BEST OF BLUEGRASS. 10 Must-Know Songs Arranged for Fiddle, Mandolin, Banjo, Guitar, Dobro and Bass. CD TABLATURE

CD INCLUDED CONTAINING THE ORIGINAL RECORDINGS ! ! !

LIBRO DI MUSICA CON CD, SPARTITI, PARTITURA DI OGNI STRUMENTO, CON TABLATURE. 

CHITARRA CON TABLATURE

BANJO CON TABLATURE

Package TAB.

Series: TRANSCRIBED SCORES 
Book & CD Package - TABLATURE

Artist: Various

This unique pack provides complete note-for-note scores for 10 bluegrass classics. The fiddle, mandolin, and bass parts are in standard notation. The banjo parts are written in banjo tab. The CD includes the original recordings as a further reference. Songs include:

-Cripple Creek - THE STONEMANS

-Darlin' Corey - JIMMY MARTIN WITH RICKY SKAGGS

-Durham's Bull - FIDDLIN' RONNIE STEWART 

-Great Speckled Bird - JIM & JESSE

-John Henry - MERLE TRAVIS

-Man of Constant Sorrow - JIM SILVERS

-Mule Skinner Blues - GRANDPA JONES

-Salty Dog Blues - MAC WISEMAN

-Sittin' on Top of the World - PINNACLE BOYS

-Wabash Cannonball - BENNY MARTIN 

110 pages

ALL ABOUT GUITAR A Fun and Simple Guide to Playing Guitar, Tom Kolb.

1979 -Ain't Talkin' 'Bout Love -Come As You Are -Cross Road Blues (Crossroads) -Down On The Corner -Dust In The Wind -Fun, Fun, Fun -Iron Man -La Bamba -La Grange -Love Song -Norwegian Wood (This Bird Has Flown) -Pride And Joy -Rhiannon -Smells Like Teen Spirit -Smoke On The Water -Substitute -Sultans Of Swing -Sweet Child O' Mine -Takin' Care Of Business -The Thrill Is Gone -Time -Walk Don't Run -You've Got A Friend. 208 pages. CD TABLATURE

Series: Guitar Book
Softcover with CD - TAB
Author: Tom Kolb

Have you struggled through tedious lessons and boring instruction books in your desire to learn to play the guitar? If you wish there was a fun and engaging way to motivate you in your guitar playing quest, then this is it: All About Guitar is for you. Whether it's learning to read music, playing in a rock band, finding the right instrument, or all of the above, this enjoyable guide will help you to finally start playing your favorite songs in many different styles. Plus, learn interesting tidbits on guitar gear, care and maintenance, and other fun stuff about the guitar. This fun-filled, easy-to-use guide includes:

- An introduction to guitars

- Step-by-step music reading instruction

- Background on various styles of music, including dozens of favorite songs

- Performing tips.

25 songs, including: Come as You Are - Cross Road Blues (Crossroads) - Dust in the Wind - Iron Man - Norwegian Wood (This Bird Has Flown) - Pride and Joy - Smoke on the Water - Substitute - Sultans of Swing - Sweet Child O' Mine - Takin' Care of Business - You've Got a Friend - and more. 198 pages.

Table of contents
Ain't Talkin' 'Bout Love
Birthday Song
Come As You Are
Cross Road Blues (Crossroads)
Down On The Corner
Dust In The Wind
Fun, Fun, Fun
Iron Man
La Bamba
La Grange
Love Song
My Bonnie Lies Over The Ocean
1979
Norwegian Wood (This Bird Has Flown)
Ode To Joy
Pride And Joy
Rhiannon
Scarborough Fair
Smells Like Teen Spirit
Smoke On The Water
The Streets Of Laredo
Substitute
Sultans Of Swing
Sweet Child O' Mine
Takin' Care Of Business
The Thrill Is Gone
Time
Walk Don't Run
When The Saints Go Marching In
Wildwood Flower
The Yellow Rose Of Texas
You've Got A Friend

The world would be a strange place without the guitar. Think about it-who would accompany all those campfire sing-alongs at the beach? Ever try to drag a baby-grand piano across the sand? What would John, Paul, and George have strapped on their shoulders on the "Ed Sullivan Show?" Accordions? What instrument would be casually propped in a corner of your living room, or lovingly tucked away in a case under your bed? A tuba? Well, maybe. Thankfully, we don't have to worry about those scenarios because the guitar is a reality. In actuality, it's the most popular instrument in the world.
The mere fact that you are holding this book in your hands proves that you're at least casually interested in the guitar. Or, maybe you really want to learn how to play. Perhaps you simply want to purchase a guitar for a friend or loved one. Or you're a professional guitarist who's looking for source material with which to teach beginners or intermediates. If you fit any of these descriptions, then there's something in All About Guitar for you. I truly hopeyou enjoy this bookand find it useful. Good luck, and may music always be a part of your life. -Tom Kolb

ABOUT THIS BOOK
From a general viewpoint, All About Guitar is geared toward the beginning to intermediate guitarist who wishes to learn and improve his or her playing. More importantly, it's an easy-tofollow manual to guide him or her through various guitar-related subjects, such as purchasing a guitar; changing strings; buying gear (amplifiers, effects, cords, etc.); famous players; and essential listening. AAG is also an entertaining read for those who are simply interested in the guitar and its role in music. Furthermore, AAG, unlike similar publications, uses copyrighted (read: popular) songs, selected riffs and solos, and five full-blown songs (see Section 5) to demonstrate key factors of guitar playing in various styles.

Do I Need To Read Music?
Good news! You don't need to read a fly-spec of music to benefit from AAG. Although traditional music notation appears throughout the book, it's accompanied by a user-friendly brand of guitar notation known as tablature. Tablature is a logical, visual system that tells you what string to play and what fret to press down on. Very simple! Also, there are pictures and diagrams that show you how to form chords. And don't forget the accompanying CD. All of the examples in the book are performed on the CD, so you can learn by simply listening.
Here's a guideline you can follow to help take in the information in the book:
• Look at the pictures and diagrams. Much can be learned by simply copying the hand positions
shown in the photos, or the fingerings depicted in the diagrams.
• Follow the guitar tablature. This easy-to-follow system tells you exactly which strings to
pluck and what frets to press down on.
• Listen to the CD for reference. Some people learn just by listening. Use the CD to aurally
reinforce the visual information in the book.
• Gradually rely on the music staff as you improve. This is not absolutely necessary. As a matter of fact, many great guitarists can't read music. But if you're interested in learning to read traditional music notation, it's located right above the tablature examples in the book.

