CHITARRA E VOCE

THE THE '50s ERA, WHERE ARE THEY NOW ? TABLATURE

SERIES: Where Are They Now?
CATEGORY: Guitar Mixed Folio
VERSION: Guitar/Vocal with Tablature
FORMAT: Book
Dave Rubin

Each book in the Where Are They Now? series contains over 50 songs by the artists who defined the music of the era. Plus, each book contains an essay about the times and a special "Where Are They Now?" update section on the songs and the artists.
The '50s Era artists include: Beach Boys, Bill Haley and the Comets, Debbie Reynolds, Del Shannon, Diamonds, Dion and the Belmonts, Duanne Eddy, Eddie Cochran, Elvis Presley, Everly Brothers, Fats Domino, Isley Brothers, Little Richard, Penguins, Platters, Ricky Nelson, Roy Orbison, Ritchie Valens, and more!

Nel 1964 un'allora sconosciuto chitarrista di nome Jimi Hendrix, registrava con uno speudonimo con gli Isley Brothers la canzone "testify". Hendrix in quel periodo era senza casa e fu O'Kelly Isley che lo vide mentre era in un negozio e lo portò a casa della famiglia Isleys. Presto Hendrix sarà incluso nelle registrazioni che il gruppo stava facendo, "Testify" e "Move" over and let me dance".

