ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

BLUES GUITAR CLASSICS. Wolf Marshall. Vi è mai capitato di non riuscire a riconoscere un vecchio Blues quando l'avete sentito 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 TABLATURE

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.

Last stop: Memphis, 1993. Texas bluesman Albert Collins was appropriately known as "the Iceman" or "the master of the Telecaster," and had a well-earned reputation for stopping listeners cold in their tracks. With a chilling ice-pick attack, he gained wide recognition among blues fans and guitar players alike via his namesake instrumental, "Frosty," in 1962. There are numerous versions of "Frosty" in the Collins catalog-this one significant for several reasons. Recorded in May 1993, it is from his last studio album, Collins Mix, and features a guest appearance by B.B. King-one of only two historic pairings of Collins and King on record. The session came about as a result of swapping favors. While in town, Albert sat in with B.B. on his Blues Summit album and, in return, asked King to perform on his record. What we get is a spirited and inspired romp through the Iceman's classic blues tune with remarkable guitar work by both players. "Frosty" is an uptempo 12-bar blues in D. Albert takes the head A and first two solo choruses B and C, followed by B.B. for two D and E.Albert returns with one more chorus F to close out the section with authority. The alternating solos provide a fascinating study of Collins's and King's individual styles. Both swing unbelievably. Collins has a snappy, rhythmic-based style, plays aggressively-slightly ahead or on top of the beat-with a piercing tone, and consistently employs a slick variant of the standard minor pentatonic scale. Found throughout the head and solos, it involves replacing the 7th of the minor pentatonic (C) with the major 6th (B). "Albert's 0 minor pentatonic" is then spelled D-F-G-A-B. This lends a jazzy, diminished sound to the arpeggio lines he favors over the typical pentatonic scale licks of most blues guitarists. The trill figures in measures 17 and 33-34 and the repeating bend passages in measures 23-24 and 61-64 are definitive Albert Collins stylistic traits. By contrast, King plays with a more relaxed-majestic-rhythmic approach and a fatter Lucille (ES-355) tone. Spurred on by "Frosty's" cool environment, he also incorporates the 6th into his minor pentatonic phrases. Notice also the frequent inclusion of the ninth (E) in his lines in measures 37-42 and 49-51. A high point is the energetic, raked arpeggio riff in measures 53-55. He climbs into the "B.B. box" in measures 58-60 to wrap up his solo on a decisive note. Albert Collins had an utterly unique sound and style made from an uncommon combination of ingredients. He tuned his Tele up to an open F minor chord (from low to high: F-C-F-Ab-C-F) [Ed. note: Both fingerings are presented in the Signature Licks music. TAB below Albert Collins' lines includes two staves: one in standard tuning and the second in Fm capoed at the ninth fret.], always used a capo (generally at the ninth fret), and hung his guitar off his right shoulder. He picked exclusively with his fingers for a variety of attacks, nuances, and dynamics. Albert's trademark guitar was a blonde, maple-neck '61 Telecaster with a humbucking neck pickup. He had been playing them since 1952, when "Gate mouth" Brown first turned him on to it, and was one of the first blues legends to playa modified Tele. Collins plugged into mid-70s Fender 4x12 Quad Reverb combo amps-each essentially a "100-watt stack in a box."

This book is a trip-literally. It's your ticket to witness the evolution of modern blues guitar from its early jump-style swing and Delta-based roots to its urban, electrified incarnations via an essential collection of indispensable classic songs. We'll be visiting both the innovators and their gifted disciples, and making stops all over the blues map in Chicago, Memphis, Texas, the West Coast, London, and even Japan. With the music and accompanying audio, it's also your ticket to hear, feel, and play-to experience-the exciting world of blues guitar first-hand. The guitar tradition in blues was begun by such artists as Charley Patton, Son House, Bukka White, Mississippi John Hurt, and particularly Robert Johnson-all of whom were acoustic players and proved influential to the succeeding generations of electric blues guitarists and even the rock players to follow (Eric Clapton, Mark Knopfler, and many others). The electric guitar entered the blues picture in the late thirties with musicians like Charlie Christian, Eddie Durham, and Lonnie Johnson. The first modern postwar blues guitarist was T-Bone Walker, an innovator who simultaneously defined the sound and approach of electric blues guitar and inspired and presaged the work of B.B. King, Albert King, Buddy Guy, Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan, and all to follow. This book is dedicated to a select handfull of the plugged-in innovators and pioneers of the blues-as well as the countless other performers which by their inclusion would necessitate more than ten such volumes. After you rummage through these goodies, be sure to check out the work of other giants like Elmore James, Jimmy Reed, Lightnin' Hopkins, Magic Sam, J.B. Lenoir, Johnny Winter, Lowell Fulsom, Earl King, Clarence "Gatemouth" Brown, Pat Hare, Wayne Benett, Peter Green, Bonnie Raitt, Johnny Copeland, and Robert Cray ...hmmm, maybe in volume two? It's a never-ending process, and aren't we glad. As you will see, blues is a tradition with each successive generation building and elaborating on the accomplishments of their forebears. To place yourself in the blues picture, it is highly recommended that you begin to improvise your own variations as soon as possible. Learn the basics from the printed music and TAB and listen carefully to the audio right side to learn the original guitar parts. Then turn your balance to full left to select the rhythm section only, close your eyes, open your heart and bare your soul-and play the blues.