ALL ABOUT GUITAR
Do , Need an Electric or Acoustic Guitar?
It makes no difference if you own an electric or acoustic guitar. If your guitar has six strings (instead of four or 12), it's a standard guitar and, if set up and tuned properly, behaves like any other six-string guitar. All of the examples in this book are playable on either an electric or acoustic guitar. If, for example, you don't own a guitar, this book will help you find the right instrument that will fill your needs and fit your budget (see Chapter 22).

ABOUT THE CD
The majority of the music examples found in AAG are performed on the accompanying CD. To locate the appropriate audio example, simply match the audio-icon number (located in the left margin) with the track number on the CD. Some tracks include two or more performances. In these cases, "minutes and seconds" information is given, which indicates where each example is located within the track. In most cases, the featured guitar is mixed hard right (right side of your stereo system), with the backing instruments mixed hard left. This allows you to isolate the guitar example by dialing your balance knob to the right, eliminating (or diminishing) the volume level of the backing instruments. You can also dial out the featured guitar by spinning the balance to the left. In this way, you can play along to the rhythm track without the interference of the featured guitar. (If your system doesn't have a balance control, you can isolate either side by disconnecting one of the speakers. If you're using headphones or earphones, simply remove either the left or right side from your ear.) Each example on the CD is preceded by the sound of clicking drumsticks performing a "count off." The count off is an aural warning that sets the tempo (speed) of the example and tells you when to begin. Think of it as having your very own instructor saying, "One-two-readybegin." If the example is in 4/4 time (see "Playing a Chord Progression," Chapter 7), the sticks will click four times. Examples in 3/4 time have three clicks up front.

COMMON TERMS USED IN THIS BOOK
There are several descriptive terms that you'll occasionally encounter as you work your way through the book. Here is a list of these terms and their definitions: Higher: Generally, this means higher in pitch (see "A Crash Course on the Music Staff," Chapter 8), or "up" the neck (fretboard), toward the body of the guitar. Lower: This is the opposite of higher, and translates to "down" the neck (fretboard), or toward the guitar's headstock (where the tuning pegs are located). Right handlleft hand: We know that not everyone is right-handed, but for the sake of continuity the direction "right hand" will correspond to the picking/strumming hand (the hand that strikes the strings), with "left hand" referring to the fretting hand (the hand that presses the strings to the fretboard). If you choose to play the guitar left-handed, think of the right hand as your left, and vice-versa. Guitar: When the word "guitar" is used in this book, it refers to a standard six-string guitarnot a 12-string, seven-string, or any such derivative.

BRIEF CONTENTS

INTRODUCTION .
About This Book .
About the CD .
Common Terms Used in This Book .
Icon Legend .
SECTION 1 Preparation .
Chapter 1: Guitar Anatomy .
Chapter 2: Tune Up or Tune Out .
Chapter 3: Necessary Equipment .
Chapter 4: Proper Posture .
Chapter 5: Practice Habits ,
SECTION 2 Playing 101 .
Chapter 6: Guitar otation .
Chapter 7: Basic Chords .
Chapter 8: Playing Melodies .
SECTION 3 Advanced Playing .
Chapter 9: Seventh Chords .
Chapter 10: Barre Chords .
Chapter 11: Power Chords .
Chapter 12: The Pentatonic Scale .
Chapter 13: Making Your Guitar Sing .
SECTION 4 Stylistic Playing .
Chapter 14: Rock .
Chapter 15: Blues .
Chapter 16: Folk/Country .
SECTION 5 Full Song Transcriptions .
Chapter 17: "Fun, Fun, Fun" .
Chapter 18: "The Thrill Is Gone" .
Chapter 19: "Smoke on the Water" .
Chapter 20: "Dust in the Wind" .
Chapter 21: "Smells Like Teen Spirit" .
SECTION 6 Equipment .
Chapter 22: Guitars, Guitars, Guitars .
Chapter 23: Amps .
Chapter 24: Accessories .
Chapter 25: Putting On New Strings .
SECTION 7 Who's Who .
Chapter 26: Ten Groundbreaking Guitarists .
Chord Chart ,
About the Author .
Acknowledgments '
Musicians

FULL CONTENTS

Introduction .
About This Book .
Do I Need to Read Music? .
Do I Need an Electric or Acoustic Guitar? .
About the CD .
Common Terms Used in This Book .
Icon Legend .

SECTION I • Preparation .

Chapter 1: Guitar Anatomy .
Electric VS. Acoustic .
Parts of the Guitar .
How Acoustic Guitars Work .
How Electric Guitars Work .
How the Guitar Is Played .
String Length and Pitch .
Fretting the Instrument .
Using Both Hands .

Chapter 2: Tune Up or Tune Out .
Names and Pitches of the Strings .
String Numbering System .
Names of the Strings .
Tuning the Guitar to the CD .
Tuning the Guitar to a Piano .
Tuning the Guitar to Itself .
The Fifth-fret Tuning Process .
Tuning "With Harmonics .
Tuning "With an Electronic Tuner .
Other Tuning Methods .

Chapter 3: Necessary Equipment .
Should I Learn on an Acoustic or an Electric Guitar? .
Acoustic Guitar .
Electric Guitar .
Accessories .
Guitar Case .
Picks .
Shoulder Strap ,
Extra Strings ,
Guitar Cloth ,
Do I Need an Amplifier? .

Chapter 4: Proper Posture .
Playing While Seated .
Playing While Standing .
Right-hand Position .
Playing With a Pick .
Fingerpicking (a.k.a. Fingerstyle) .
Left-hand Position .
Home-base Position .
Fretting Notes .

