BECK JEFF IN SESSION WITH BOOK CD GUITAR TABLATURE CHITARRA LIBRO SPARTITI BASI JAM TRACK

BECK JEFF, IN SESSION WITH. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO DI MUSICA ROCK, CON CD JAM TRACK . 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

CD DI BASI PER CHITARRA .

6 Basi per voce e per chitarra.

TITOLI: 

- Savoy

- starcycle

- big block

- led boots

- Jeff's boogie

- El Becko. 

SERIES: In Session with
CATEGORY: Guitar Method or Supplement
VERSION: Guitar/TAB
FORMAT: Book & CD

Play along with six classic tracks, transcribed and arranged exclusively by guitarists for guitarists! These note-for-note transcriptions in standard notation and guitar tab feature full top lines with lyrics and chord symbols, as well as a breakdown and analysis of each solo, containing essential hints and tips. Includes special practice tracks on the CD, with slowed-down versions of the solos, in demonstration and play-along formats.

Long as there has been rock guitar, one man above all others has been at its cutting edge, and that man is Jeff Beck. From his early days with The Yard birds, when he helped pioneer the use of distortion and feedback, through to his jazz-rock collaborations in the 70s, to his latest incarnation as the godfather of rock guitar, Beck's playing has always been innovative and exciting. Born on June 22nd 1944 in Wallington, Surrey, Jeff showed an interest in music from an early age, trying his hand at piano, violin and cello as well as singing in the school choir. He studied, for a while, at Wimbledon Art College but it was seeing Buddy Holly and Gene Vincent in concert and listening to his sister's American rock 'n' roll records that inspired him to play guitar. He played in a couple of bands between 1961 and 1963 including The Deltones – a covers band that played Eddie Cochran and Shadows material. In 1964 he left college and began to make his living as a guitarist. He made a name for himself as a rock 'n' roll guitarist and, whenever a hot guitar break was called for it was usually Beck that got the call. Around this time he met and became friendly with Jimmy Page, and when Page was asked to replace Eric Clapton in The Yardbirds, he recommended Jeff Beck. The Yard birds were one of the first bands to translate highenergy blues into rock music and Beck's fiery style fitted them perfectly. Beck's first recordings with The Yard birds were on the FOR YOUR LOVE album but it was the 1965 hit Heart Full Of Soul from the album HAVING A RAVE UP that brought his first real acclaim. This is one of the first pop songs to feature Eastern-influenced guitar and also one of the first recorded uses of a fuzz-box. The story goes that the band hired an Indian sitarist to play on the single but he had trouble playing in Western 4/4 time. Beck, being a natural mimic, copied the sitar part on guitar and that's what you hear on the record. During his time in The Yardbirds Jeff Beck became a flamboyant character and showman - on stage he would use distortion and feedback, playing with the guitar behind his head or back. The combination of massive volume and a reckless approach was captivating audiences everywhere, including a certain promising guitarist by the name of Jimi Hendrix, who later used these same techniques himself. On THE YARDBIRDS album Beck recorded an instrumental showcase called Jeff's Boogie that highlighted not only his guitar prowess but also his love for fifties rock 'n' roll. The track is based on a Chuck Berry tune and is heavily influenced by Les Paul and the Gene Vincent sideman Cliff Gallup. Beck has often mentioned Gallup as a major influence and you can really hear it in this track with its fast chromatic runs and daredevil licks. Around the time of THE YARD BIRDS album two members of the band left; Paul Samwell-Smith and bass player Keith Relf. As a replacement for Relf they hired Jimmy Page as a temporary stand in. Soon afterwards rhythm guitarist Chris Dreja swapped places with Page and The Yard birds had the first twin lead guitar line-up. They recorded the single Happenings Ten Years Time Ago which was the first single to feature dual lead guitar work by Beck and Page. Photo: David Redfern

Led Boots
This rune is riff based with an Indian-influenced riff as the main section, over which Beck plays a bluesy melody line and, later on, a solo. Towards the end Jan Hammer plays a synth solo over the 7/8 bridge riff. Beck uses a range of techniques in this tune from large string bends to rapid uills to uem-bar articulations. And his fuzz-fuelled solo is one of his most exciting on record.

EIBecko
This is one of Beck's most harmonically complicated uacks, written by Tony Hymas and Simon Phillips. Taken from the THERE AND BACK album, the intra features Hymas' piano skills as he plays fast arpeggios that lead into an almost orchestral sounding section with Jeff playing a high melody. The main tune is a D minor, bluesbased guitar riff that is followed by a slide guitar melody in A. The suaightforward rock harmony of these sections conuasts well with the more harmonically complex parts. The solo is typical of Beck's aggressive style with fast flurries of notes and double string bends raising the excitement level through the roof! Although Beck is an accomplished slide player, this is one of his few performances on record. In later years he mastered the art of faking slide with his trem-bar.

Starcycle
With Jan Hammer on keyboard, writing and drumming duties, this track brought Beck into the high-tech 80s. The bass sequence that runs throughout the track and Hammer's synth soloing add a 'futuristic' element to Beck's guitar.

Jeff's playing is as inspired as always, and more disciplined than on his earlier albums. The whole tune has a tight, well arranged feel with Beck's solo adding a welcome dose of abandon. The main melody is doubled with a second guitar and keyboards and on the repeats with one guitar playing a fifth higher. The solo is played over a four chord sequence, which restricts Jeff's playing a little, but he still manages to get in some trills, uem-bar dives and furious suing bends.

Savoy
The GUITAR SHOP album that this uack came from marks a move away from the jazzfusion of WIRED and THERE AND BACK. With the aid of Terry Bozzio's indusuialsounding drums and Tony Hymas' sophisticated and subtle chord work, Beck creates a rock shuffle for the space age. This, more than any uack, encapsulates his style, from the 50s tinged uiple string bends of the main riff to high-tech uem-bar articulations. In the bridge you can hear Beck's uademark trills which he bends up with the bar.

In the intro he plays a repeated low E string that sounds like half-harmonic halfmachinery! Remember that by this time he was playing almost exclusively without a pick and the action of repeatedly plucking the low suing with his fingers produces these half harmonics. This imaginative use of simple ideas is typical of Beck. Just before the solo starts he plays a series of high, sliding harmonics produced by lightly touching the bottom suing and sliding from the second to the fourth fret whilst playing a rhythm pattern with his picking hand.

Big Block
The tirle refers to the muscle cars that Beck spends his spare time rebuilding when he's not churning out a down and dirty blues like this. The guitar is fairly sparse at the start of this track with Beck providing some Delta-style blues guitar over the massive drum groove. In the bridge he plays a more familiar role as the distorted guitar kicks in. There are some tricky time changes in the bridge section where the syncopations at the end of the bar become the down-beat of the next bar.

The solo is a tour de force of modern rock techniques as Jeff using pick-hand taps for trills and trem-bar phrasing with harmonics culminating in a frenzied tapping/sliding lick.

“Musically peaking Beck has never been the bashful type”