BUILDING BLOCKS OF BLUES GUITAR
harmony
classic blues scales
pentanonic scale
classic blues shapes
TUNING 
Eb TUNING
A CLASSIC BLUES GUITAR AXOLOGY
DISCOGRAPHY

Song List:

1961 - Hide Away Performed by Eric Clapton, Freddie King
1959 - As The Years Go Passing By Performed by Albert King, Gary Moore
1970 - Boogie Chillen No. 2 Performed by John Lee Hooker
1952 - Everyday (I Have The Blues) Performed by B.B. King, Albert King, Otis Rush
1964 - Help The Poor Performed by Robben Ford, B.B. King
1957 - I'm Your Hoochie Coochie Man By Willie Dixon, Performed by Muddy Waters, Jimi Hendrix
1965 - Killing Floor Performed by Mike Bloomfield, Jimi Hendrix, Albert King, Howlin' Wolf
1958 - Texas Flood Performed by Fenton Robinson, Stevie Ray Vaughan
1953 - The Things That I Used To Do Performed by Guitar Slim, Stevie Ray Vaughan
1959 - T-Bone Shuffle Performed by Buddy Guy, T-Bone Walker
1965 - Frosty Performed by Albert Collins, B. B. King

80 pages

BIRTH OF THE GROOVE, R&B SOUL AND FUNK GUITAR 1940-1965. DAVE RUBIN. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA R&B, SOUL, FUNK, CON CD

SPARTITI PER CHITARRA CON ACCORDI, PENTAGRAMMA E TABLATURE. 

La musica di Steve Cropper, Curtis 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 TABLATURE

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.

PREFACE
Thehistory of R&B, soul, and funk guitarists has been largely ignored when compared with that of blues guitarists. However, though they have tended to labor in obscurity in the shadow of vocalists, these unsung heroes have contributed significantly to the legacy of postwar electric guitar.
Inasmuch as the three genres have a far more varied selection of rhythmic and harmonic accompaniments than blues, the innovation and creativity has naturally occurred in the realm of backup, rather than soloing. Exceptions to this statement are to be found in the cerebral and emotional soloing of Billy Butler and Cornell Dupree, to name only the most obvious. It should be of interest to guitarists whose ears are mostly attuned to the sound of single-note lines, though, to understand the art form that Curtis Mayfield, Steve Cropper, and Robert Ward have made from the well-placed fill and chordal pattern.
The years 1945-1965 were chosen because it was the era where the most original advances were
made. That is not to say that great guitar music was not made after that date, only that the initial root source of the blues started to diminish in favor of more commercial influences. Perhaps a Volume II will be in order, particularly in the area of seventies funk.
I hope you will enjoy playing this remarkable music as much as I have, and that the history and biographies provide some sense of acknowledgement for the exceptional artists covered.
Dave Rubin New York City, 1999

DEDICATION
Iwould like to dedicate this book to my daughter, Michelle ("Cookie") and my wife, Cheryl.
Without their love and encouragement, I would "have the blues" more than playing and studying them.

ACKNOWLEDGMENTS
Iam indebted to, Edward Komara, Nick Koukotas, Darrell Bridges, Ira Bolterman, Steve Kirkman,
and all at Hal Leonard Corporation for their invaluable help and suggestions.

