TESTI DELLE CANZONI - ACCORDI - PENTAGRAMMA - TABLATURE

311 GUITAR TABLATURE SPARTITI ACCORDI VOCE PENTAGRAMMA LIBRO MUSICA ROCK CANZONI BOOK

311, 311. GUITAR TABLATURE

 

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

Prezzo: €23,00
€23,00

311 FROM CHAOS GUITAR TABLATURE BOOK SPARTITI CHITARRA ACCORDI PENTAGRAMMA LIBRO

311, FROM CHAOS. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA ROCK.

SPARTITI PER CHITARRA E VOCE :
ACCORDI, PENTAGRAMMA, TABLATURE.

 

Series: Guitar Recorded Version TAB
 
Called "the sonic cornerstone for remarkably original rap-metal" by the All Music Guide, the 2001 Volcano label debut from Omaha quintet 311 features a dozen super-charged songs. Our matching folio features exact transcriptions in notes & tab for: 66 pages
 

SONGS 

Amber
Champagne
From Chaos
Full Ride
Hostile Apostle
I Told Myself
I'll Be Here Awhile
Sick Tight
Uncalm
Wake Your Mind Up
You Get Worked
You Wouldn't Believe

Prezzo: €99,99
€99,99

THE ROOTS OF SLIDE GUITAR Fred Sokolow CD TABLATURE Come On in My Kitchen Robert Johnson-SPARTITI LIBRO

THE ROOTS OF SLIDE GUITAR. Fred Sokolow. Metodo per suonare e cantare il blues con 3 titoli acustici e 2 elettrici.

LIBRO DI MUSICA BLUES CON CD. 

SPARTITI PER VOCD E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.

  

THE SONGS AND LICKS THAT MADE IT HAPPEN 
A SURVEY OF SLIDE GUITAR, ITS PIONEERS, AND HOW IT DEVELOPED

 

This book/CD pack is a complete survey of slide guitar, its pioneers, and how it developed. It includes: 6 note-for-note transcriptions of famous slide tunes :

-Come On in My Kitchen (Robert Johnson)

-Motherless Children (Mance Lipscomb)

-Roll and Tumble Blues ("Hambone" Willie Newbern)

-You Can't Lose What You Ain't Never Had (Muddy Waters)

-You Gotta Move ("Mississippi" Fred McDowell)

-You Shook Me (Earl Hooker with Muddy Waters);

instruction in the essential playing styles; the history and the development of slide guitar; biographies of its representative artists; and recordings on CD of the songs, exercises and licks.


You gotta move -come on in my kitchen -motherless children -roll and tumble blues -you can't lose what you ain't never had -you shook me. CD TABLATURE

 

HOW TO USE THIS BOOK AND RECORDING
It swoops, wails, whines, moans and growls: slide guitar sings. It's a crowd pleaser, and it reaches people because it conveys naked emotion-especially when playing the blues. And most slide guitar heard today, whether in a blues, rock or country song, is played in a style derived from early Mississippi Delta blues.
Modern blues and rock slide guitar evolved from traditional acoustic styles. This book is about the guitarists who made that evolution happen. It takes you to the roots of slide guitar. Each of the six classic blues tunes transcribed here demonstrates a particular style and tuning. Every song is preceded
by information, exercises, scales, licks and chords that are needed for that style.
Timing is such a major part of slide guitar that it's almost impossible to learn from the printed page alone. Listen to the recording that comes with this book before playing a note. Once you know how a tune sounds, then it's time to check out the tablature and/or music notation.
If you want to learn any style of music, it helps to imitate the masters. Whether you're a beginner or an experienced player who wants to get back to the roots, here is the essential guitar stuff. This is an introduction to and an appreciation of great vintage music, and it's a foundation on which you can build your own style.

." Fred Sokolow
All guitars and vocals on the recording that comes with this book are by Fred Sokolow. Bass, drums, piano and horns are by Dennis O'Hanlon, and it was recorded at O'Hanlon Recording.

 

MUSICAL INTRODUCTION

A LOOK AT THE ROOTS OF SLIDE GUITAR
Most musical historians trace slide guitar to Hawaii, but Johnny Shines, friend and accompanist of Robert Johnson, is one of many who claim that blues-style slide developed in Africa, along with open-chord tunings. The first literary mention of blues slide was W. C. Handy's famous 1903 sighting of a singer at a Mississippi train depot who used a knife to slide on his guitar strings. Like most Mississippi blues players, he made his guitar sing and mimic his voice.
Early players slid on the strings with pocket knives or beef bones, and some held the guitar on their lap, Hawaiian-style, but by the 1930s, most blues players held the guitar upright and used a brakenoff bottleneck or a sawed-off length of pipe for a slide. This was a major stylistic development, because if you hold a knife in your left hand, it's impossible to fret the strings with your fingers; fitting a slide on the ring finger or little finger frees up two or three fretting fingers. Most slide players tuned the guitar to a major chord, usually 0, E, G or A, and used the slide to play major chords, as well as individual notes.
There was a blues craze in the 1920s, and by the middle of that decade, major labels began recording blues guitarist/singers. The first crap of slide players who recorded included Sylvester Weaver, Barbecue Bob, Hambone Willie Newbern and Sam Butler. Following them were the Mississippi bluesmen Son House, Charlie Patton, Bukka White, Kokomo Arnold, Sam Collins and Robert Johnson. They played a raw, very rhythmic, emotional style of blues and sang and wailed with passionate intensity. Texans Blind Willie Johnson and B. K. Turner (the Black Ace) were influential early slide blues players, as were Tampa Red and Furry Lewis, who boasted a polished, gentler slide style.