The '50s Era: Rockin' Around the Clock 

An amazing confluence of musical and sociological forces combined to create the first rock era in the '50s. The end of World War II in 1945 was followed by a period of cautious optimism regarding our economic future and anxiety about the vast global changes brought about by the dropping of the atom bomb and the ascendancy of Russiaas a world power. After being excluded from aspects of American life taken for granted by white people, doors began opening for blacks starting with Jackie Robinson breaking the color barrier in baseball in 1947. That same year Leo Fender brought out the first commercially successful solid-body electric guitar, thereby allowing the playing of much louder music. As had been the case in the first half of the twentieth century, popular music was affected by these developments. Swing jazz, boogie-woogie, and blues had begun metamorphosing into a hybrid known as rhythm & blues (R&B) near the end of the war. More dance-oriented than blues, but earthier than swing jazz, it was the music of celebration and romance although topics like race and politics were sometimes alluded to. Saxophonist and singer Louis Jordan was in the forefront with jumpy, jivey tunes like "Choo Choo Ch Boogie" and "Caldonia" that were built on infectious rhythms and featured witty, intelligent lyrics. Other early pioneers included Charles Brown, Nat "King" Cole, and Ray Charles. All three were accomplished piano players and singers with a blues bent and were supported by low-key guitarists as sidemen. The electric guitar was, however, making noise as an exciting featured solo instrument around the music scene as the technology advanced, and it had been ever since blues godfather T-bone Walker and jazz giant Charlie Christian ignited the airwaves in the early '40s. By the beginning of the '50s, blues shouters like Big Joe Turner were belting out a form of raw, raucous R&B suspiciously close to what would become rock 'n' roll. At the same time Les Paul and Mary Ford were creating an innovative type of pop music that was so optimistic it was practically giddy. Though Les had a blue streak in his playing, the artificial, overdubbed studio world where his guitar and Mary's voice existed was a far cry from the funky juke joints and house parties where the new black music fomented. Concurrently, R&B vocal groups with bird names like the Orioles, Ravens, and Flamingos began singing street-corner harmonies that would come to be called doo-wop. Out in the country, guitar pickers like Scotty Moore-influenced by the western swing of Bob Wills, the honky-tonk country & western (C&W) of Merle Travis, and the blues-were starting to fool around with a new music that borrowed from white C&W and black R&B. A revolution was in the making, just waiting for someone to lead the way. Four years into the decade the planets were in the right position in the heavens for a shooting star from decidedly humble beginnings to blaze a path to the front. The end of one decade and the beginning of another does not demarcate eras. An argument can be made that the '50s rock era did not arrive until 1954. That year Senate hearings on Commie-baiter Joseph McCarthy were televised, the Supreme Court banned school segregation, and powerful H-bombs were tested by the U.S. Government, events that would have a profound effect on teenagers and later the baby-boomers born just after WWII. Though their parents had weathered the war years and were grateful for the outcome, some children felt disaffected and confused, a situation dramatically presented in Rebel Without a Cause with new teen idol James Dean. Most significant for the emerging youth culture, however, were Bill Haley and the Comets' waxing "(We're Gonna) Rock Around the Clock" in April and the work of a poor young truck driver from Memphis, Elvis Aron Presley, who in July of 1954 cut a couple of songs at Sun Records in Memphis as a gift for his mother and to celebrate his nineteenth birthday. A year later Haley's blockbuster would hit #1 on the Billboard charts and be prominen ea ured in Blackboard Jungle, one of the first films about tension in inner-city schools. Elvis would be called back to Sun by producer Sam Phillips. Phillips, who had been recording heavy bluesmen like Howlin' Wolf and Ike Turner, had been frequetly quoted as saying that he could "make a million dollars" if he had a white man who could sing like a black man. He gambled on Elvis being the one and changed the course of popular culture. The irony is that black blues and R&B already figured prominently in Elvis's musical experience and that the song that broke him in the South was "That's Alright Mama," originally performed by blues artist Arthur "Big Boy" Crudup. This co-opting of black culture by rock 'n' rollers, though accomplished with respect and acknowledgment by Elvis and many others since, would cross ethical boundaries with "covers" of black songs by pale imitators like Pat Boone. The ramparts of pop music continued to be scaled in 1955 as Chuck Berry, the "father of rock 'n' roll guitar," roared across the radio waves with "Maybellene" in 1955. Besides creating an original instrumental style based on the blues, boogie, and C&W music, Berry astutely observed the consuming passions of (white) teenagers with cars, girls, and rock 'n' roll itself. In 1956 Elvis hit the big time by signing with RCA Records. Little Richard, Fats Domino, Jerry Lee Lewis, Bo Diddley, the Everly Brothers, Ricky Nelson, and Buddy Holly, not to mention instrumentalists like Duane Eddy and the Ventures, would follow as the reign of the tenor saxophone ended and the low-slung guitar became the sound and the symbol of the times. The visceral effect that the new music had on the youth of America was not lost on the keepers of the public morals. Crusaders relentlessly criticized rock 'n' roll and deemed it "jungle music" whose ability to excite to the point of delirium was alarming. Unfortunately, they were provided with unintentional ammunition. Elvis was censured for wiggling his pelvis on TV (and removed from the scene by induction into the Army in 1958) and pioneer R&B and rock promoter Alan Freed (credited with coining the term "rock 'n' roll") was caught up in the payola scandals of the late '50s. It all seemed to come to a grinding halt when Chuck Berry was arrested for violating the Mann Act (transporting a minor girl across state lines for immoral purposes) and Buddy Holly, Ritchie Valens, and the Big Bopper (J. P. Richardson) were killed in a small plane crash in 1959. Cute novelty songs about flying saucers and "The Purple People Eater" coming on the news of the Russians launching Sputnik, the first man-made satellite, did nothing to stop the powers that be from prematurely dancing on the presumed grave of the rebellious music. Meanwhile, Dick Clark with his daily "American Bandstand" and his Saturday night show kept the barely flickering flame alive with tame pop acts like Fabian and Frankie Avalon as the decade ended. The next three years saw folk and its puny cousin, hootenanny music, followed by the descendants of doo-wop, the great girl groups like the Shirelles and Crystals. Early soul music, the next evolutionary step from R&B and surf, that revitalizing instrumental music from California, helped to rescue rock from Andy Williams and Connie Francis. The Beach Boys, though coming from the same Southern California hot rod and beach scene as surf music, elevated popular music again to a level of youthful exuberance founded on finely crafted songwriting that owed a surprising debt to Chuck Berry. Though Elvis never regained his bluesy vitality after coming out of the Army in 1960, Roy Orbison made the transition from '50s rockabilly to epic flights of emotional intensity with classics like "Crying." The torch was passed to John F.Kennedy from the old general, President Dwight D. Eisenhower, in 1960, but the sound, look, fashions, and conservative politics of the '50s persisted until JFK'sassassination in November 1963 and the British Invasion of 1964. The counter-culture revolution that rose out of those two seminal events would alter the music and politics of the entire civilized world in the '60s. 