TABLE OF CONTENTS

Preface .
Dedication and Acknowledgments .
Introduction .
Scales and Chords for R&B, Soul, and Funk Guitar .
Tiny Grillles .
Johnny Moore .
Mickey Baker .
Ike Turner .
Billy Butler .
Clif White .
Curtis Mayfield .
Cornell Dupree .
Jerry Jemmott .
Steve Cropper .
Robert Ward .
Jimmy Nolen .
About the Author .
Guitar Notation Legend .

101 Must-Know Blues Licks. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA BLUES, CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Guitar Educational

Publisher: Hal Leonard Corporation
Format: Softcover with CD - TAB
Arranger: Wolf Marshall

Now you can add authentic blues feel and flavor to your playing! Here are 101 definitive licks – plus a demonstration CD – from every major blues guitar style, neatly organized into easy-to-use categories. They're all here, including Delta blues, jump blues, country blues, Memphis blues, Texas blues, West Coast blues, Chicago blues, and British blues. 48 pages

ART OF THE SHUFFLE FOR GUITAR. Inside the blues. Dave Rubin, Hal Leonard. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA BLUES, CON CD.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.  

An exploration of shuffle, Boogie and Swing rhythms.

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. TABLATURE

Shuffle
1: A dance step of indefinite Southern African-American origin, perhaps dating from the eighteenth century, in which the feet are moved rhythmically across the floor without being lifted (as in a minstrel show-author).

2: A rhythm derived from the dance step. The term is onomatopoeic, "sh" describing its characteristic smoothness (and especially its sound when played on the snare drum). The alternation of long and short syllables (shuffle, shuffle) evokes its distinguishing rhythm, a subdivision of the beat into uneven triplets, which is more specific than the fundamental swing or boogie woogie rhythm only in that it is usually played legato and at a relaxed tempo.

The term "shuffle," as applied to a type of musical rhythm, appeared around 1917. One of the earliest published songs to use it in its title was "Riverboat Shuffle" by Hoagy Carmichael. Though the recorded version by comet legend Bix Beiderbecke and Wolverines (1924) is both hot and cool, the rhythm is pure 4/4 dixieland. In 1921 a musical revue called "Shuffle Along" was produced with music by Eubie Blake and Noble Sissle. It included, but was not restricted to, the shuffle dance step. However, like the multitude of tunes before the mid~thirties that alluded to a "shuffle," the rhythms on parade were in the style of ragtime, dixieland and the blues. A number of rhythmic strains, including one from the unlikeliest of sources, would need to coalesce to create the true shuffle pattern. To trace this development is to traverse the glorious history of the blues and jazz. From the breakdowns, stomps and hollers of the post~Civil War South to the swinging shuffles of Louis Jordan and Tbone Walker in the forties, the accent has been on the body language of rhythm. Boogie woogie music, with its walking and moving bass lines, undoubtedly provided the driving propulsion behind shuffle rhythms. Though associated almost exclusively with the piano and especially its great solo practitioners, it is generally agreed that guitarists laid the groundwork for this blues-based idiom. The anthropologist and writer, Zora Neale Hurston, described the entertainment in the late 1800s juke joints as thus: "One guitar was enough for a dance. To have two was considered excellent. Where two were playing, one man played the lead and the other seconded him. The first player was "picking" and the second was "framming," that is, playing chords while the lead carried the melody by dexterous finger-work. Sometimes a third player was added, and he played a tom-tom effect on the lower strings." As the century wore on, pianos took the place of guitars in the lumber, mining, railroad and turpentine camps. Though it is conjecture, the practicality of employing one musician versus two or three, plus the sheer increase in volume afforded by pianos in rowdy barrelhouses (as opposed to acoustic guitars), makes sense of this change. There is less ambivalence, though, about the music performed. Quite simply, patrons wanted to hear the same raucous, rolling rhythms, so piano players devised left-hand patterns analogous to rhythm guitar parts while embelli hino and oloing with the right.

Series: Guitar Educational
Softcover with CD - TABLATURE
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.

Traces the roots of Shuffle, boogie and swing rhythms from the late 1800s to the late 1940s. Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and Bebop Blues styles are explored in-depth with numerous music examples. The accompanying CD demostrates each example with a complete rhythm section, includes rare photos. 

UP THE NECK, BANJO, JANET DAVIS. 144 pagine. SHEET MUSIC BOOK & DVD - with BANJO TABLATURE.

LIBRO METODO PER BANJO CON DVD.

SPARTITI PER BANJO CON TABLATURE.