THE COUNTRY CONNECTION
Hawaiian guitarists developed a lap style of playing: the guitar lies in your lap, strings facing up, and you hold a steel bar down on the fretboard. This technique migrated to the mainland and, in the 1920s, with the help of Cliff Carlisle, Jimmie Tarlton and slide players who accompanied Jimmie Rodgers, it became an essential part of country music. By the '30s, Hawaiian and country pickers began using electric, fretless "lap steels." These evolved over the years: they grew legs, more strings, twin and triple necks (in different tunings), and foot pedals and knee levers to bend notes while playing.
Thus was born the pedal steel guitar that is now a signature country sound. But country pedal steel and lap steel bear little stylistic resemblance to blues or rack slide playing.
In the early '50s, the acoustic lap style slide guitar (see Dobro picture, below) began appearing in bluegrass bands. The wooden, acoustic whine of the Dobra is also heard in contemporary country music. Usually played in a bluesy style in open tunings, country Dobra is more related to bottleneck guitar than is its cousin, the pedal steel.
All-metal Dobro
Wooden-bodied squaredneck Dobro


BLUES SLIDE PLAYERS PLUG IN
Before instruments were amplified, it was hard for a guitarist to be heard over a piano, horn or even a banjo. In the late '20s, the National Company answered this need by making all-metal guitars, fitted inside with convex aluminum resonators, like speaker cones. Sounds crazy, but it worked: the guitars were louder, with more sustain, and they rapidly became popular with jazz, country and blues players. Lap style players used the square-necked models with a nut that lifted the strings high off the fretboard (better for the metal slide), but bottleneckers favored the round-necked National that could be played like a normal guitar. To this day, the all-metal National and its cousin, the Dobro, are favored by many an acoustic slidester. The Dobro company also makes a wooden, square-neck guitar with a metal resonator fitted into its body (it looks like someone stuck a hub cap over a guitar's soundhole) that bluegrass players use.
However, even the National or Dobro could not cut through drums, saxophones and electric guitars. By the mid-'40s, many Mississippi players had relocated in Chicago, and a new kind of blues was brewing. Elmore James and Muddy Waters led full electric bands, playing screaming, amplified slide.
It was loud and distorted, and single-note solos became the norm-with a whole band for backup, a guitarist didn't need to fingerpick or play chords. You could wail with one note, like a sax or trumpet.
Waters' and James' styles were clearly rooted in the Delta, and so was the playing of electric slide pioneers J. B. Hutto and Hound Dog Taylor. But Robert Nighthawk and Earl Hooker began playing electric, single-note style in standard tuning, which was a new direction for bottleneckers.

THE '60S BLUES REVIVAL AND BEYOND
During the '60s, white blues fans, many of whom had learned to play by studying old blues records, sought out the first-generation blues artists. Legendary players whose careers had petered out were rediscovered and brought into the limelight, and many excellent artists who had never played outside their own county recorded and performed all over the world. Folk festivals, concerts and coffee houses featured acoustic and electric blues.
American and European audiences loved the aging but passionate blues legends, and by the mid· '60s a blues revival was in full swing on both continents. Besides giving players like Muddy Waters and Howlin' Wolf a bigger audience, the revival encouraged young players to form new blues bands, and to use blues techniques in rock and pop bands. After playing with John Mayall's blues band, enthusiastic blues disciple Eric Clapton brought blues guitar skills to his rock and pop bands (Cream, Derek and the Dominoes, Bonnie and Delaney). While still playing with the Butterfield Blues Band, guitarist Mike Bloomfield backed up Bob Dylan on one of his first electric albums. And slidemaster Duane Allman used his blues chops with the Allman Brothers Band and, as a studio player, infused all kinds of pop recordings with the blues.
In the '70s and '80s, pop audiences were introduced to slide sounds by Johnny Winter, George Thorogood, Eric Clapton, Duane Allman, George (post-Beatles) Harrison, Bonnie Raitt, Little Feat's Lowell George, Ry Cooder, David Lindley and the Rolling Stones. Many Southern rock bands had slide guitarists, and they influenced a new crop of country stars who, in the '90s, used slide on Nashville hits. Slide is heard more and more in movie and television soundtracks. Fortunately, as its audience grows, slide guitar has retained its down home character.

 

