied by bassist Red
Mitchell. The guitarist basically plays the melody as it was originally written but adds some
bluesy, grace-note flourishes: in the m7 bars, a whole-step slide, from B to the melody
note F; and on the double stops, a half-step approach tone to each lower note.
As Hall restates the head, beginning in bar 13, pianist Carl Perkins joins in on the
proceedings; notice the chromatically ascending 7~9 chords that Perkins substitutes in
bars 21 and 22. Hall starts his reiteration of the head the same way he originally played
it, but at the end of bar 20, he raises the intensity by playing the melody up an octave.
Then, beginning in bar 23, he sets up his three-chorus solo with a triplet-based line that
comes mainly from the m minor pentatonic scale (m-Fb-Gb-Ab-Cb).
In the first chorus, Hall improvises variations on the original melody. In bars 29
and 30, he plays major 3rd-based double stops from the m blues scale (m-Fb-Gb-Abb-
Ab-Cb), then, in bar 31, toys with both the b3rd(HIE) and 3rd (F) of the m7 chord using
single notes. In bar 35, over the m7-Bb7 change, Hall plays a series of dyads that actually
imply the progression m7-GI>-Gbm, with the 3rd (m and Bbbin the bass on the latter
two). Note the contrary motion between the lower and higher voices of the first two
Beginning at the end of his first chorus and extending through the first several
bars of his second, Hall has a conversation with himself, playing phrases that start and
stop on the first string's fourth-fret Ab, and are answered by phrases that start and stop a
perfect 5th lower, on the third string's sixth-fret m. In bars 40-43, Hall plays the note Eb
at two different positions-string 2, fret 4 and string 3, fret 8-requiring a large fret-hand
stretch, but the nice contrast in timbre is worth the effort. Hall begins to conclude his second
chorus in bar 44 with a predominantly pentatonic phrase.
In his third and final chorus, Hall makes the most out of a few simple phrases, the
first of which is stated in the first half of bar 49. Similar to one found in his first chorus, this
bluesy, ascending phrase contains both the b3 and 3, and is carried throughout the first
several bars. Bar 52 contains an interesting move: Hall slides, via a half step, into a dyad
(Cb-Eb)that implies a m9 chord (m-F-Ab-Cb-Eb), then plays a descending chromatic line
(Ab-Abb-Gb-F) that sets up a m9 chord partial (F-Cb-Eb). First appearing on beat 2 of bar
53, an eighth-note triplet line (Fb-m-B) is played (except for a break in bar 54) until the
beginning of bar 56, and answered in bar 57 by a time-honored, jazz-blues phrase.
Hall thinks more harmonically as he ends his solo, arpeggiating m (m-F-Ab) and
Gb (Gb-Bb-m) triads in bar 59, approaching each 3rd with a half-step grace note. Then,
on beats 1 and 2 of the final bar, Hall plays double stops, Ab-m and G-m, that imply mm7
(Bb-m-F-Ab) and Eb7 (Eb-G-Bb-m) chords, respectively, delaying the final ii-V
(Ebm7-Ab7) change by two beats. 

Price: €34,99
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