Janet Davis has created a superb instructional video for five-string banjo dealing with the 5th through the 22nd fret. Roll Patterns, chords, songs, licks, chord progressions, improvising, melodic style, chromatic style, and back-up are some of the exciting techniques included in this educational video.

Product Number: 94820DVD
Format: DVD
ISBN: 0786671963
UPC: 796279096324
ISBN13: 9780786671960
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 12/31/2003 

"Up the neck" of the banjo involves playing between the 5th and the 22nd frets of the fingerboard. This book is intended to provide you with the basic principles and techniques for developing the ability to play any song in the three-finger style of playing in the up-the-neck area of the banjo. People often find it difficult to read the double-digit numbers involved in playing up the neck. However, just as it was difficult to read tablature for the first time, you will find that you will see the same numbers over and over, and you will begin to recognize the same patterns up the neck, just as you do when playing down the neck. Because these are related to chord positions, it will help to concentrate on°the numbers involved with playing each chord, particularly the G, C, and D chords from which the left hand will work. These will become familiar to you within a very short time, and will be easy to relate to the fingerboard. This book is divided into chapters, with each chapter building upon the information presented in the previous one. The songs presented in each section demonstrate the particular technique(s) discussed in that chapter. However, the songs are also intended as playable arrangements. The more you play up the neck using these techniques, the easier it will be to develop your own arrangements using these techniques. I have used these techniques for many years with my banjo students, and they seem to have worked well. I hope they will work well for you, also. Happy Pickin'! Janet Davis

The three-finger style of playing was popularized in the early 1940s primarily by Earl Scruggs and Don Reno, and has continued to be one of the foremost styles for playing the five-string banjo. In this style ofplaying, the melody notes for a song are surrounded by background notes, which are determined by the chords to the song. Patterns are involved in playing up the neck, just as they are involved with playing on the deeper tones of the banjo. Many of the same patterns (fo11sand licks) can be used in many different songs for the same chord. As you begin to work with these patterns in songs and learn how they are used, the fact that they are played in the up-the-neck area will begin to seem natura!. In fact, you should find it fairly easy to begin working out your own up-the-neck arrangements fairly early in the book. As this book progresses, you willlearn how to connect up-the-neck and down-the-neck licks smoothly, how to switch a lick for a lick for single chords, how to create variations, incorporate the melody, etc. The final sections of this book involve techniques developed by Bill Keith, Bela Fleck, Scott Vestal, and other influential banjo players of the 1990s. It is important to realize that the techniques which are used in the advanced sections are developed from the techniques covered in the earlier sections of the book. Therefore, it is important to understand the basics, first.

UP-THE-NECK ARRANGEMENTS
It will help to realize that up-the-neck arrangements are often played as second variations and, therefore, there is more freedom to deviate from the basic melody. (The first arrangement usually establishes the melody in the mind of the listener, so that he or she can appreciate the various techniques employed as the basic tune is expanded upon in subsequent variations.)
Up-the-neck arrangements are frequently of two basic types:
1. An arrangement with a strong sense of melody. This type of arrangement is generally based upon the standard roll patterns, where one finger of the right hand is used to pick the melody notes, while the other two right-hand fingers play background notes based upon the chords to the song. Licks are often used as fill, rather than as the basis for this type of arrangement. Songs which have words often fall within this category.
2. An arrangement which. deviates from the basic melody. This type of arrangement is comprised primarily of licks (patterns or motifs). Arrangements which are comprised primarily of licks can be absolutely void of the tune for the song and still work, as long as the licks are played for the correct chords to the song. Generally, these songs will have a specific motif which will serve as the identifying factor for a listener, such as the intro to "Bugle Call Rag." Breakdowns usually fall within this category.
The following chapters of this book will take you through the development of arrangements which fall within Type I and Type II, as well as arrangements which use a combination of these techniques.

Format: Book/2-CD Set

Contents:

Foreword
Introduction
Up-the-Neck Arrangements
The Y Position
Bluegrass Roll Patterns
The Standard Roll Patterns
"Bile 'Em Cabbage Down"
"Salty Dog Blues"
Summary: Roll Patterns
Chords: Introduction
Chords
The Standard Chord Patterns
"Cumberland Gap"
"Train 45"
"John Hardy"
"Little Maggie"
"Don't Let the Deal Go Down"
"Wildwood Flower"
"House of the Rising Sun"
Summary: Chords
Licks: Introduction
Basic Up-the-Neck Licks
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Roll in My Sweet Baby's Arms"
Additional Licks: Interchangeable Licks by Chord
Pick-Up Notes
G Licks
C Licks
D Licks
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
"Little Maggie"
"Salty Dog Blues"
"Roll in My Sweet Baby's Arms"
"Jesse James"
Summary: Licks
Incorporating the Melody
Harmony Notes
Accentuating the Melody
"Worried Man Blues"
"Red River Valley"
"Hand Me Down My Walking Cane"
"Wreck of the Old 97"
Improvising: Advanced Section
Advanced Expression: The X or the Y Position?
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Altered Roll Patterns
"Blackberry Blossom"
"Wildwood Flower"
"Sally Goodin"
Second Variations
"Sally Ann"
"Don't Let the Deal Go Down"
"Look Down, Look Down"
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
"Cumberland Gap"
"Lonesome Road Blues"
"Working on a Building"
"Salt River"
Single-String Licks
Moveable Licks: Fingerboard Patterns
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Summary: Improvising
Ending a Song
Chord Charts

Disc 1
Tuning
Bluegrass Roll Patterns
The Forward Roll Pattern
The Mixed Roll Pattern
The Forward-Reverse Pattern
The Backward Roll
"Bile 'Em Cabbage Down"
Forward Roll
Backward Roll
Forward-Reverse Roll
"Salty Dog Blues"
Backward/Alt. Forward Roll
The Standard Chord Patterns
F-Position Pattern
D-Position Pattern
Barre-Position Pattern
E-Minor Chord Pattern
"Cumberland Gap"
Alternate Part B
"Train 45"
"John Hardy"
Alternate Forward Roll
Variation
"Little Maggie"
Up-the-neck Arrangement
1st Arrangement
2nd Arrangement
3rd Arrangement
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Wildwood Flower"
"House of the Rising Sun"
Basic Up-the-Neck Licks
Lick #3, #4, #5, & #6
"Train 45"
"Little Maggie"
"John Hardy"
"Mama Don't Allow"
"Crying Holy Unto the Lord"
The "Identity Factor"
Chord Progression #1
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute Licks
"Roll in My Sweet Baby's Arms"
Variation #2
Pick-Up Notes
G Licks
C Licks
D Licks - 1st-4th lines
D Licks - 5th-8th lines
A Licks
F Licks
E Licks
B Licks
B-flat Licks
F-sharp Licks
Am Licks
Bm Licks
Cm Licks
Em Licks
Dm Licks

Disc 2
Chord Progression #1
Alternate Licks
Chord Progression #2
Chord Progression #3
"Lonesome Road Blues"
Substitute (Alt.) Lick
Variation #2
"Little Maggie"
Substitute Licks
"Salty Dog Blues"
Variation #2
"Roll in My Sweet Baby's Arms"
Alternate Licks
"Jesse James"
Harmony Notes
"Worried Man Blues"
Forward Roll Pattern
Chord Positions
Other Roll Patterns
Substitute Licks
"Red River Valley"
Variation #1
Variation #2
"Hand Me Down My Walking Cane"
Forward Roll Pattern
Substitute Licks
"Wreck of the Old 97"
Alternate Forward Roll
Variation #2
Variation #3
The Ending
Connecting Links: Up and Down the Neck
"Lost Indian"
"Sitting on Top of the World"
Variation #2
Altered Roll Patterns & "Blackberry Blossom"
"Wildwood Flower"
Variation #2
"Sally Goodin"
Variation #2
Variation #3
"Sally Ann"
Variation #2
"Don't Let the Deal Go Down"
Variation #2
Variation #3
"Look Down, Look Down"
Variation #2
Melodic Licks
"Dixie"
"Cuckoo's Nest"
"Crazy Creek"
"Limerock"
"Gray Eagle"
Using Chromatic Licks
"Hamilton County Breakdown"
Variation #2
Variation #3
"Cumberland Gap"
Variation #2
"Lonesome Road Blues"
"Working on a Building"
Variation #2
"Salt River"
Moveable Licks
F-Position Licks
F-Position Licks Continued
Barre-Position Licks
"She'll Be Coming Around the Mountain"
"Dill Pickle Rag"
"Black and White Rag"
"Salty Dog Blues"
"Salt River"
Part B
Using Back-Up Licks for Up-the-Neck Lead Arrangements
"12-Bar Blues"
"Hear Jerusalem Moan"
"I Don't Love Nobody"
Endings-Group 1
Endings Continued
Group II