MUDDY WATERS
Often called the "father of electric blues," Muddy Waters was the leading force in the post-war
Chicago blues scene and an important figure in the development of rock and roll. The roster of players who learned their craft playing in his band reads like a "who's who" of blues legends: Little
Walter, Junior Wells, Otis Spann, James Cotton and Jimmy Rogers are just a few. While T-Bone
Walker and B.B. King, with their big-band sound, urbanized and streamlined the blues, Waters
brought it back to its funky Delta roots with a small but powerful band whose lineup (two guitars,
piano, harp, bass and drums) would evolve to become the typical rock band format.
Born McKinley Morganfield of sharecropper parents in Rolling Fork on the Mississippi Delta, April 4, 1915, Muddy Waters built his own guitar when he was seventeen. Robert Johnson and Son House
were his main influences; he watched Son House in action when House came to Clarksdale,
Mississippi. House taught him riffs, open tunings and songs, and showed him how to break off and
flame-smooth a bottleneck.
In '41, folklorists Alan Lomax and John Work came to Clarksdale and recorded Waters for the
Library of Congress. In '43, ready for bigger things, Waters moved to Chicago. Though his style of
choice was rough and old-fashioned compared to the reigning blues artists like Tampa Red and
Lonnie Johnson, (of whom he could do a simple imitation) Big Bill Broonzy helped Waters get his
start playing in clubs. In '44, his uncle gave him his first electric guitar, and by the following year he
had teamed up with guitarist Jimmy Rogers. In the next few years, he started to develop his electric
sound and began recording for the Chess brothers.
In 1950, with the release of "Rollin' Stone," (backed with a Robert Johnson-derived version of
'Walking Blues"*), Waters' career was in high gear. In the next several years he had a series of
regional and national R&B hits. He was Chicago's reigning king of the blues, working every night, his style imitated by other bands, and even some of his sidemen had hit records! He recorded blues
classics like "Hoochie Coochie Man," "Honey Bee" and "I Just Want To Make Love To You."
In the mid-'50s, when rock and roll came roaring onto the charts, Waters' record sales dwindled. Still, he held his Chicago fans and his legend grew. In '58 he played in England and then was a hit at
Carnegie Hall and the Newport Jazz Festival. The early '60s British invasion brought him wider
recognition, as the Rolling Stones (who took their name from the Waters tune), John Mayall, the
Beatles and others sang his praises ... and his songs! In the blues revival that ensued, Waters was
acknowledged as the founding father by the British and by American guitar heroes like Mike
Bloomfield, Steve Miller, Johnny Winter and Jimi Hendrix. He played festivals, college concerts and clubs, was filmed for television in England and the U.S., did world tours, starred at the Montreaux Festival, and played stadiums and arenas.
In the late '70s and early '80s, Waters won three Grammys, played for the White House Staff Party,
appeared in the movie The Last Waltz, and toured with Eric Clapton. On April 30, 1983, he died
peacefully in his sleep at his suburban Chicago home.
78 and 45 rpm singles had an "A side" (the featured tune) and, when you flipped them over, a "6 side," or backup song.
 

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DOBRO WORKBOOK DAVID HAMBURGER techniques lap-style resophonic slide guitar CD TABLATURE

the DOBRO WORKBOOK, DAVID HAMBURGER. 98 Esempi per lap-style, slide, fotografie di tecnica. CD TABLATURE

Tutti gli esempi di questo libro sono suonati in accordatura SOL: SOL - SI - RE - SOL - SI - RE 

LIBRO METODO MUSICA CON CD. 

 

Teaches licks, techniques and improvisation for lap-style resophonic slide guitar. Covers: scales, licks, songs and examples; hammer-ons, pull-offs, slides, picking techniques; syncopations, rolls, double stops, playing in different keys; and more. The book is in standard notation and tab, and the CD features 98 full-demo tracks. 80 pages.  

The Technical Lowdown and a Note about the Recording All of the examples on the accompanying CD were played by the author using a 1996 Dobro Model 27DX strung with John Pearse phosphor bronze resophonic guitar strings (.016-.059) and played with National metal fingerpicks, a National metal thumbpick, and a Shubb bar. The short examples are played slowly, accompanied by a click track for reference. The longer examples are played up to tempo with a rhythm section. On the longer examples, you can use the balance control on your stereo to pan hard right, to hear just the example itself, or hard left, in order to play along with the rhythm track. +All of the examples in this book are to be played in the standard High G tuning, G-B-D-G-B-D, low to high. The first track on the CD provides a series of notes to which you can tune up.

Unless someone mistakenly gave you this book for your birthday instead of bringing a dozen roses or sending you to Nazareth, Pennsylvania on an all-expenses-paid tour of, oh, I don't know, some guitar factory, you're probably reading this right now because you want to improve your lap-style resophonic slide playing. Have you come to the right place? Well, let's start with what I can't show you. I can't teach you patience and determination, two relatively important ingredients in the sometimes difficult but generally enjoyable journey towards becoming a better musician. And inspiration-that impulse to take a weird left turn in your break, or to put two and two together and come up with thirtyseven- well, you're on your own in that regard, too. I can't even really show you some of the more tangible things like how to learn off of records or how to make discoveries by observing another musician perform or play at a jam. I might suggest ways to go about that, but I can't get inside your head to show you how that part of the learning process feels. Finally, I won't be showing you anyone's note-far-note solos, because I happen not to have the publishing rights to anything like that just lying around. But that's OK, because there are other places you can get that sort of thing. So what can I show you? Well, I can show you some notes. To be more specific, I can show you which notes you might play, how you might play them, and when you might play which ones. Put another way, I can show you various materials, techniques, and concepts. Materials are more or less the facts of music-the scales musicians choose from, the tunes they play on. From these bedrock materials come more subjective, creative things like phrases, licks, and breaks. Techniques are essentially the mechanics of playing a particular instrument. How to execute slides, rolls, hammer-ons and pull-offs, melodic style patterns, right-hand fingerings, and bar moves-these are all technical concerns. You, yourself, have to ultimately train your hands to respond the way you want them to, to create the sounds you seek, but I can give you particular things to practice that will help you focus your brain and your muscles on one thing at a time. Finally, concepts are just that-ideas about music. You need to know what you're trying to do in order to work on it and get better at it. A concept can be very specific, like using call-and-response phrasing to create a break, or using syncopation to create a new roll. Or it can be something more general, like an approach to practicing more effectively. The book is based on the demands of playing bluegrass-you can play any kind of music on the resophonic slide guitar, and I hope you take some of the ideas here and use them towards your own musical ends, bluegrass or otherwise, but bluegrass happens to be both technically demanding and possessed of a rich history of lap-style playing, which makes it a good point of departure for anyone interested in playing this instrument. I have tried to provide material that will work "in the real world," i.e., things that you could actually incorporate into your playing and really use. So while this is not a book of tunes per se, I have included arrangements of a handful of tunes from the the bluegrass repertoire, and many of the exercises are essentially sample breaks on those tunes. Some of the other exercises are really more like studies, designed to show you an idea, illuminate a concept, or give you a real workout executing a particular kind of move or pattern. These exercises are the musical equivalent of swinging two baseball bats while on deck before stepping up to the plate with just one-if you can get comfortable with a particularly difficult, demanding passage while practicing, the simpler things will come that much easier when you're on stage or in an impromptu jam. Each chapter builds upon what has come before, technically and conceptually, as it introduces the next round of material. While I have tried to keep the theory to the necessary minimum, it will help if you have a basic understanding of major, minor, and blues scales as well as of major and minor chords. 