Includes the Following Selection:
Title Composer

1953 - (WE'RE GONNA) ROCK AROUND THE CLOCK - BILL HALEY AND THE COMETS
FREEDMAN, MAX/DE KNIGHT, JIMMY

1955 - AIN'T THAT A SHAME - FATS DOMINO
ANTONIE DOMINO, DAVE BARTHOLOMEW

1961 - BARBARA ANN - BEACH BOYS
FRED FASSERT

1957 - BIRD DOG - EVERLY BROTHERS
BRYANT, BOUDLEAUX

1960 - BLUE ANGEL  
ROY ORBISON AND JOE MELSON

1957 - BLUE MONDAY - FATS DOMINO
DAVE BARTHOLOMEW AND ANTOINE DOMINO

1957 - BYE BYE LOVE - EVERLY BROTHERS
BOUDLEAUX BRYANT AND FELICE BRYANT

1965 - CALIFORNIA GIRLS - BEACH BOYS
WILSON, BRIAN

1958 - CLAUDETTE
ROY ORBISON

1960 - CRY CRY CRY - BOBBY BLAND
DEADRIC MALONE

1961 - CRYING 
ROY ORBISON, JOE MELSON

1961 - DADDYS HOME - SHEP AND THE LIMELIGHTS 
JAMES SHEPPARD AND WILLIAM MILLER

1964 - DON'T WORRY BABY - BEACH BOYS
BRIAN WILSON AND ROGER CHRISTIAN

1956 - DONNA 
VALENS RITCHIE

1954 - EARTH ANGEL - THE PENGUINS
D. WILLIAMS, G. HODGE & J. BELVIN

1964 - FUN, FUN, FUN - BEACH BOYS
LOVE, MIKE/WILSON, BRIAN

1960 - GEE WHIZ - CARLA THOMAS
CARLA THOMAS

1957 - GOOD GOLLY MISS MOLLY - LITTLE RICHARD
ROBERT BLACKWELL, JOHN MARASCALCO

1960 - HELLO, MARY LOU (GOODBYE HEART) - ROCKY NELSON
PITNEY, GENE/MANGIARACINA, CAYET

1965 - HELP ME RHONDA - BEACH BOYS
LOVE, MIKE/WILSON, BRIAN

1956 - HONKY TONK - 
BILL DOGGETT, CLIFFORD SCOTT, BILLY BUTLER, HENRY

1950 - I DON'T CARE IF THE SUN DON'T SHINE - ELVIS PRESLEY
MACK DAVID

1934 - I ONLY HAVE EYES FOR YOU (from "42nd Street") - THE FLAMINGOS
WARREN, HARRY/L: DUBIN, AL

1959 - I WANT TO WALK YOU HOME - FATS DOMINO
ANTOINE DOMINO

1957 - I'M WALKIN'  - FATS DOMINO
ANTOINE DOMINO, DAVE BARTHOLOMEW

1964 - IN MY ROOM - BEACH BOYS
BRIAN WILSON AND GARY USHER

1957 - KEEP A KNOCKIN - LITTLE RICHARD
RICHARD PENNIMAN

1958 - LA BAMBA - 
ADAPT & ARR BY RITCHIE VALENS

1955 - LET IT BE ME - EVERLY BROTHERS
BECAUD / CURTIS / DELANOE

1934 - MILK COW BLUES - ELVIS PRESLEY
KOKOMO ARNOLD

1957 - MY SPECIAL ANGEL - BOBBY HELMS
DUNCAN, JIMMY

1964 - OH, PRETTY WOMAN - 
ROY ORBISON  / DEES BILL

1960 - ONLY THE LONELY (KNOW THE WAY I FEEL)
ROY ORBISON AND JOE MELSON

1958 - PETER GUNN (FROM "PETER GUNN") - DUANE EDDY
MANCINI HENRY

1958 - ROCKIN ROBIN - BOBBY DAY
JIMMIE THOMAS

1961 - RUNAWAY - DEL SHANNON
SHANNON, DEL / CROOK, MAX D.