Chapter 5: Practice Habits .
Preparing to Practice .
Location .
Materials .
Time Allotment .
Creating a Practice Schedule (Power Practicing) .
How Much Should I Practice? .
What Should I Practice? .
Putting It All Together .
Dividing Your Time .
Setting Goals .
Practicing Away From the Guitar .
Ear Training .

SECTION 2 • Playing

Chapter 6: Guitar Notation .
Tablature .
Chord Frames .
Box Patterns .
Chapter 7: Basic Chords .
Playing Your First Chord .
The E Major Chord .
Yuck-That Doesn't Sound Right .
Chord Families .
A-family Chords .
A and D Major .
Strumming and Changing .
Playing a Chord Progression .
Playing and Singing a Song in the Key of A .
"When the Saints Go Marching In" .
D-family Chords .
The G Major Chord .
A New Strumming Pattern .
A Classic Progression .
G-family Chords .
C and Am Chords .
Playing a Progression in the Key of G .
Playing a Cowboy Song in the Key of G .
"Streets of Laredo" .
C-family Chords .
Em, Dm, and F Chords .
Putting C-family Chords to Good Use .
Using C-family Chords in a Minor Way .
"Scarborough Fair" .
Ice Cream Changes .

Chapter 8: Playing Melodies .
Picking Out Your First Scale .
The C Major Scale .
A Crash Course on the Music Staff .
Left-hand Fingering .
Playing Melodies in the Key of C .
Extending the C Major Scale Pattern .
Playing Songs in the Key of C .
"Ode to oy .
"Birthday Song" .
"YellowRose of Texas" .
"My Bonnie Lies Over the Ocean" .
The Relative A Minor Scale ,
Playing A Minor Scale Melodies .
Gaining Speed With Alternate Picking .
"Yankee Doodle" '
"Sailor's Hornpipe" ,

SECTION 3 • Advanced Playing .

Chapter 9: Seventh Chords .
Major-seventh Heaven .
Cmaj7, Fmaj7, Dmaj7, Amaj7, Gmaj7, and Emaj7 Chords .
Major-seventh Chord Progressions and Advanced Rhythms .
Dominant-seventh Chords .
G7, E7, A7, D7, C7, and B7 Chords .
The Shuffle Feel .
Shuffling Dominant-seventh Chords .
Minor-seventh Chords .
Em7, Am7, and Dm7 Chords .
Alternate Em7 and Am7 Voicings .
Sixteenth-note Rhythms .
Getting Funky With Minor-seventh Chords .
Mixing It All Together .

Chapter 10: Barre Chords .
Beyond Open Position .
The E-based Barre Chord .
Minor Barre Chords .
Other E-based Barre Chords .
A-based Barre Chords .
Major, Minor, Dominant Seventh, Minor Seventh, and Major Seventh ..
Playing Progressions With E-based and A-based Barre Chords .
Transposing .

Chapter 11: Power Chords .
What Is a Power Chord? .
E-based Power Chords .
"Iron Man" .
A-based Power Chords .
Palm-muting Power Chords .

Chapter 12: The Pentatonic Scale .
The Lead Guitarist's Best Friend .
What Is the Pentatonic Scale? .
The Open-position E Minor-pentatonic Scale .
E Minor-pentatonic Riffs and Licks .
Soloing in Different Keys .
Jamming "With the Minor-pentatonic Scale .
The Major-pentatonic Scale .
The Open-position G Major-pentatonic Scale .
The Movable Major-pentatonic Pattern .
Major-pentatonic Licks .
Major-pentatonicJams .
Chapter 13: Making Your Guitar Sing .
Legato .
Hammer-ons .
Pull-offs .
Combining Hammer-oilS and Pull-offs .
Slides .
Bends .
Vibrato .

SECTION 4 • Stylistic Playing .

Chapter 14: Rock .
Rock Rhythm Guitar .
Chuck's Boogie .
"Takin' Care of Business" .
Two-note Rock .
"1979" .
"Rhiannon" .
Big, Fat Open Chords .
Sus Chords and Add Chords .
Triads and Pedal-tones .
"Substitute" .
Rock Lead Guitar .
Single-string Riffs .
"Down on the Corner" .
"Come As You Are" .
"La Bamba" .
"Sweet Child 0' Mine" .
"Ain't Talkin' 'Bout Love" .
Rock Soloing .
"Cross Road Blues (Crossroads)" .
"La Grange" .
"Walk Don't Run" .
"Sultans of Swing" .
"Time" .

Chapter 15: Blues .
The 12-bar Blues Form .
Blues COlnping .
Boogie Patterns .
Chords .
Blues Soloing .
The Blues Scale .
Little Blues Boxes .
Playing a Blues Solo .
Intros and Turnaround Licks .
"Pride and Joy" .
Other Blues Progressions .

Chapter 16: Folk / Country .
Folk and Country Strumming .
Alternating-bass Rhythms .
Carter Strumming ,
"Wildwood Flower" '
Fingerstyle '
Arpeggio Patterns '
"Love Song" .
Travis Picking .
Using a Capo .
" orwegian Wood (This Bird Has Flown)" .
"You've Got a Friend" .
Hot Country Licks .
Bluegrass Runs .
Hybrid Picking .

SECTION5 Full-song Transcriptions .

Chapter 17: "Fun, Fun, Fun" . COMPLETA
Tone Tips .
Song Structure .
The Chords and Rhythms .
The Verses .
The Choruses and Outro .
The Solos .

Chapter 18: "The Thrill Is Gone" . COMPLETA
Tone Tips .
Song Structure .
The Chord Progression .
The Soloing .
Chapter 19: "Smoke on the Water" . COMPLETA
Tone Tips .
Song Structure .
The Main Riff .
The Verse Arpeggios .
The Chorus Chords .
The Outro Riffs .
The Solo .

Chapter 20: "Dust in the Wind" . COMPLETA
Tone Tips .
Song Structure .
The Fingerpicking Pattern .
The Voicings .
Putting It All Together .