Table of Contents :

Introduction .

A Word about "the Dobro" .

Some Essentials for Playing Lap-Style Resophonic Slide Guitar .

Holding the resophonic guitar

The bar

picks

capos

strings

 

Chapter 1 Basic Techniques in Open Position-Hammer-Ons, Pull-Offs, Slides, and Picking

The G Major Scale;

Hammer-Ons;

Pull-Offs;

Blues Notes in G;

Combining Major and Blues Sounds;

Combining Hammer-Ons and Pull-Offs;

Slides 

 

Chapter 2 Building Licks and Starting to Improvise

Creating Your Own Vocabulary;

Four-Note Units;

Combining Units to Create Licks;

Unison Slides;

Double Stops;

Call and Response;

"New River Train";

A la "Nine Pound Hammer" .

 

Chapter 3 Syncopations and Rolls

Syncopated Rolls in G;

Syncopated Rolls over C;

Syncopated Licks in the Closed Position;

"Gowanus Valley Blues #2";

Playing over C in Open Position;

"Bill Cheatham"

 

Chapter 4 The Melodic Style

G Scales, Melodic Style;

From Open Position to Melodic Style and Back;

Creating Licks in the Melodic Style;

"Sally Goodin"

 

Chapter 5 Playing over C and F

C Scales and Licks;

Applications;

"Bill Cheatham" Revisited;

F Scales and Licks;

Applications;

"Red-Haired Boy"

 

Chapter 6 Playing in the Key of D, Open Position

D Scales;

Four-Note Units;

Combining Units to Create Licks;

Applications;

"New River Train";

Syncopations in D;

Double Stops in D;

"Reuben"

 

Chapter 7 Playing in D, Melodic Style

D Scales and Licks;

"Reuben" Revisited;

"Little Maggie";

Playing over A (in D);

"Soldier's Joy";

"Whiskey Before Breakfast"

 

Chapter 8 A and E

A Minor Scales and Licks;

A Major Scales and Licks;

"Old Joe Clark";

E Minor Scales and Licks;

E Major Scales and Licks;

"Salty Dog" .

Appendix-Finding the Notes on the Fingerboard .

 

Afterword.

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LEARN TO PLAY BOTTLENECK GUITAR Fred Sokolow LIBRO CD TABLATURE OPEN D G TUNING Fred McDowell-Robert Johnson

LEARN TO PLAY BOTTLENECK GUITAR. Fred Sokolow. CD TABLATURE

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE

A popular and easy to understand book which teaches and explores the many aspects of bottleneck/slide guitar techniques developed nearly a century ago and made famous through the recordings of legendary blues greats like Robert Johnson, Mississippi Fred McDowell and Muddy Waters. Much of the book is dedicated to teaching you how to use these assorted techniques to make original improvised solos. You will learn to play bottleneck guitar in open D tuning, open E tuning, open A tuning, and standard tuning. Written in notation and tablature.

 

In blues, rock, or country, the gutsy, gritty whine of a slide guitar brings any piece of
music down to earth; it has an unmistakably down-home, "back-to-the-roots" flavor. That's
because slide guitarists today use techniques developed nearly a century ago in the
Mississippi Delta and popularized by the recordings of legendary blues greats like Robert
Johnson, Mississippi Fred McDowell and Muddy Waters.
To play acoustic or electric bottleneck, whether the context is Southern rock, Chicago
blues, country, or heavy metal, you need to look to this source and study the techniques and
sound of the old Delta blues masters.
In this book, you'll learn many of those techniques and how to use them to make up your
own solos. The emphasis is on improvisation. You'll learn back-up and lead styles in several
open tunings and standard tuning, and how to express a melody in bottleneck style. Along
the way you'll pick up lots of wonderfullicks-of-the-masters that will give your playing that
"back-to-the-roots" sound.
P.S.: The recording that accompanies this book is an invaluable teaching aid. All the
written solo and slide techniques discussed in the book are played just as written. Listen
before, during, and after reading the music and/or tablature.
 