1966 - SEA CRUISE - FRANKIE FORD
SMITH, HUEY P.

1959 - SHOUT - ISLEY BROTHERS
O'KELLY ISLEY,RONALD ISLEY,RUDOLPH ISLEY

1958 - SIXTEEN CANDLES - THE CRESTS
DIXON, LUTHER/KHENT, ALLYSON

1933 - SMOKE GETS IN YOUR EYES - THE PLATTERS
JEROME KERN; OTTO HARBACH

1958 - STAGGER LEE - 
HAROLD LOGAN, LLOYD PRICE

1958 - SUMMERTIME BLUES 
JERRY CAPEHART  / EDDIE COCHRAN

1956 - TAMMY - DEBBIE REYNOLDS
RAY EVANS/JAY LIVINGSTON

1957 - TEQUILA - THE CHAMPS
CHUCK RIO

1957 - THE STROLL - THE DIAMONDS
CLYDE OTIS AND NANCY LEE

1960 - THE WANDERER - DION AND THE BELMONTS
MARESCA, ERNIE

1957 - WAKE UP, LITTLE SUSIE - EVERLY BROTHERS
BRYANT, BOUDLEAUX / BRYANT, FELICE

1960 - WALKING TO NEW ORLEANS - FATS DOMINO
ANTOINE DOMINO, DAVE BARTHOLEMEW

1963 - WIPE OUT - 
THE SURFARIS

SURF GUITAR. 30 "onde" californiane. TABLATURE

Authentic note-for-note transcriptions straight off the original recordings for 30 of the best surf guitar songs ever! Includes: Also features a souvenir photo section and playing notes on each song. Includes TAB 144 pages.

LETS GO - There's a lot of imaginative soloing in this one. Try the 16th note licks very slowly at first and try to maintain clarity as you pick up speed. (With 16th notes, each beat is divided into four. Count it as "one-e-and-a, two-e-and-a", etc.) Toward the end, the basic theme is broadened so that you hold the whole chord down while you pick the single notes. The tablature is done for a "Drop D" tuning where the 6th string is tuned down a whole step.

LETS GO TRIPPIN' -A playful tune with a lot of octaves, syncopated rhythms and quick arpeggios over three-note chords. The staccato notes and chords (with the dots above them) should be played as quick bursts, silenced as soon as they're played by lifting the left-hand fingers just enough to deaden the strings.

MISIRLOU -Tremolo City. It's all up and down one string, so the left hand is no problem, but it can be exhausting to keep that flutter picking going with the right hand. Hang on tight to the pick and make the action comefrom your wrist not from your elbow.

OUT OF LIMITS -A quirky record with a strangely familiar touch of eeriness. I've written two lines of music at once at the organ entrance. but they can be played by one guitar at the same time.

PENETRATION -Who knows what they were referring to with the title. The whole song is relatively easy. unless you're playing on an acoustic and can't reach the 22nd fret. The muted sections represent a rhythm guitar part which continues throughout.

PEPPERMINT MAN -The tendency here will be to rush ahead of the beat. Lay back on it and try to play on the late side of every beat (although rushing is so common on Surf Era recordings that it couId be considered a stylistic feature). There's a 6th string hammer-on on an F7 chord. Grab the whole chord first then hammer from the open 6th string to the 1st fret.

RUMBLE - Link Wray's classic of no-frills roots rock. There are a couple of measures of "scooped tremolos” in the second ending. Keep the rapid up and down strokes going with the right hand while sliding up to the twelfth fret. rapidly down to the eleventh and up to the twelfth. then again. etc.

RUNAWAY - Another song in which the strumming guitar is prominent in the mix. The organ solo sounds terrific on guitar and is impressive at parties.

