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

BUSTER B. JONES, JUST US: 14 Complete Notation & Tab Transcriptions. SHEET MUSIC BOOK WITH CD & TABLATURE .

LIBRO DI MUSICA ACUSTICA, CON CD.

SPARTITI PER CHITARRA FINGERPICKING CON: 

PENTAGRAMMA E TABLATURE.

Product Description:
Although his scorching fingerpicking was most impressive at first glance, a closer look at "Just Us" reveals that he is equally adept at what many musicians consider as a more difficult task: playing fewer notes... ones that mean more, and say more with less, as he does on album opener "A Simple Gift", title cut "Just Us", and "One Sad Clown".

"Just Us" is an album consisting largely of his own compositions inspired by his two main guitars "Merle" and "Pearl". Along the way we are treated to a barn-storming version of "Alabama Jubilee" (it must be tunes like this that caused Chet Atkins to say of Jones "He plays like he's double-parked"), "Collage-a-Reed" and "Clawin'" (each inspired by mentor Jerry Reed), while "Let the Sun Shine In" sounds like an instant fingerpicking classic that you could swear you have heard before, but haven't. Including detailed notation on 15 of Buster’s songs from "Just Us", this Book/CD lesson will challenge even the best players. Presented in standard notation and tablature.

Biography Buster B. Jones was a master of the guitar styles of Chet Atkins, Merle Travis and Jerry Reed. He explored their music, styles and techniques, but developed his own unique style and depth. Buster was known as a blazing fast and dynamic player, and was given the nickname "The Machine Gun" by admiring fans in France, but his original compositions expose a lyrical and gentler side to his musical personality. Raised in Ames, Iowa, Buster began playing guitar and mandolin at an early age, following in the footsteps of his older brother Ron, who Buster idolized as the "best left-handed guitarist ever." It became apparent however that by Buster's mid-teens he would have a special gift for music, and his musical ability exploded. Buster never took formal lessons, but developed his mastery of the guitar through sheer trial and error, and by diligently trying to learn the complex styles of players like Chet Atkins and Jerry Reed. "I touch on many different styles and approaches to playing lead and rhythm guitar. My goal as a player is to expand these perimeters and express what I feel musically," says Buster, who often played for other guitar players at conventions like the CAAS in Nashville and NAMM. 'Playing to a bunch of guitar players and fans is like watching Dawn of the Dead on video. They just stare 'ou slack-jawed, looking like they want to eat your brain. It's a wonderful feeling!" Buster B. Jones has several early albums, which are out of print and three CDs, Fingers in Flight, Guts and Steel and Just Us. He also has produced 12 teaching videos for Stefan Grossman's Guitar Workshop. Buster B. Jones lived in Eugene Oregon and performed regularly across Canada and the United States. He was the 1990 winner of the National Fingerpicking Championship held yearly in Winfield, Kansas. Buster was not just a great guitar player but a teacher and a friend to many. He spent countless hours sharing his knowledge and skills with young players and I am grateful to have had the opportunity to work closely with Buster on this CD. Tom Redmond

As a child, I grew up listening to such greats as Hank Williams, Jimmy Rodgers, Hank Snow and Merle Travis. My father Buster Jones was a great entertainer; and with my mom and big brother Ron played polkas and square dances. Dad even had a radio show of his own. He would do the weather and time and then play some music. Although my dad's playing ability was somewhat limited, his ability to capture an audience was what intrigued me the most. Dad said "Talk to the folks like they are old friends and they'll become old friends." I live by those words. I've never met a stranger. My dad Buster, mom Allene and Ron were my first influences, although in time I had many others, like Chet Atkins, Jerry Reed, Thorn Bresh and Nokie Edwards. In the game of life, however, I admire none more than my family: Dad and Mom Jones, Ron Jones, Collene McGlenn, Darlene Sanchez, Kay Anderson, and Roger and Gary Jones. This recording is dedicated to them, because I love and miss them.

- Buster B. Jones (2007)

Song Title: Composer/Source:

A Second Glance
A Simple Gift
Alabama Jubilee
Be Like Dad
Collage-A-Reed
Flight Path
Just Us
Last Request
Let the Sun Shine In
One Sad Clown
Pierpaolo
Still Live Five
The Thoughts of One
Thom's Thumb

FLUID SOLOING, BOOK 3, CHORD-LEAD SOLOING FOR GUITAR, Tim Quinn. CD TABLATURE

LIBRO METODO DI MUSICA ROCK, CON CD.