Chapter 21: "Smells Like Teen Spirit" . COMPLETA
Tone Tips .
Song Structure .
Strumming the Main Riff .
The Secondary Riffs .
Melodic Soloing .
The Effects-pedal Soft-shoe Dance .

SECTION 6 • Equipment .

Chapter 22: Guitars, Guitars, Guitars .
Acoustic Guitars .
Steel-string Acoustic .
Nylon-string (Classical) .
Acoustic/Electric .
Electric Guitars .
Solidbody Electrics .
Hollowbody Electrics .
Specialty Guitars .
12-string Guitars .
Seven-string .
Baritone Guitar .
Purchasing a Guitar .
What Type of Guitar Do I Want? .
Taking the First Step .
Eureka-I Found It! .
Closing the Deal .

Chapter 23: Amps .
How Does an Amp Work? .
Practice Amps .
Performance Amps .
Combo Amps .
Head/Cabinet Amps .
Specialty Amps .
Dialing In a Tone .

Chapter 24: Accessories
Just In Case .
Gig Bags
Hard-shell Cases
Flight Cases .
Pickups .
Single-coils and Humbuckers
Strings
Odds & Ends
Capos ..
Slides
Cables
Straps
Picks
Headphone Amps
Electronic Tuners
Guitar Stands
String-changing Tools
Chapter 25: Putting On New Strings
Changing Strings
Removing Old Strings
Stringing-up Acoustics .
Changing Nylon Strings
Re-stringing an Electric Guitar
Whammy-bar Frustration

SECTION 7 • Who's Who

Chapter 26: Ten Groundbreaking Guitarists
Andres Segovia (1893-1987)
RobertJohnson (1911-1938)
Charlie Christian (1916-1942)
Django Reinhardt (1910-1953)
Chet Atkins (1924-2001)
B.B. King (1925-) .
Chuck Berry (1926-) ..
Eric Clapton (1945-)
Jimi Hendrix (1942-1970) .
Eddie Van Halen (1955-)
Chord Chart
About the Author.
Acknowledgments
Musicians
 

SANTANA, CLASSIC 1969-1990. 34 titles. SHEET MUSIC BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA ROCK,
SPARTITI PER CHITARRA E VOCE.
ACCORDI, PENTAGRAMMA E TABLATURE. 

All I Ever Wanted -Aqua Marine -Bella -Black Magic Woman/Gypsy Queen -Blues For Salvador -Brightest Star -Chill Out (Things Gonna Change) -Europa (Earth's Cry Heaven's Smile) -Every Now And Then -Everybody's Everything -Evil Ways -Flame Sky -Hannibal -The Healer -I Love You Much Too Much -I'll Be Waiting -In A Silent Way -Love Is You -Move On -Mudbone -Naima -Open Invitation -Oye Como Va -The River -Samba Pa Ti -Se Eni A Fe L'amo-Kere Kere -Somewhere In Heaven -Song Of The Wind -Soul Sacrifice -Sweet Black Cherry Pie -This Is This -Toussaint L'Overture -Waves Within -Wings of Grace.TABLATURE

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Volume 1 of this collector's edition set covers 34 classic songs from Carlos Santana's early years (the '60s through the '80s), all faithfully transcribed in note-for-note guitar TAB.

Titles: All I Ever Wanted * Aqua Marine * Bella * Black Magic Woman * Blues for Salvador * Brightest Star * Europa (Earth's Cry Heaven's Smile) * Every Now and Then * Everybody's Everything * Evil Ways * Flame Sky * Gypsy Queen * Hannibal * The Healer * I Love You Much Too Much * I'll Be Waiting * In a Silent Way * Love Is You * Move On * Mudbone * Naima * Open Invitation * Oye Como Va * The River * Samba Pa Ti * Se Eni a fe L'Amo-Kere Kere * Song of the Wind * Soul Sacrifice * Sweet Black Cherry Pie * This Is This * Toussaint L'Overture * Waves Within.

THEORY INTO PRACTICE

FEELINGS

Finivo sempre ad essere incompreso dai musicisti e specialmente i chitarristi quando dicevo che i musicisti di strada riescono ad emozionare di più che i musicisti da studio. Louis Armstrong era un musicista di strada. Non sapeva leggere la musica... come non lo sapeva Wes Montgomery. Non sto dicendo che l'ignoranza è la beatitudine. Miles Davis, Wayne Shorter, loro sapevano leggere la musica e sapevano sentirla. Penso che il criterio più importante della musica è che tu devi  imparare a suonare a "toccare l'accordo ombelicale" universale dell' ascoltatore. In questa ottica non importa come viene chiamata la tua musica: mariachi, rock, psichedelico o jazz, o in qualche altro modo. Non sono un'autorità per questo. Lo sono solo per quello che sento. Nella canzone "Goodness and Mercy", per esempio, ho iniziato a piangere mentre la suonavo. Per qualche motivo quando sono uscito davanti al publico, poi mi sono ritirato fuori dai monitors e quando ho suonato la prima nota, improvvisamente, sono stato sommerso dalle emozioni. Bene quando ti viene da ridere e da piangere contemporaneamente - Mi piace questa emozione. Questo fa' parte della musica.

FEELINGS

I get into a lot of trouble with musicians, especially guitar players, when I say that street musicians penetrate deeper than the studio-session musicians in feeling. Louis Armstrong was a street musician, He couldn't read music; neither could Wes Montgomery. I'm not saying that ignorance is bliss. Miles Davis, Wayne Shorter, they have everything: they can read and they can feel. But I think that the most important criteria in music is that you have to learn how to strike the universal umbilical chord of the listener. And that way they won't care what to call your music: psychedelic mariachi rock or blues or jazz: or anything. I'm not an authority on any of those things. I'm only an authority on what I feel. In "Goodness and Mercy," for example, I was crying when I played that song. For some reason, I went out in front of the PA; I walked out, away from the monitors, and when I hit the note, all of a sudden I started feeling that overspill of emotion. It's okay when you want to laugh and cry at the same time-I love that emotion. That's what music is about.