SLOOP JOHN B - A Calypso/Folk strum works well against the melody. The broken-chord organ line at the beginning makes a good accompaniment pattern for other songs as well.

SURF BEAT - Basic Garage-Surf. you could almost play it all on one string. Don't. The tremolo over the B chods is fast flutter-picking. down-u[X1own-up. four strokes per beat. Mind the 3rd string bends. Whole step or half step. and strive not to overbend the pitch.

SURFER'S STOMP - Same drum beat as in "Balboa Blue". and written by the same guy, oddly enough. The toughest thing here is the tremolo technique, flutter-picking a melody. Tighten your wrist, but try not to tense up your whole arm.

SURFIN' SAFARI - If you've got a garage. you can play this song. Finger the whole bar chord, then play just the indicated strings. The solo, like most surf guitar solos. can all be played at one position on the neck.

TEQUILA - The strident strumming that starts this tune can be played throughout. Some of the accompaniment figures are muted - that is muffled while you play them by pressing the heal of your right hand on the bridge.

TORQUAY - Start this one with the heal of your right hand dampening the strings at the bridge. If you play in acoustic guitar. this technique will mean you pick behind the sound hole. Later. when the main theme returns, let the strings ring. This is a good study in contrast between low single notes ... 

Balboa Blue
Beethoven Five-O
Bulldog
Eight Miles High
Honky Tonk
K-39
King Of The Surf Guitar
Let's Go
Let's Go Trippin'
The Lonely Surfer
Lonesome Town
Misirlou
Mr. Moto
Out Of Limits
Penetration
Peppermint Man
Poor Little Fool
Rumble
Runaway
Sloop John B
Sugar Shack
Surf Beat
Surfer Joe
Surfer's Stomp
Surfin' Safari
Tall Cool One
Tequila
Torquay
Wipe Out

Authentic Note-for-Note Guitar / Tab Transcriptions Off The Original Recordings!

Contents:

PLAYING TIPS - HOW TO READ THE GUITAR TABLATURE NOTATION

ARRANGER'S PLAYINGNOTES ON EACH SONG by Roy Zimmerman .

SOUVENIR PHOTOSECTION

BALBOA BLUE / The Mar-Kets .

BEETHOVEN FIVE-O / The Ventures

BULLDOG / The Fireballs

EIGHT MILES HIGH / The Ventures and The Byrds .

HONKY TONK / Duane Eddy

HOUSE OF THE RISING SUN / Surf-Rock .

K-39 / The Challengers .

KING OF THE SURF GUITAR/ Dick Dale & The Del-Tones .

LET'S GO / The Routers

LET'S GO TRIPPIN' / Dick Dale & The Del-Tones .

LONELY SURFER / Jack Nitzsche

LONESOME TOWN / Ricky Nelson .

MISIRLOU/ The Beach Boys and by Dick Dale & The Del-Tones .

MR. MOTO / The Bel-Airs .

OUT OF LIMITS / The Mar-Kets

PENETRATION/ The Pyramids .

PEPPERMINT MAN / Dick Dale & The Del-Tones .

POOR LITTLE FOOL / Ricky Nelson

RUMBLE / Link Wray & The Ray-Men .

RUNAWAY/ Del Shannon .

SLOOP JOHN B / The Beach Boys .

SUGAR SHACK / Jimmy Gilmer & The Fireballs .

SURF BEAT / Dick Dale & The Del-Tones .

SURFER JOE I The Surfaris .

SURFER'S STOMP / The Mar-Kets

SURFIN' SAFARI/The Beach Boys .

TALL COOL ONE / The Ventures and The Wailers

TEQUILA / The Champs

TORQUAY/ The Fireballs

VIPE OUT / The Surfaris

Produced By John L Haag

catalog 107-4026

ISBN# 1-56922.074-3

CREATIVE CONCEPTS PUBLISHING

Ventura

ROCKABILLY REBELS. NOTE FOR NOTE GUITAR TABLATURE TRANSCRIPTIONS . SHEET MUSIC BOOK WITH GUITAR TABLATURE . 