SPARTITI PER CHITARRA:

ACCORDI, PENTAGRAMMA E TABLATURE. 

Product Description:
Chord-Lead Soloing for Guitar is a complete method for developing fluid double-stop chord melody. This style of playing can be heard most notably in the playing of Jimi Hendrix (in songs such as The Wind Cries Mary, Little Wing, and Castles Made of Sand), as well in the music of the guitarists he influenced, including Steve Vai, Eric Johnson, and Stevie Ray Vaughan. Chord-lead style playing bridges the gap between straight lead and strictly rhythm, because it is simultaneously chordal (implying a specific major or minor chord) and melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm into one flowing melodic chordal texture. This is accomplished through a comprehensive collection of chord-lead phrases, each of which is presented in at least three different fingerings (important for whole-neck flow). These phrases are then assembled into soloing etudes that demonstrate practical application over different chord progressions

Chord-lead playing can be adapted to every style of music, including rock, jazz, blues, alternative, funk, R&B, country, and pop. Mastering chord-lead soloing also greatly increases a guitarist’s ability to "stand alone"; that is, to play by himself unaccompanied by other musicians, mixing and switching between chording and lead improvisation. This book is perhaps the most definitive guide ever written for mastering this highly sought after (yet elusive) style of playing. CD included. Standard notation and tablature.

Chord-Lead Soloing presents a complete method for developing whole-neck, fluid chord-melody motion using two-string "double-stops", such as in the recordings of guitar legends Curtis Mayfield, Steve Cropper, Jimi Hendrix, Stevie Ray Vaughan, Eric Johnson, and Steve Vai This style of guitar playing is simultaneously chordal (implying a specific major or minor chord), and at the same time melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm guitar into one flowing melodic chordal texture. Hendrix took double-stop chord-melody to an unprecedented level and prominence in the songs "Little Wing", "Castles Made of Sand", "The Wind Cries Mary", and "Electric Ladyland", although he was likely heavily influenced by Mayfield's work with the Impressions (and perhaps Cropper's work with Otis Redding) in developing this aspect of his playing. All three should be acknowledged historically as being among the originators of this style. However, for most of the guitarists who later developed this "chord-lead" style, including Stevie RayVaughan, Steve Vai, and Eric Johnson, the primary inspiration was Jimi Hendrix. Double-stop chord-melody playing can be adapted to every genre of music; whether it's jazz, hard rock, alternative, funk, R&B, country, pop, salsa, reggae, Irish folk, or whatever! Mastering chord-lead technique greatly increases a guitarist's ability to "stand alone"-that is, to play by himself, unaccompanied by any other musicians, mixing and switching between chording and lead improvisation. This is an important, highly sought after skill for the accomplished, professional guitarist. Chord-Lead Soloing presents a complete and thorough method for developing this crucial style of playing. This book is the third book in the 'Fluid Soloing Series', a unified set of books that develop different aspects of whole neck fluid motion on the guitar. The three "Comprehensive" soloing etudes at the very end of this book are included to demonstrate some of the techniques from the other three books in the series, as well as the techniques presented in this book, all used in combination. The varied combinations of soloing techniques in these etudes create an exciting whole-neck soloing style that is flowing and varied in its melodic content. If you like the content of this book, check out the other books in the series as well. May you absorb the riches in this book, and may you play beautiful guitar music! Peace and harmony, friends.

Contents:

Introduction

I Section One: Chord-Lead Basics

The Concept of Suspension

Major Triad Sets; Triads in 2-String Pairings

Demonstrations of Possible Moves on 2-String Pairings

Major Pentatonic Scale Played in Fourths

II Section Two: Chord-Lead Licks

Each lick is shown in at least THREE different fingerings

III Section Three: Soloing Etudes

Demonstrating practical application of the licks

Appendix: "Guide For Using This Book"

Tablature Symbols Key

HOOKER JOHN LEE, A Step-by-Step Breakdown of His Guitar Styles and Techniques. CD TABLATURE

LIBRO DI MUSICA BLUES CON CD.
SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Signature Licks Guitar

Format: Softcover with CD - TAB
Author : Dave Rubin
Artist : John Lee Hooker

Explore the earthy blues of inimitable guitar legend John Lee Hooker with this book/CD pack! Dave Rubin explores licks from:

Blues Before Sunrise
Boogie Chillen No. 2
Boom Boom
Bottle Up And Go
Catfish Blues
Dimples
Hoogie Boogie
It Serves Me Right To Suffer
Mama, You Got A Daughter
Moaning Blues
One Bourbon, One Scotch, One Beer
This Is Hip (This Is It)
Tupelo (Tupelo Blues)
Wednesday Evening Blues

EMMANUEL TOMMY, THE MYSTERY. GUITAR TABLATURE

LIBRO DI MUSICA ACUSTICA PER CHITARRA .