SOUND

Immaginiamo che tu sei un fotografo e vuoi fare la foto dello stagno. Quando tu fa la fotografia ci sono i riflessi del cielo e delle nuvole e poi i petali dei fiori che galleggiano sulla superfice. E dopo, vedi se guardi più nel profondo vedi un grande pesce, e tutto fino al fondo. Un bravo fotografo deve essere capace di catturare tutti e 4 i livelli. Imparare a suonare la chitarra ascoltando T-Bone e Wes Montgomery, e altri come loro, io ho percepito tutti e 4 i livelli in musica.   Oggi non li ricevo dalla maggioranza dei chitarristi, mi arriva soltanto il suono generico del pedale Bob Bradshaw, e la percezione rimane in superfice. Niente cielo, nessun pesce. Quando suoni con questi pedali suoni come chiunque altro e va via la tua personalità. Per me la personalità e individualità e unicità è il più grande dono che Dio ti ha dato. Questo ti fa riconoscere Yngwie Malmsteen o Buddy Guy da 2 note. Così evito di usare pedali che fanno diventare il mio suono come quello di chiunque altro. Io non uso batterie nella mia chitarra, e non uso transistors per  gli amplificatori. Uso valvole. Per me le valvole sono ancora vive. I transistor soffocati. Questo non è il mio suono, non  fatemi suonare così.

SOUND

Let's say you're a photographer, and you want to take a picture of a pond. When you take the picture, there's a reflection in the pond of the sky and the clouds. And then, you see flower petals floating on top, and if you look deep down, you see a big fish, and then you see all the way to the bottom. A good photographer should be able to capture all four levels. The way I learned guitar, through T-Bone and Wes Montgomery and people like that, I get all four in the sound. Today I don't get it from a lot of guitar players I only get the generic Bob Bradshaw pedal sound, where you only get the surface. You don't get the sky, and you don't get the bottom, and you don't get the fish. When you play through those pedals, you immediately sound like somebody else, and there goes your personality. To me, personality and individuality and uniqueness is the greatest thing that God gave to you; this is how you can tell Yngwie Malmsteen from Buddy Guy in two notes. So I avoid using pedals that make me sound like somebody else. I don't use batteries in my guitar, and I don't use transistors for amplifiers. I use tubes. To me, tubes are still flesh. Transistors are like saranwrap sound. That's not my sound, so don't make me sound like that.

TONE

Mi rivolgo ai cantanati più che ai chitarristi. Dal momento che sò del tono di testa, tono nasale, tono di gola, tono del petto, tono del diaframma. Questo è quello che devono conoscere della mia musica gl'ingenieri del suono. Allora io dico "apri la porta dello studio". Non appena si apre la porta, il suono esce come un prisma di vetro che si mette contro il sole e si vede tutto l'arcobaleno dietro. Io non voglio solo il giallo e l'arancio, voglio l'arcobaleno intero. Questo è il mio tono. Mi domando ora, se io sono l'ospite della registrazione di qualcun altro o è la mia registrazione.  Chiedo agli ingenieri di alzarsi dalle sedie e di lavorare insieme. Ho chiesto a loro di mettere 2 o 3 microfoni in diversi posti, uno sull'altoparlante diffusore, uno nella stanza e uno dietro, in modo da ottenere il modo complete. Faccio 4-7 note, sulla settima nota saltare fuori dagli altoparlanti. Quando io colpisco la sustain nota è l'equivalente del grappolo d'uva. Quando io spremo il grappolo d'uva, e io schizza e ti bagna, questo è quello che voglio. Non voglio un grappolo che lo schiacci e non esce niente. Io voglio riuscire a bagnarti con la mia emozione. E l'unico modo per ottenerlo è che l'ingeniere si emozioni con me. Per fare questo devi fare del tuo meglio. Non è una cosa facile, non è come andare a una festa. A volte è necessario mangiare gli avanzi di ieri. E' come fare delle immersioni con la stessa quantità d'aria, alcune volte trovi le perle, altre volte no. 

TONE
I relate to singers more than I do guitar players. Since I'm aware of singers' head tones, nasal tones, throat tones, chest tones and diaphragm tones, this is what I want the engineer to be aware of in my music. Engineers get really insecure. So I say, "Open the studio door." As soon as they open the door, the sound comes out like a prism of glass that you put up against the sun and you see all the rainbow behind. I don't just want the yellows and the oranges; I want the whole rainbow. That's what my tone is about. I demand it now, whether I'm a guest artist on somebody else's record or it's my record. I demand that the engineer get off his seat and go in and work with me. I ask them to put two or three microphones in different places; one on the speaker, one in the room, and one in the back, so you get the whole picture. I do four to seven notes; on the seventh note, I want it to jump out of the speakers. When I hit the sustain note-it's equivalent to a grape. When I squeeze that grape, and it squirts and it gets you wet, that's what I want. I don't want the grape that you squeeze and nothing comes out. I want to be able to get you wet with my emotion, and the only way to do it is to create a thing with the engineer that gets him wet. All you can do is do your best. Not every time you're going to have a feast. Sometimes you have to eat yesterday's leftovers. It's like you go diving, and you use the same amount of air to go down, aod sometimes you catch the pearls and sometimes you don't.