LIBRO DI MUSICA ROCK ,

SPARIRI PER VOCE E CHITARRA :

ACCORDI, PENTAGRAMMA, TABLATURE. 

25 titoli, con una bella canzone di Elvis Presley, "Tryin' to get to you". Contiene: baby let's play house (Elvis Presley) -belive what you say (R. Nelson) -bird dog (E. Brothers) -cut across shorty (E. Cochran) -danny boy (Conway Twitty) -hambone (Carl Perkins) -here comes the weekend (Dave Edmunds) -Hey baby (B. Channel) -high school confidential (Jerry Lee Lewis) -hippy, hippy shake (Swinging blue jeans) -honey 'cause I love you (C. Perkins) -I got it (G. Vincent) -I'm gonna set down right down and cry over you (Elvis Presley) -It's late (R. Nelson) -Jennie, Jennie, Jennie (E. Cochran) -lotta lovin' (G. Vincent) -Mary you (R. Hawkins) -midnight specials (J. Rivers) -My Babe (R. Nelson) -poor little fool (R. Nelson) -queen of heart (J. Newton) -shake your hips (Rolling Stones) -six days on the road (D. Dudley) -Tryin' to get to you (Elvis Presley) -wake up little Susie (E. Brothers). 

GENUINE ROCKABILLY GUITAR HITS. Contiene 24 canzoni:

LIBRO PER CHITARRA CON TABLATURE

Il mondo ha conosciuto la prima volta rock and roll nella seconda meta degli anni '50 quando sono arrivati i primi hits di Elvis Presley, Buddy Holly e Carl Perkins. I chitarristi rockabilly di quel periodo - Scotty Moore, Eddy Cochran, Cliff Gallup, Carl Perkins, Paul Burlison, James Burton, Buddy Holly e altri - sono diventati gli Idoli dei musicisti rock negli anni '60, '70 e '80, e la loro musica sarà sempre la pietra di paragone per la chitarra rock. Nelle pagine del libro troverete la trascrizione di tutte le parti di chitarra, l'accompagnamento, e i solo completi. Ci sarà anche qualche trascrizione musicale dei loro discepoli - musicisti contemporanei come Albert Lee, Dave e Phil Alvin dei Blasters e gli The Stray Cats.

Il Rockabilly ebbe inizio quando i musicisti bianchi del Sud iniziano a suonare il Rhythm and Blues eletrico. Hanno registrato  le "cover" hits di "Good rockin' tonight" (la versione di Wynonie Harris fu il più grande record di ascolto nel 1948). Hanno anche scritto le proprie melodie e riproposto le canzoni country e bluegrass in stile rockabilly. In ogni caso conservavano il sapore e lo stile degli artisti Afro-Americani la cui musica non arrivava all'audience bianca. Naturalmente, i musicisti rockabilly anno portato le proprie radici country, bluegrass e gospel music nel R&B. La musica nuova che è emersa era il ROCK AND ROLL. Per Alan Freed e altri disc jockey che la promuovevano, la formula era chiara: far suonare ai musicisti bianchi la musica popolare nera degli anni '50.

Una delle differenze tra il Rockabilly e il R&B era che la chitarra era molto prominente. Le prime rockabilly band erano composte dal basso verticale, la chitarra elettrica, il cantante e la batteria. La chitarra ritmica spesso acustica e il piano erano optional, gli ottoni erano rari; qualche gruppo composto da due chitarre non avevano la batteria. Quasi tutti i solos venivano suonati con la chitarra elettrica. La chitarra solista imitava molto lo stile delgli assoli a double-note di Chuck Berry e T-Bone Walker, il fingerpicking di Merle Travis, e il fingerpicking blues di Lightin' Hopkins e Big Bill Bronzy. E a tutto questo miscuglio un poco di aggiunta di stile Jazz di Les Paul.