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E CON TABLATURE.

Quanta italia in questo album, IL COMPLEANNO DI ANTONELLA, CANTINA SENESE, Ciao Emmanuele.

TOMMY EMMANUEL C.G.P. (Certified Guitar Player) 

Product Description:

The Mystery, Tommy Emmanuel's sixth US album, was inspired by Emmanuel's travels; each of the album's compositions is a musical snapshot or sojourn - a journey that brings us together with places and people - a journey into self discovery.

This transcription book shows all twelve tunes on the CD note-for-note in standard notation and tablature. Also included are detailed performance notes of each tune. 136 pages.

Product Number: 22000
Format: Book
ISBN: 0786681691
UPC: 796279109970
ISBN13: 9780786681693

INTRODUCTION

Tommy's compositions and aITangements cover many styles and techniques. If you have studied the Mel Bay books for Tommy's CD's Only and Endless Road, you already have a head start in learning his mu ic. The tunes for this project are heard on the CD The Mystery. Also you can study the Mel Bay project, Emmanuel Labor with Tommy's discussions of pieces from the above three CD's. From The Mystery Tommy play and discusses "The Mystery", "Gameshow Rag/Cannonball Rag", "The Diggers' Waltz", "Lewis and Clark", and "Antonella's Birthday". There will be some slight variations between the video performance and the recorded tunes. Although he may not playa tune in performance exactly the same way each lime, these transcription will allow you to learn the recorded version, and will give you insight into his methods. These tunes range in difficulty from intermediate to very difficult. There are a few difficult stretches and also Tommy's technique involves some innovative moves, such as fretting the 5th string with the thumb. But whether or not ou perform these tunes, most of the enjoyment comes from understanding them and playing them for their beaut). Some tunes are played with a thumbpick, and others are played without a pick, resulting in a softer sound. Others are played in a hybrid style, using a flat pick, allowing for strong rhythm and interwoven melody note With this style, the right-hand index finger is no longer available for melody. The melody is produced by the pick and the middle and ring fingers. This technique may be difficult for you if you are based in traditional fingerpicking, but it is well worth the effort to learn it. If you read musical notation, the tablature will still be helpful as it points toward left-hand position on the guitar neck. And if you are relying on tablature, remember that left-hand fingering is found in the notation. Learning the hybrid style requires understanding the information given in the tablature. I have tried to indicate the pick stroke directions that are most important, while trying to avoid repeating the stroke directions to reduce the amount of clutter in the tablature. In the hybrid tyle, the thumb and first finger hold the pick, and in accord with classical notation this is shown by a "p". The middle finger will be "m" and the ring finger will be "a". These letters will be stacked when the middle and/or the ring finger pluck notes at the same time as the pick. At other times the pick (thumb and first finger unit) and ... 

TOMMY EMMANUEL C.G.P.

photo by Sara Corwin

Two-time Grammy nominee Tommy Emmanuel has a professional career that spans over four decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to pick up the guitar as a child. Decades later Atkins himself became one of Emmanuel's biggest fans. In 1999, Chet honored Tommy Emmanuel with the title of "Certified Guitar Player" for his lifetime contribution to the instrument, a rare honor shared by only three other people in the world (Jerry Reed, Steve Wariner and John Knowles). Atkins eventually recorded with Tommy in 1996 on 'The Day the Finger Pickers Took Over the World", for which Emmanuel received his first Grammy award nomination. This was also Atkins last recording.