PRATICA

Io mi esercito con le scale, e senza le scale
Io suono una nota con il vibrato che suona come qualcuno che si lamenta. A volte quando una persona si lamenta è come un suono universale. Non c'è bisogno di conoscere il giapponese ma dal modo che John Lee Hooker suona tu capisci esattamente cosa sta dicendo. Così mi alleno nel non esprimere le note: do re mi  fa sol la si do. Mi mi alleno a esprime le emozioni umane. Forse penso a Aretha, io penso a Dionne Warwick, e a certe frasi che loro cantano. Così mi esercito l'ultima nota (canta modulazione), quella è la nota che pratico. Dimentico le altre note e ottengo la battuta finale, arrivo alla battuta finale, quindi se si sta suonando Blues o qualsiasi altra cosa sta suonando "Che nota, uomo !". Mi esercito dalle 22 alle 2 del mattino, perchè la mia famiglia si addormenta alle 22. Proseguo a suonare con rhythm machine che mi da un poco di spinta, e poi spengo guardo video di Hendrix o Wes Montgomery, e qualcun altro, poi suono e basta, ed è un poco come cambiare pelle. Nonostante ami molto Wes o T-Bone, Buddy Guy, suono per sbarazzarmi di tuute quelle persone che amo. Registro tutto, lascio girare il nastro, e il mattino dopo ascolto quello che ho registrato, ascolterò solamente, perchè quello é totalmente inconscio. Non sò se quello che ascolto l'ho suonato io.  E mi dico "ho suonato questo stanotte ? e' buono questo, ci sono 4 battune che sono buone. E gli do un voto da 1 a 10. C'è una canzone lì. Poi inizio a lavorarci sopra, e poi tutto d'un tratto trovo qualcosa che quando la gente lo ascolterà dirà "questo è Carlos". Filmo in video-tape le mie performance. Nei concerti quando suoni una nota, e senti quelle grida penetranti come nei vecchi dischi di James Brown, dove tu sai di dare a quella donna di più del suo amante, psichiatra, o rabbino, può fare per lei

(amore, amico, religione. Spesso le isteriche calmano uno poco la loro nevrosi nella prima e nella terza)

PRACTICE

I practice scales, and I practice nonscales which get inside the note. I play one note that when you vibrate it, it sounds like somebody holding you and moaning. Sometimes, when a person moans, it's like a universal sound. You don't have to hear lyrics in Japanese or Italian or English or anything; by the way John Lee Hooker moans, you know exactly what he's saying. So I practice not to articulate notes, do-re-mi-fa-sol-Ia-ti do: I practice to articulate human emotions. Maybe I think of Aretha; I think of Dionne Warwick, and certain phrases that they sing. So I practice the last note (sings modulation) - that's the note that I practice. I forget the other notes, and I get to the punchline, if you will, how I deliver the punchline, so, whether you're playing blues or whatever you're playing, they go, "Man, that note!" I practice from 10 o'clock to 2 o'clock in the morning, most of the time, 'cause my family falls asleep by 10. I go through a process of playing with a rhythm machine to give me that momentum, then I turn it off or I'll watch Jimi Hendrix or Wes Montgomery or somebody on video, and after a while I turn everything off and I just play, and it's kind of like a snake shedding its skin. As much as I love Wes or T-Bone or Buddy Guy, I play to get rid of all those people that I love. I tape everything. I just leave it running, and I'll play both sides of the cassette the next morning. I won't play anything; I'll just listen to what I did the night before, because it's totally unconscious. I don't even know that I played it. And I go, "Damn, I played this last night? Ooh, right here, these four bars right here," and I mark it, from 0 to 10. "There's a song right there." Then I start working on it, and then all of a sudden I've found out that thing where I know if people hear, they're gonna say, "That's Carlos." I also tape my performances-and videotape. I listen to the ones that, from one to ten, I got 15. I know which concert spilled over, where you hit a note and you hear those piercing screams that sound like those old James Brown records, where you know you got to that woman beyond what her lover, or the psychiatrist, or the rabbi can do for her. '

INSTRUMENT

Paul Reed Smith è ancora la casa. Fondamentalmente suonare le prime tre chitarre che ho comprato da lui nel '79. Le vecchie suonano divinamente, e rimangono in accordate. Hanno ancora quel tono di T-Bone, Wes Montgomery, quel tono di Jimi. Non suono le cose nuove. Uso un vecchio ampli Boogie. La cosa principale è, che entrambi si sono impegnati a dire: 'Noi amiamo la tua onestà, e ti ringraziamo per aver utilizzato la nostra roba'. Paul ha fatto un impegno che egli farà una chitarra ne nel modo in cui lo ha fatto in origine, così, quando io suonerò la chitarra, con o senza amplificatore, il sustain, quando suoni un'accordo, o una nota, con l'amplificatore, avrai una durata molto lunga dellaq nota. Non ho bisogno di una certa chitarra o un preciso amplificatore per ottenere il mio tono. Anche con una Stratocaster, o con un Fender o un Pignose, posso raggiungere il mio tono. E' nella sensibilità delle tue dita, e il bagaglio di tutto ciò che si prende dalla vita, e si esprime attraverso questo pezzo di legno e le corde, e questa scatola con le manopole. Naturalmente, certe cose rendono più facile tutto, ma a questo punto, penso che anche se prendo una chitarra classica, o una chitarra acustica hollowbody, la gente può dire: "Questo è ancora Carlos."

INSTRUMENT

Paul Reed Smith is still the home. I basically play the first three guitars that I bought from him in '79. The old ones sound like they've got the Father, the Son, and the Holy Ghost tone, and they stay in tune. They've still got that T-Bone tone, that Wes Montgomery tone, that Jimi tone. I don't play nothing new. I use old Boogie amps. The main thing is, they both made a commitment to say, 'We love your honesty, and we thank you for using our stuff.' Paul made a commitment that he's gonna make a guitar to go back the way he did it originally, so when I strike the guitar, amplifier or no amplifier, it sustains; when you hit the chord, or the note, beyond the amplifier, you're already sustaining. I don't need a guitar or a certain amplifier to get my tone. Even with a Stratocaster, or with a Fender, or a Pignose, I can get to my tone. It's in the feeling of your fingers, and the content of everything that you take from life, that you express through this piece of wood and the strings, and this box with knobs in it. Of course, certain things make it easier, but at this point, I think that even if I grab an acoustic nylon guitar, or an acoustic hollowbody guitar, people can say, "That's still Carlos."