GENUINE ROCKABILLY GUITAR HITS. Contiene 24 canzoni: -American music (the Blaster) -believe what you say (Rick Nelson) -bluejean bop (Gene Vincent) -boppin' the blues (Carl Perkins) -boppin' the blues (Rick Nelson) -everybody's tryin to be my baby (Carl Perkins) -good rockin' tonight (Elvis Presley, Scotty Moore) -holly hop (Buddy Holly) -Marie, Marie (The Blaster) -my baby thinks he's a train (Rosanne Cash) -Oh bay babe (Johnny Burnette) -put your cat closes on (Carl Perkins) -rock around the clock (Bill Haley and the comets) -rock billy boogie (Johnny Burnette) -Rock this town (Stray cats) -rockabilly music (Ray Campi) -skinny Jim (Eddie Cochran) -strollin guitar (Eddie Cochran) -summertime blues (Eddie Cochran) -Susie-Q (Dale Hawkins) -tear it up (Johnny Burnette) -train kept a rollin' (Johnny Burnette) -twenty flight rock (Eddie Cochran) -wake up little Susie (the Everly brothers). TABLTURE

Most of the world first learned about rock and roll in the second half of the '50s when Elvis Presley, Buddy Holly and Carl Perkins had their first hits. The rockabilly guitarists of this period - Scotty Moore, Eddie Cochran, Cliff Gallup, Carl Perkins, Paul Burlison, James Burton, Buddy Holly and the rest - became the idols of '60s, '70s and '80s rockers, and their music will always be the touchstone for rock guitar. You'll find their solos and backup playing transcribed and their style analyzed in the pages that follow. There are also some transcriptions of music from their disciples - contemporary players like Albert Lee, Dave and Phil Alvin of the Blasters, and The Stray Cats. Rockabilly started when white Southern performers began playing electric rhythm and blues. They recorded "covers" of R&B hits, like "Good Rockin' Tonight" (Wynonie Harris' version was the biggest R&B record of '48). They also wrote their own tunes and covered country and bluegrass songs. In all cases, they borrowed the flavor and styles of African-American artists, whose music was unlikely to reach white audiences. Naturally, the rockabilly players brought their country, bluegrass and gospel music roots to R&B. The new music that emerged was ROCK AND ROLL. To Alan Freed and other disc jockeys who promoted it, the formula was clear: get white musicians to play popular '50s race music.

One of the ways rockabilly differed from R&B was that the guitar was more prominent. The early rockabilly band consisted of an upright bass, electric guitar, a singer and a drummer. Rhythm guitar (often acoustic) and piano were optional, horns were rare; some two-guitar bands even lacked a drummer. Nearly all solos were played on electric guitar. The lead guitar borrowed heavily from the single and double-note styles of Chuck Berry and T-Bone Walker, the up-the-neck fingerpicking of Merle Travis, and the more basic fingerpicking blues styles of acoustic blues guitarists like Lightnin' Hopkins and Big Bill Broonzy. A little Les Paul-style jazz added to the brew.
THE TWELVE BAR BLUES. Most of the early rockabilly hits were twelve-bar blues tunes, or were based on that form. In this book, "American Music," "Boppin' The Blues," "Everybody's Tryin' To Be My Baby," "Holly Hop," "My Baby Thinks He's A Train," "Put Your Cat Clothes On," "Rock Around The Clock," "Oh Baby Babe," "Rock Billy Boogie," "Skinny Jim," "Tear It Up," "Train Kept A-Rollin" and "Twenty Flight Rock" are all twelve-bar blues tunes and five others are only slight variants of the blues format! Here's the twelve-bar form, expressed in terms of I, IV and V chords (tonic, subdominant and dominant) in the key of E. The final bar of this twelve-bar form is often called a "turnaround," because the V chord "turns the progression around" and leads the ear back to a repeat of the whole twelve bars or to an ending. 

IL BLUES A 12 BATTUTE.

La maggioranza dei primi Hits Rockabilly erano in 12 battute, o leggete variazioni della progressione armonica Blues.

L'ultima battuta è chiamata anche TURNAROUND, perchè riporta all'inizio del pezzo.