After a recent recuperative rest, resulting from an exhausting touring schedule, Tommy is now completely rejuvenated and embarking on a full tour schedule in 2008. A new double live CD and DVD, "Center Stage" filmed in High Definition and recorded at the Sierra Nevada Brewery in Chico, California will be commercially released in Spring '08. The DVD portion will also air on Public Television affiliates all over the United States. Every element of modern technology was used in the production of both the DVD and CD. Tomm's record producer, Kim Person, recorded and mixed the audio tracks, while long-time Sierra Nevada video producer/ director Peter Barlow tied the entire package together in state-of-the-art quality. It makes for a stunning package, both aurally and visually. The double disc Live CD "Center Stage" contains many fan show-stoppers, including Emmanuel's BeatIes Medley, Mombasa, and Initiation - the aboriginal tribute song that has evolved over the years and never sounds the same on any recording - or during any show. Tommy also introduces four never-before recorded tracks, "Ruby's Eyes", "Lenny Bro''', "The Jolly Swagman" and "Papa George" (inspired by George Harrison). Also, included are several arrangements of popular traditional tunes like "House of the Rising", "Nine Pound Hammer", "Amazing Grace" - and for his Japanese fans, "Sukiyaki" This new CD is a great mix of the rare, the new, the traditional and the favorites. Emmanuel's music and life are legendary in Australia. He began playing guitar at age 4, by learning to play by ear without any formal instruction. Emmanuel and his older brother Phil were child prodigies, starting their professional career in the 1960s. By the age of six, Tommy was already working as a professional musician. Shortly after his father's death in 1966, the Emmanuel family was approached by Australian country music star Buddy Williams, who took the family on the road until they were forced by the Australian child welfare department to stop traveling. The Emmanuel children were then sent to a regular school. During these years, Tommy was playing in "The Trailblazers" (with siblings Chris on drums and Virginia on slide guitar) on weekends. He also taught guitar and made numerous television appearances in musical competitions. Emmanuel's first brush with fame came when The Trailblazers won two televised talent contests and produced an EP. He and his siblings worked hard ... 

ANTONELLA'S BIRTHDAY
Antonella is one of my dearest friends from Soave, Italy and I wrote it early one morning as the golden sun
streamed through the windows onto my bed. Antonella was making breakfast downstairs and when I found out
it was her birthday, I dedicated it to her, with all my heart. She's a true friend.

Tune the 5th string down to G and the 6th string down to D. The tune is played with a flat pick in a hybrid
style, using the pick ("p") and the middle finger ("m"), and the ring finger ("a"). These letters will be stacked
over the corresponding strings in the tablature. Natural harmonics are used extensively. With your left-hand
finger lightly touch the string at the fret indicated in brackets, <7> for example. In the notation the notehead
will be diamond shaped. Then strike the string with the pick to obtain the harmonic or chiming sound.
Remember that the harmonics should always ring freely, creating a "cascade" effect. In order to notate the tune
correctly, the first note of the song is played as the last half of the last beat of the first measure. That is necessary in order to be in the right place when you play the last note of measure 9. That harmonic on the 5th string
could be considered the first real note of the melody, but it continues into the next measure with an eighth note
rest. There is another way to think of it. If you are tapping your foot, you start just after the first note of the
tune, and by the beginning of measure 10 you will be tapping on the the tied note, and the melody will fall in
place "in time" throughout the rest of the tune. As usual with this style, pay attention to the pick strokes, 
for downstroke and "V" for upstroke. Sometimes, as in measure 11, a downstroke can play many strings in a
strum motion. In measure 21, the right-hand finger letters are stacked over the notation in the first beat. meaning
that the pick plays the third string, the middle finger plucks the second string, and the ring finger pluck
the first string. For the last beat of that measure it is understood that the pick plays the slide on the fifth string.
and it is written that the middle and ring fingers play the other two strings. On the lowest string of a chord.
there is not always room to show the downstroke symbol. (And that is the case throughout the book.)
 

Song Title: Composer/Source:

And so it Goes - Tommy Emmanuel
Antonella's Birthday - Tommy Emmanuel
Cantina Senese - Tommy Emmanuel
Cowboy's Dream - Tommy Emmanuel
Footprints - Tommy Emmanuel
Gameshow Rag / Cannonball Rag - Tommy Emmanuel
Keep it Simple - Tommy Emmanuel
Lewis & Clark - Tommy Emmanuel
That's the Spirit - Tommy Emmanuel
The Digger's Waltz - Tommy Emmanuel
The Mystery - Tommy Emmanuel
Walls - Tommy Emmanuel

Every day we experience "The Mystery." It's in our love for each other, it's in our feelings ofr others, in our music, it's in the kindness of strangers, in the parade of people who seem to appear at the right moment to help or to encourage us through tough times, in the wonders we see around us when we travel or just the feeling we are doing something good for our brothers and sisters. It's all around us, in us, ahead of us and lighting our way. It's God's awesome love for his children. Get it? Got it? Good!

MODERN JAZZ CONCEPTS FOR GUITAR, Innovative Improvisation Techniques. Sid Jacobs. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO DI MUSIC JAZZ CON CD.

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLTURE . 

METODO

Modern Jazz Concepts for Guitar