Guitars & Strings
You can play slide on any guitar (acoustic or electric, steel or nylon strings), but most
of the old blues players used steel-string acoustic guitars (6 or 12 strings). Many of them
favored the metal-body National with its loud volume and sustain.
Heavy-gauge strings and "high action" make bottleneck playing easier (though they
make normal fretting more difficult). "Action" is the height of the strings from the fretboard.
It's adjustable on many electric guitars. Consult your local music store to see if your guitar's
action can be raised (sometimes this is an easy bridge modification) or if your guitar can
stand heavy-gauge strings.
Bottlenecks & Slides
Many of the original slide players used a broken glass bottleneck, a jackknife, or a
sawed-off piece of metal tubing as a slide. Today you can buy a variety of shapes and sizes
of glass and metal slides, as well as carefully smoothed glass bottlenecks. Here are a
few guidelines:
• Slides versus bottlenecks: Most glass bottlenecks (cut from a real bottle) are slightly
curved. This is helpful if your fingerboard is also curved. If it's perfectly straight, a
straight slide will be easier to use.
• Glass versus metal: This is strictly a matter of personal choice, so try both types on your
guitar to see which you prefer for feel and sound.
• Long versus short: Some slides cover most of your finger and span all 6 (or 12) guitar
strings; others, intended for a more precise single-string playing style, cover only 1 or 2
strings. To begin withthe basics, get a long slide. You'll need itto play 5- or6-string chords.
• Fat versus skinny: Most players wear the slide on their pinkies or ring fingers; this frees
the rest of the left hand for playing chords. Find a slide that fits comfortably on your pinky.

 

LISTENING GUIDE
If you've learned the material in this book/CD set, you have a strong foundation in slide
playing. The next step is twofold:
1. Listen to the masters (recorded or live) and try to imitate what you hear.
2. Make up your own licks, accompaniment, and solos based on the ideas you've
learned.
Learning from Recorded Music
There's a lot to be gained by watching a live performer that records can't duplicate. Go
to live performances by slide players whenever possible, or watch them on TV; more and
more music videos are becoming available. In the meantime, listen to slide guitar
recordings. First, listen for the pleasure of listening and to get acquainted with the styles of
the great players. It's fun and amazing to discoverthe moods and sounds ofthe best players,
past and present. Be sure your listening includes:
Tampa Red
Son House
Robert Nighthawk
Duane Allman
Johnny Winter
George Harrison
Acoustic Players
Robert Johnson Blind Willie Johnson
Bukka White Kokomo Arnold
Electric Players
Earl Hooker Muddy Waters
Ron Wood Joe Walsh
Ry Cooder David Lindley
Fred McDowell
Charley Patton
Elmore James
Eric Clapton
Bonnie Raitt
Next comes listening analytically, with guitar in hand, learning licks and tunes from
recordings. Here are a few pointers:
• Find the tuning: Unless there's a lot of fancy chording, assume that the guitar is in an open
tuning (especially with the acoustic players). Start with your guitar in open G. Find the key
of the song you're analyzing. It's usually the chord that begins and ends every chorus; but,
if your song is the exception to that rule, it's the chord that "resolves" the tune, the chord
that makes the tune feel "finished." This will not be a problem with many of the old-time
players who stayed on one chord throughout a whole tune!
Once you feel sure you can hearthe "tonic" chord (the "key" chord), try to rnatch your open
G chord to it; if it doesn't match, barre across all 6 strings with your index finger and try
to match the G#, A, Bb, B, C, or C# (going up 1 fret at a time to the 6th fret) to that tonic
chord. If one of these matches, place a capo where your barring index finger was and you
are ready to play along with the record. (Consult the capo chart in this book to determine
what key you're in.)
If none of your barred chords matched the recording, retune your guitar to open 0 tuning
and repeat the same process. Eventually you will find the key and be set up to play with
the record.
 

Contents:

Introduction

How To Read Tablature
Equipment
Guitars & Strings
Bottlenecks & Slides
Picks
Open D Tuning
"String-to-String" Tuning
Tuning Down form Standard Tuning
Sliding on the Strings-Preliminaries
Barred Chords
Fretted Chords
Boogie-bass Accompaniment
The D Major Scale
Higher D Major Scale
Emphasizing Open-String Notes
Lower D Major Scale
Turnarounds
The 12th Fret D Major Scale

Open E Tuning
Tuning Up From Standard Tuning
It's the Same as D Tuning

Open G Tuning
"String-to-String" Tuning
Tuning Down form Standard Tuning
Barred Chords
I-IV-V Relationships
Similarities Between D and G Tunings
The G Major Scale
Emphasizing "Open-String" Notes
A Lower G Major Scale
The 12th Fret G Major Scale

Open A Tuning
Tuning Up from Standard Tuning
It's the Same as G Tuning
7th Chords

Slide In Standard Tuning
"String-to-String" Tuning
Playing in the Key of E
E Chord Positions
A Chord Positions
B Chord Positions
9th chord licks
Slide in the Key of A

Play in Any Key You Like - Using a Capo
Conclusion and Listening Guide
Learning From Recorded Music 

 

If you've learned the material in this book/CD set, you have a strong foundation in slide
playing. The next step is twofold:
1. Listen to the masters (recorded or live) and try to imitate what you hear.
2. Make up your own licks, accompaniment, and solos based on the ideas you've
learned.