Boogie Woogie Bass Figures 

Per l'accompagnamento e in certi casi per i solo, i chitarristi rockabilly spesso eseguono i modelli boogie sulle corde basse. Hanno preso questa tecnica d'accompaniamento dai chitarristi blues come Big Bill Broozy, Lightnin' Hopkins e John Lee Hooker i quali, probabilmente imitavano la mano  sinistra dei pianisti boogie-woogie. Piu fhits  cile eseguire questi Modelli nella tonalità MI e LA perchè MI e LA sono le corde basse aperte.

Blues Fingerpicking

Lightnin' Hopkins e molti altri chitarristi del Texas blues hanno popolarizzato lo stile fingerpicking dove il pollice suona un'accompagnamento continuo di quattro accenti per battuta sulle note basse mentre medio e indice suonano la melodia sincopata sulle corde alte. Il fraseggio musicale della chitarra di James Burton in “Susie-Q” il suo ritmo e la melodia sono un tipico esempio di questo stile chitarristico del pollice.

ASSOLI AD ACCORDI

Spesso i chitarristi Rockabilly suonano gli assoli con gli accordi "CHORD SOLOS", usandoli in prima posizione o spostando una parte dell'accordo.

TITOLI:

-American music (The Blaster - Dave and Phil Alvin)

-believe what you say (Rick Nelson - James Burton)

-bluejean bop (Gene Vincent - Cliff Gallup)

-boppin' the blues (Carl Perkins)

-boppin' the blues (Rick Nelson - Joe Maphis)

-everybody's tryin to be my baby (Carl Perkins)

-good rockin' tonight (Elvis Presley - Scotty Moore)

-holly hop (Buddy Holly)

-Marie, Marie (The Blaster - Dave and Phil Alvin)

-my baby thinks he's a train (Rosanne Cash - Albert Lee)

-Oh bay babe (Johnny Burnette and Rock and Roll Trio -Paul Burlison)

-put your cat closes on (Carl Perkins)

-rock around the clock (Bill Haley and the comets - Danny Cedrone)

-rock billy boogie (Johnny Burnette and Rock and Roll Trio -Paul Burlison)

-Rock this town (Stray Cats -Brian Setzer)

-rockabilly music (Ray Campi - Richard Bennett)

-skinny Jim (Eddie Cochran)

-strollin guitar (Eddie Cochran)

-summertime blues (Eddie Cochran)

-Susie-Q (Dale Hawkins - James Burton)

-tear it up (Johnny Burnette and Rock and Roll Trio -Paul Burlison)

-train kept a rollin' (Johnny Burnette - and Rock and Roll Trio -Paul Burlison - Paul Burlison)

-twenty flight rock (Eddie Cochran)

-wake up little Susie (the Everly brothers - Chet Atkins).

151 pagine. TABLATURE

Serie: Guitar Recorded Version TABLATURE

FUNK GUITAR COLLECTION. 18 titoli, inclusa: get up (sex machine) TABLATURE

AUTHENTIC TRANSCRIPTIONS NOTES AND TABLATURE

APACHE ROSE PEACOCK - RED HOT CHILI PEPPERS
BELIEVE - LENNY KRAVITZ
BIG FAT FUNKY BOOTY - SPIN DOCTORS
BU IT'S ALRIGHT J. J. JACKSON
CHANGES - JIMI HENDRIX
COLD SWEAT, PI. 1 - JAMES BROWN
FREE RIDE - EDGAR WINTER GROUP
FUNK #49 - THE JAMES GANG
GET UP I FEEL LIKE BEING A SEX MACHINE - JAMES BROWN
I GOT THE FEELIN' - JAMES BROWN
ICE PICK - ALBERT COLLINS
IT'S YOUR THING - THE ISLEY BROTHERS
KNOW YOUR ENEMY - RAGE AGAINST THE MACHINE
LET'S START THE DANCE - BOHANNON
LOVE REARS ITS UGLY HEAD - LIVING COLOUR
SHINING STAR - EARTH, WIND & FIRE
SNORTIN' WHISKEY - PAT TRAVERS BAND

GUITAR NOTATION LEGEND