DIRECTION

Quando ascolto a John McLaughlin o Pat Metheny o Mike Stern, sento come loro espongono così bene, non vorrei suonare  così, a meno che io potessi fare qualcosa che quei ragazzi non hanno fatto. Ho appena ricevuto un video di John Coltrane suonando "A Love Supreme", mi ha proprio devastato. Il mio cervello è come un'ameba, come un bambino che sta imparando a scarabocchiare e lui è Leonardo da Vinci, o Michelangelo che dipinge il soffitto della Cappella Sistina. La cosa che vorrei per me, e sarebbe ancora più impegnativa, è quello di andare a scuola e imparare l'armonia, come Miles e Wayne, perché quello è il loro forte, quello che fanno è incredibile. Come Stravinsky, sentono armonicamente. Ti spaventano a morte con il loro contenuto armonico. Suonano una nota, ma gli mettono tutti quegli accordi attorno, e la gente dice: "Buon Dio, come fanno a farlo?" Io Non sento così, mi piacerebbe poter sentire di più, ogni tanto vorrei andare a scuola, come Tony Williams ha fatto, e imparare che, perché questo è affascinante per me. 

DIRECTION

When I listen to John McLaughlin or Pat Metheny or Mike Stern, I feel like they cover it so well, I wouldn't play like that, unless I could do something that those guys haven't done. I just got a video of John Coltrane playing "A Love Supreme"-it just devastates me. My brain is like an amoeba, like a kid who's learning how to doodle and he's Leonardo da Vinci, or Michelangelo painting the ceiling. To me, the thing that would be even more challenging is to go to school and learn harmonics, like Miles and Wayne, because that's their forte; what they do is incredible. Like Stravinsky, they hear harmonically. They'll scare you to death with their harmonic content. They play one note, but they put all those chords around it, and people say, "Good God, how do they do that?" I don't hear that; I wish I could hear that more, so I want to go to school sometime, like Tony Williams did, and learn that, because that's fascinating to me.

Tony Williams is Born in Chicago and growing up in Boston, Williams began studies with drummer Alan Dawson at an early age and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's "Second Great Quintet." Williams was a vital element of the group, called by Davis in his autobiography "the center that the group's sound revolved around". His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures).

TITLE COMPOSER

1981 - All I Ever Wanted - Carlos Santana; Chris Solberg; Alex Ligertwood  - dall'album Marathon

1979 - Aqua Marine - Carlos Santana; Alan Pasqua - dall'album Marathon

1981 - Bella - Carlos Santana; Chester Thompson; Sterling Crew  - dall'album Blues for Salvador

1968 - Black Magic Woman - Peter Green  - dall'album Abraxas

 1987 - Blues for Salvador - Carlos Santana; Chester Thompson  - dall'album Blues for Salvador

1981 - Brightest Star - Carlos Santana; Alex Ligertwood - dall'album Zebop!

1976 - Europa (Earth's Cry Heaven's Smile) - Carlos Santana; Tom Coster - dall'album Amigos

1995 - Every Now and Then - Vernon Reid - dall'album Dance of the Rainbow Serpent

1971 - Everybody's Everything - Carlos Santana ; Milton L. Brown; Tyrone Moss - dall'album Santana III

1967 - Evil Ways - Clarence "Sonny" Henry - dall'album Santana

1973 - Flame Sky - John McLaughlin; Carlos Santana; Doug Rauch - dall'album Welcome

1966 - Gypsy Queen - Gabor Szabo - dall'album Abraxas

1987 - Hannibal - Carlos Santana; Alex Ligertwood ; Alan Pasqua; Raul Rekow - dall'album Zebop!

1940 - I Love You Much Too Much - parole Don Raye; musica Alex Olshanetsky; Chaim Towber - dall'album Zebop!

1977 - I'll Be Waiting - Carlos Santana - dall'album Moonflower

1969 - In a Silent Way - Josef Zawinul -  dall'album Dance of the Rainbow Serpent

1987 - Love Is You - Carlos Santana ; Chester Thompson - dall'album Freedom

Move On - Carlos Santana; Chris Rhyne - dall'album Inner Secrets

1983 - Mudbone - Carlos Santana -dall'album Havana Moon

1973 - Naima - Jone Coltrane; Dennis Lambert; Greg Walke; David Margen; David Potter - dall'album Love Devotion Surrender

1978 - Open Invitation - Carlos Santana; Greg Walker; David Margen; Dennis Lambert; Brian Potter  - dall'album Inner Secrets

1963 - Oye Como Va - Tito Puente - dall'album Abraxas

1970 - Samba Pa Ti - Carlos Santana - dall'album Abraxas

1996 - Se Eni A Fe L'amo-Kere Kere - Babatunde Olatunji  - dall'album Dance of the Rainbow Serpent

1972 - Song of the Wind - Carlos Santana; Gregg Rolie; Neal Schon - all'album Caravanserai

1970 - Soul Sacrifice - Carlos Santana; Gregg Rolie; Marcus Malone; David Brown - all'album Santana

1995 - Sweet Black Cherry Pie-  Carlos Santana; Chester Thompson; Alex Ligertwood - all'album Dance of the Rainbow Serpent

1989 - The Healer - Carlos Santana; John Lee Hooker; Chester Thompson; Roy Rogers - all'album Dance of the Rainbow Serpent

1976 - The River - Carlos Santana; Leon Patillo - all'album Festival

1986 - This Is This - Josef Zawinul - all'album Dance of the Rainbow Serpent

1971 - Toussaint l'Overture - Gregg Rolie; Michael Shrieve; Michael Carabello - all'album Santana III

1972 - Waves Within - Gregg Rolie; Doug Rauch - all'album Caravanaserai 

PINK FLOYD, THE DARK SIDE OF THE MOON, Guitar Play-Along Volume 68. Any Colour You Like -Brain Damage -Breathe -Eclipse -Money -Time -Us and Them. BOOK WITH CD & GUITAR TABLATURE 

LIBRO DI MUSICA ROCK, CON CD.

CD DI BASI PER VOCE E, VOCE E CHITARRA.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

Pink Floyd - Dark Side of the Moon
Guitar Play-Along Volume 68
Series: Guitar Play-Along
Format: Softcover with CD - TAB
Artist: Pink Floyd

The Guitar Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch!

Songs: Any Colour You Like - Brain Damage - Breathe - Eclipse - Money - Time - Us and Them.