Learning from Recorded Music
There's a lot to be gained by watching a live performer that records can't duplicate. Go
to live performances by slide players whenever possible, or watch them on TV; more and
more music videos are becoming available. In the meantime, listen to slide guitar
recordings. First, listen for the pleasure of listening and to get acquainted with the styles of
the great players. It's fun and amazing to discoverthe moods and sounds ofthe best players,
past and present. Be sure your listening includes:
Tampa Red
Son House
Robert Nighthawk
Duane Allman
Johnny Winter
George Harrison
Acoustic Players
Robert Johnson Blind Willie Johnson
Bukka White Kokomo Arnold
Electric Players
Earl Hooker Muddy Waters
Ron Wood Joe Walsh
Ry Cooder David Lindley
Fred McDowell
Charley Patton
Elmore James
Eric Clapton
Bonnie Raitt
Next comes listening analytically, with guitar in hand, learning licks and tunes from
recordings. Here are a few pointers:

- Find the tuning: Unless there's a lot of fancy chording, assume that the guitar is in an open
tuning (especially with the acoustic players). Start with your guitar in open G. Find the key
of the song you're analyzing. It's usually the chord that begins and ends every chorus; but,
if your song is the exception to that rule, it's the chord that "resolves" the tune, the chord
that makes the tune feel "finished." This will not be a problem with many of the old-time
players who stayed on one chord throughout a whole tune!
Once you feel sure you can hearthe "tonic" chord (the "key" chord), try to match your open
G chord to it; if it doesn't match, barre across all 6 strings with your index finger and try
to match the G#, A, Bb, B, C, or C# (going up 1 fret at a time to the 6th fret) to that tonic
chord. If one of these matches, place a capo where your barring index finger was and you
are ready to play along with the record. (Consult the capo chart in this book to determine
what key you're in.)
If none of your barred chords matched the recording, retune your guitar to open 0 tuning
and repeat the same process. Eventually you will find the key and be set up to play with
the record.

Prezzo: €20,99
€20,99

WEDDING SONGS SOLO GUITARIST LOVE SONGS CD LIBRO you are so beautiful SPARTITI ACCORDI

WEDDING SONGS FOR THE SOLO GUITARIST, A COLLECTION OF LOVE SONGS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO DI MUSICA CLASSICA E MODERNA, CON CD. 
SPARTITI PER CHITARRA CON : 
ACCORDI, PENTAGRAMMA E TABLATURE. 

ARRANGED, SIMON SALZ.
TRASCRITTO IN 2 MODI: PER CHITARRA FINGERSTYLE, E VOCE E ACCORDI.

Raccolta di brani musicali per accompagnare la cerimonia dello sposalizio. Inclusa "you are so beautiful", resa celebre da Joe Cocker. Contiene: after all -always -Ave Maria (Franz Schubert) -bridal chorus (Richard Wagner) -Canon in re (Pachelbel) -colour of my world -if you say my eyes are beautiful -theme from ice castles -water music, hornpipe (Handel) -the wedding march (Felix Mendelssohn) -we've only just begun -what are you doing the rest of your life? -you light up my life. 

Prezzo: €139,99
€139,99

GOSPEL GUITAR, VOLUME 1. FINGERPICKING AND TRAVIS STYLE.

GOSPEL GUITAR, VOLUME 1. FINGERPICKING AND TRAVIS STYLE. La musica Gospel è la musica dei canti religiosi dei neri d'America. Negli anni venti, prima della grande depressione che colpì gli Stati Uniti nel 1929, quando ai neri fu concesso di avere le proprie chiese, la canzone gospel si definì maggiormente, ed iniziò a diffondersi anche attraverso i dischi. In questo libro troverete alcuni tra i titoli più famosi di musica Gospel (Vangelo). Numerosi artisti della scena americana degli anni '50, iniziarono cantando in chiesa le canzoni sacre di questo libro. Ogni titolo è arrangiato in tre modi: per chitarra e canto, per chitarra fingerstyle e in Merle Travis style. Casualmente nel 1956 Elvis Presley, Carl Perkins, Jerry Lee Lewis e Johnny Cash si trovarono nello studio di registrazione nello stesso periodo, e durante gli intervalli cantarono insieme, divertendosi con alcune canzoni del repertorio Gospel. Siamo certi che questo libro vi aiuterà ad organizzare una vostra divertente Gospel "jam session" improvvisando con queste semplici e chiare melodie. Amazing grace -angel band -can the circle be unbroken -give me that old time religion -in the sweet bye and bye -just a closer walk with thee -life is like a mountain railroad -old gospel ship -rock of ages -swing low, sweet chariot -this train -walking in Jerusalem just like John -wayfaring stranger -when the saints go marching in. TABLATURE

Bluegrass and country singing are firmly rooted in Gospel music: in fact, many of the great bluegrass and country singers learned to sing in church. These are some of the hymns they sang--and later performed and recorded. They are some of the most popular and oldest sacred songs, and they have spread a lot of happiness, comfort and faith over the years. The arrangements are for beginners and intermediate players; and there are a few licks advanced pickers might find interesting! Each song is written three ways:

 

First, there's a "Carter-style" arrangement in the key of C. This is the universal country style in which you pick the melody notes on the bass strings with a flatpick (or with your thumb) and fill in the rhythm with brush downup strokes on the higher strings.

Second, there's a "Carter-style" arrangement in the key of G.

Third, there's a fingerpicking version a la Merle Travis: You pick the melody with your fingers on the high strings while your thumb keeps a steady beat on the bass strings.

Since the songs are written in two (and sometimes three) keys, you can play them in any key you like, with a little help from your capo. If you have a banjo-playing friend, you can match up your playling with the solos in the compainion books: GOSPEL BLUEGRASS BANJO vol.! and vol.2 A final word about Gospel music: A recent release from Memphis' Sun Studios dramatized the importance of hymns in American pop music. A jam session occurred in 1956 when Elvis Presley, Carl Perkins, Jerry Lee Lewis and Johnny Cash all turned up at the studio at the same time. They sang and played together for a few hours, just for fun, and some smart engineer turned on the tape. The first batch of songs they sang--the most obvious common ground for the four young men who would indelibly change the American music scene--was from the Gospel repertory .. .including one of the songs in this collection. It's interesting to note that the hymns led very naturally to a set of Bill Monroe tunes! I hope this book helps you organize your own Gospel jam session. I know that playing these arrangements will teach you a lot about the Carter style and fingerpicking.

Contents:

 

Introduction .
How To Read The Tablature .
Chords used and Chord Fragments .
Carter-style .
Travis style .
Amazing Grace 
Angel Band .
Can The Circle Be Unbroken .
Give Me That Old Time Religion .
In The Sweet Bye and Bye .
Just A Closer Walk With Thee .
Life Is Like A Mountain Railroad .
Old Gospel Ship .
Rock Of Ages .
Swing Low, Sweet Chariot .
This Train .
Walking In Jerusalem Just Like John .
Wayfaring Stranger .
When The Saints Go Marching In
Prezzo: €13,00
€13,00

JOBIM ANTONIO CARLOS, FOR FINGERSTYLE GUITAR TABLATURE

JOBIM ANTONIO CARLOS, FOR FINGERSTYLE GUITAR. Agua De Beber (Water to Drink) -The Girl from Ipanema (Garota De Ipanema) -How Insensitive (Insensatez) -If You Never Come to Me -Meditation (Meditacao) -O Morro Nao Tem Vez (Favela) -One Note Samba (Samba De Uma Nota So) -Quiet Nights of Quiet Stars (Corcovado) -Slightly out of Tune (Desafinado) -Wave. TABLATURE

10 Superb arrangements in guitar Tablature & standard notation, including chord symbols, melody line & lyrics.
FOR GUITAR TAB

ANTONIO CARLOS JOBIM FOR FINGERSTYLE GUITAR
Series: Finger Style Guitar TABLATURE
Artist: Antonio Carlos Jobim
Fingerstyle arrangements of ten of his best:

Água De Beber (Water To Drink)
The Girl From Ipanema (Garota De Ipanema)
How Insensitive (Insensatez)
If You Never Come To Me (Inutil paisagem)
Meditation (Meditacao)
O Morro Nao Tem Vez (Favela) (Somewhere In The Hills)
One Note Samba (Samba De Uma Nota So)
Quiet Nights Of Quiet Stars (Corcovado)
Slightly Out Of Tune (Desafinado)
Wave

 

- Corcovado (Quiet Nights Of Quiet Stars) - MUSIC & LYRICS: Antonio Carlos Jobim - 1962

- How Insensitive (Insensatez) - MUSIC: Antonio Carlos Jobim - LYRICS: Vinicius De Moraes - 1963

- If You Never Come To Me (Inutil Paisagem) - MUSIC & LYRICS: Antonio Carlos Jobim - 1965

- Meditiation (Meditacao) - MUSIC: Antonio Carlos Jobim - LYRICS: Newton Mendonca - 1962

- One Note Samba (Samba De Uma Nota So) - MUSIC: Antonio Carlos Jobim - LYRICS: Newton Mendonca - 1961

- Somewhere In The Hills (O Morro Nao Tem Vez Favela) - MUSIC & LYRICS: Antonio Carlos Jobim, Vinicius De Moraes

- The Girl From Ipanema (Garota De Ipanema) - MUSIC: Antonio Carlos Jobim - LYRICS: Vinicius De Moraes - 1963

- Desafinado (Slightly Out Of Tune) - MUSIC: Antonio Carlos Jobim - English LYRICS: Jon Hendricks, Jessie Cavanaugh  - 1959

- Water To Drink (Agua De Beber) - MUSIC: Antonio Carlos Jobim - LYRICS: Norman Gimbel - 1961

- Wave (Vou Te Contar) - MUSIC & LYRICS: Antonio Carlos Jobim - 1967

72 pages

Prezzo: €18,99
€18,99

JOBIM ANTONIO CARLOS FOR SOLO GUITAR Fred Sokolow TABLATURE SPARTITI CHITARRA LIBRO

JOBIM ANTONIO CARLOS, FOR SOLO GUITAR. Fred Sokolow. 16 Titoli. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA BOSSA NOVA. 

SPARTITI PER VOCE E CHITARRA, E SOLA CHITARRA, CON:  

ACCORDI, PENTAGRAMMA, TABLATURE.

Sixteen chord-melody arrangements by Fred Sokolow. Includes 'The Girl From Ipanema', 'How Insensitive', 'One Note Samba' and 'Desafinado'. Also includes introduction and discography.

 

The sixteen Antonio Carlos Jobim tunes in this book are arranged for the solo guitarist in the jazz guitar chordmelody style. The beauty of this style is that the guitar, like a piano, plays melody, rhythm, and harmony. The melody is usually the top note of each chord. Whether you use a pick or your fingers, the guitar is the perfect instrument to express these beautiful bossa nova songs. Guitar is essential to Brazilian music in general, and to bossa nova in particular, and Jobim played many of his classic hits on guitar.