Inventory #HL 00699809
ISBN: 9781423414100
UPC: 884088089450
Width: 9.0"
Length: 12.0"
56 pages

Songs:

- Any Colour You Like  - MUSIC: NICHOLAS MASON, DAVID GILMOUR, RICK WRIGHT - 1973 

- Brain Damage - WORDS & MUSIC: ROGER WATERS - 1973

- Breathe - WORDS: ROGER WATERS - MUSIC: ROGER WATERS, DAVID GILMOUR, RICK WRIGHT - 1973

- Eclipse - WORDS & MUSIC: ROGER WATERS - 1973 

- Money  - WORDS & MUSIC: ROGER WATERS - 1973

- Time - WORDS & MUSIC: ROGER WATERS, NICHOLAS MASON, DAVID GILMOUR, RICK WRIGHT - 1973

- Us and Them - WORDS: ROGER WATERS - MUSIC: ROGER WATERS, RICK WRIGHT - 1973

56 pages

MAYER JOHN, CONTINUUM. TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOHN MAYER IN PERSON.

Continuum 

Music by John Mayer

Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - 
Guitar TAB
Artist: John Mayer

Mayer was recently lauded by Rolling Stone for his massive guitar talent. This folio features notes & tab for all 12 songs from his third CD, including the hits “Gravity” and “Waiting on the World to Change,” plus his cover of Hendrix's “Bold as Love.” Also includes an intro on the making of the album.

Grammy Winner! Best Pop Vocal Album

Inventory #HL 02500986
ISBN: 9781575609447
UPC: 884088129477
Width: 9.0"
Length: 12.0"
100 pages

Belief
Bold As Love
Dreaming With A Broken Heart
Gravity
The Heart Of Life
I Don't Trust Myself (With Loving You)
I'm Gonna Find Another You
In Repair
Slow Dancing In A Burning Room
Stop This Train
Vultures
Waiting On The World To Change

... musician, and get to a point somewhere between
the Trio record and Room for Squares-and
that's a really good place to be."
While the Trio tour showcased Mayer's blazing
fretwork, he says he learned lessons from those
shows about restraint. "When I made my first
record, there was no trust in space because it was
all me; everything was just on those six strings," he
says. "With Steve and Pino it was all about space,
using a whole different palette. When your tone is
good on the guitar, you need, like, four notes. The
more concise and right you have it, the less you
need around it." One listen to such spare, carefully
crafted songs as "Slow Dancing in a Burning
Room" or "I Don't Trust Myself (With Loving You)"
instantly reveals this new approach.
Mayer points to one song in particular as
the turning point for Continuum. "I wrote 'Gravity'
last summer, and it changed everything," he
says. "You talk less when you trust that people
understand you. 'Gravity' had to be sparse. And
when I listened to it for the first time, holding
back, it was a whole new game. That might be
the most important song I ever wrote."
Armed with this outlook, Mayer knew
Continuum would tackle larger ideas than
those that defined his previous albums. "A big
challenge was writing about big themes," he
says. "I'm not a better writer in terms of sitting
down in front of a pad, but I'm better in terms
of receiving inspiration and converting it into
something 'real' quicker. I'm better equipped to
deal with those moments."
The hard-hitting "Belief" tackles an
infinitely complex subject. Over a slinky,
hypnotic guitar groove, he sings, "We're never
gonna win the world, we're never gonna stop
the warlWe're never gonna beat this if belief is
what we're fighting for," questioning the power
and the limitations of faith and convictions.
"It's an intellectuallandmine-how do you
write a song about what people believe without
impugning their belie s?" he asks. I wanted
to get right next to people's beliefs and look at
them without threatening them. It's tricky. You
only get x number of syllables and you have to
write something you can defend."
With "Waiting on the World to Change,"
Mayer shot for something even more ambitious something
like an attempt to explain his
generation's attitudes about politics. "It's
meant to shed a little light on inactivity and
inaction," he says, "because I don't believe that
inaction is a lack of interest. I think inaction is
preservation-nobody wants to get involved in a
debate in which the rules and facts will change
so that they'll lose. So we end up with this other
option, which is, I guess we'll just have to wait
for things to get better.
Continuum also includes the first cover
Mayer has put on an album, his version of "Bold
As Love" by the incomparable Jimi Hendrix. "To
me, it's the quintessential Jimi Hendrix song,"
says Mayer. "The sensitivity, the imagery, the
power. I also think the third record is the time
when you challenge everybody. It's your throwdown.
Ilike inviting the challenge of, Should
this guy even touch Hendrix's music? To which I
answer, Well, everybody should. Why not?"
Ultimately, Continuum represents maturity,
both musically and thematically, for John
Mayer-a concept that he wasn't comfortable
with until now. "A lot of these songs are about
coming to terms with getting older," he says.
"My generation was never told we were going to
get older. We thought we were going to hear our
names on Romper Room for the rest of our lives.
For a long time, I was really upset about getting
older, worried that things were just going to level
out. But then I realized that everyone around me
was getting older at the same time. We're all
fighting it together, and we're always going to
be those kids, the first really emotionally aware
generation. When I realized that, I could relax
about it a little bit. And I thought that maybe I
can be the guy to sing about it.

Continuum
Series: Play It Like It Is TABLATURE Guitar
Song List:

Belief - Words and Music: John Mayer - 2006
Bold As Love - Words and Music: Jimi Hendrix - 1968
Dreaming With A Broken Heart - Words and Music: John Mayer - 2006
Gravity - Words and Music: John Mayer - 2005
The Heart Of Life - Words and Music: John Mayer - 2006
I Don't Trust Myself (With Loving You) - Words and Music: John Mayer - 2006
I'm Gonna Find Another You - Words and Music: John Mayer - 2006
In Repair - Words and Music: John Mayer, Charlie Hunter - 2006
Slow Dancing In A Burning Room - Words and Music: John Mayer - 2006
Stop This Train - Words and Music: John Mayer, Pino Palladino - 2006
Vultures - Words and Music: John Mayer, Pino Palladino, Steven Jordan - 2006
Waiting On The World To Change - Words and Music: John Mayer - 2006