Jobim will always be remembered as one of the originators of bossa nova, the melodious and rhythmic blend of Brazilian samba and cool U.S. jazz that became a pop sensation in the early '60s. His 600+ compositions include several pop hits and Grammy winners. Tunes like "The Girl from Ipanema," "Wave," and "Corcovado (Quiet Nights of Quiet Stars)" have been recorded by Frank Sinatra, Ella Fitzgerald, Tony Bennett, and countless other jazz-pop singers. Like George Gershwin and Duke Ellington, Jobim created a catalog of hits that will forever be reinterpreted by singers and instrumentalists.

His songs are among the "standards" that most working musicians find essential to their repertoire. Born January 25, 1927 in Rio de Janeiro, Brazil, Jobim grew up on Rio's bucolic beach of Ipanema. He often said that the beauty of nature that surrounded him -"the sea, the forest, the mountains, the birds, the lagoon" - influenced his musical composition as much as the piano and guitar lessons he took as a child. He was fascinated by chord changes, and loved experimenting with them. Inspired by Duke Ellington and other jazz bands that came through Rio, Jobim began performing in local nightspots in his early twenties. He developed a mellow guitar and piano style uniquely suited to the expression of his original music. In 1956, Jobim and guitarist Luis Bonfa wrote a musical score for the play Black Orpheus, which, in '59, was turned into a popular French-Brazilian film. The movie's intense music drew international attention to Jobim and Bonfa. That same year, singer guitarist Joao Gilberto recorded Jobim's "Chega de Saudade" for Odeon Records, a Brazilian company for which Jobim was musical director. More than a major hit, the tune defined the budding musical form. As Jobim explained it, in Corcova, Brazil, "bossa" refers to the soft hump above a bull's shoulders, which swings gracefully when the animal walks. Bossa nova has the graceful swing of the Brazilian samba, but with subtler chord changes and more relaxed vocalizing.

Subsequent recordings by Gilberto, helped popularize the new sound, but it really took off internationally when U.S. sax player Stan Getz toured Brazil in 1961 and began cutting bossa nova albums, first with jazz guitarist Charlie Byrd, then with Bonfa, Gilberto, and Jobim. These recordings for Verve were very successful (the Getz/Byrd collaboration entitled "Jazz Samba" was 1962's number one pop album), and bossa nova entered the mainstream.

 

In the next few years, Jobim, Bonfa, and Gilberto recorded many hit albums and concertized at Carnegie Hall and all over the world. The bossa nova craze peaked with the 1964 release of "The Girl from Ipanema," featuring Getz, Gilberto, Jobim, and a sultry vocal by Gilberto's then-wife, Astrud. The tune went to #5 on pop charts and won a "Record of the Year" Grarnmy. It has become one of the ten most recorded songs of all time.

During the next few decades, Jobim lived in Los Angeles and continued to write hit tunes, perform, and create film scores. His concerts often featured members of his family including his son Paulo on guitar and his vocalizing second wife, Ana Lontra and daughter, Elizabeth. There was a "second wave" of interest in bossa nova in the late '80s, but Jobim was scornful of the vagaries of the pop music business. In 1989 he told and interviewer, "How boring, how annoying to be modern. I want to be eternal, not modernal." "Tom," as Jobim was called in Brazil, lived his last years in a Manhattan penthouse with his family, making music and devoting much of his time to environmental causes. He was inducted into the Songwriters Hall of Fame in 1991 and received numerous other awards and honors. Since his death in December of 1994, several tribute albums have been released by jazz luminaries. There is no doubt that his music will continue to bring enjoyment to millions in the decades to come. As his colleague Oscar Neves said, "The beauty of his music is everlasting."

 

A Felicidade

Agua De Beber (Water To Drink)

Chega De Saudade (No More Blues)

Desafinado (Slightly Out Of Tune)

Dindi

How Insensitive (Insensatez)

Meditation (Meditacao)

O Morro Nao Tem Vez (Favela) (Somewhere In The Hills)

Once I Loved (Amor Em Paz) (Love In Peace)

One Note Samba (Samba De Uma Nota So)

Quiet Nights Of Quiet Stars (Corcovado)

So Danco Samba (Jazz 'N' Samba)

The Girl From Ipanema (Garota De Ipanema)

Triste

Vivo Sonhando (Dreamer)

Wave

Prezzo: €49,99
€49,99

EXPLOSIÓN LATINA DE LA GUITARRA ROCK GUITAR LATIN LIBRO CHITARRA TABLATURE SMOOTH SANTANA

EXPLOSIÓN LATINA DE LA GUITARRA ROCK, LATIN ROCK GUITAR EXPLOSION. BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA LATINA MODERNA.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

 

96 Pagine. Como Dueles En Los Labios -Como Tú -Corazón Espinado -Detrás De Los Cerros -Dime Jaguar -El Secreto -El Último Planeta -Hechicera -Oasis -Ride -Sal Pa'fuera -Se Me Olvido Otra Vez -Smooth -Socialize. 

Series: Guitar Recorded Version TAB
Artist: Various

96 pages, This hot collection features note-for-note tab transcriptions for 14 of today's biggest Latin hits by bands such as Maná, Jaguares, Puya, Santana and others. Includes:

Como Dueles En Los Labios
Como Tu
Corazon Espinado
Detras De Los Cerros
Dime Jaguar
El Secreto
El Ultimo Planeta
Hechicera
Oasis
Ride
Sal Pa'Fuera
Se Me Olvido Otra Vez
Smooth
Socialize

Prezzo: €23,99
€23,99
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