MASTERS OF THE TELECASTER, ARLEN ROTH'S. SHEET MUSIC BOOK WITH 2 CD & GUITAR TABLATURE .
LIBRO METODO DI MUSICA BLUES, COUNTRY, ROCK. CON 2 CD.
SPARTITI PER CHITARRA CON :
ACCORDI, NOTE PENTAGRAMMA E TABLATURE.
STUDIO, METODO, MANUALE,
185 Pagine, quasi 2 ore con 143 esempi di Blues, R&B, country, rockabilly, soul, R&R, rock, tutti dedicati a una delle chitarre più impiegate. Muddy Waters, Cornell Dupree, Albert collins, Elvis, Albert Lee, Steve Cropper, Roy Buchanan, Clarence White, James Burton, Danny Gatton, Jerry Donahue, Scotty Anderson, Keith Richards, Pete Townshend, Jeff Beck, Jimmy Page, Summers. I fondamentali: ritmi shuffle, piano-style blues, damping, pick and finger technique, costant bass, banjo rolls, double-stops, Memphis soul stew, chicken pickin', pedal steel-style e hawaiian stile, dissonanza country, tecnica telecasteriana. Falso armonico controllo del tono e del volume, B. bender, country bending, bending alla paletta, bending blues e doppio bending! Con fotografie a colori di alcuni modelli.
CATEGORY: Guitar Method or Supplement
FORMAT: Book & 2 CDs
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Perhaps no other instrument in history has had such a profound effect on the history, style and development of popular music as the Fender Telecaster. This beautiful coffee table-style book includes color and black and white photos of vintage and custom shop models and the great "tele" artists. Plus, deep insights into the history and uses of this fantastic instrument, including licks, solos and techniques of all the great "Telemasters" and influences on blues, country, R&B, and rock. Also includes over 140 music examples--all demonstrated by Arlen Roth on the included CD. All examples are in standard notation, tablature.
La marcia in più delle Telecaster.
Il B-Bender è stato inventato nel 1967 da Gene Parsons dei Nashville West e Clarence White dei The Byrds. Originariamente chiamato Parsons White Pull-String, in seguito ribattezzato String Bender, oggi é meglio conosciuto come il B-Bender. I primi prototipi sviluppati da Parsons avevano incluso più dispositivi di bending per le corde E, B, G e D, ma White ha deciso che preferiva una bending per la singola corda B. La corda Si è alzata di un tono pieno tirando la cinghia della tracolla verso l'alto. Questa è attaccata ad una leva e a una molla alla base della corda. Il braccio della leva passa attraverso il corpo della chitarra ed è collegato alla corda B dietro il ponte. Il B bender è un marchingegno che ti permette di fare i bending, spingendo senza fatica verso il basso il manico della Telecaster. Albert Lee, il chitarrista Bernie Leadon degli Eagles, Jimmy Page dei Led Zeppelin hanno hatto fare installazioni personalizzate di B bender sulla loro Telecaster.
TELECASTER HISTORY
OVER 140 MUSIC EXAMPLES
Blues, Country, Rhythm Blues, Rock
8 PAGES OF COLOR PHOTOS
Possibly no other instrument has had such a profound effect on the history, style and development of popular music as the Telecaster ... From its impact on early Rock and Roll to its exclusive use by Keith Richards of The Rolling Stones, one of the most influential bands in rock history ... From the early electric country of Jimmy Bryant and James Burton to superpickers such as Albert Lee, Danny Gatton, author Arlen Roth and Jerry Donahue (of The Hellecasters, the triumvirate of Tele superstars named for their instrument of choice) ... From the pioneer electric blues of Muddy Waters to the "Iceman" himself, Albert Collins ... Masters of the Telecaster details the sounds, techniques, licks and solos of the artists, and the instrument, that helped shape the sound of popular music. Includes chapters on Telecaster History, Techniques, Blues, Country, R&B, and Rock. Techniques, licks and solos of all the great "Telemasters" are profiled throughout in standard notation and tablature and each example is contained on the included recordings.
I always felt that this book was a necessity, because no one had ever written a guitar book strictly on the direct effect that one instrument can have on its player. I think we can all agree that as guitar players, we certainly understand, or at least recognize this phenomenon. How many times do we refer to a certain guitarist as a "Strat" or "Les Paul" type of player? Well, Tele players are perhaps the most unique of the bunch, and certainly this "inner group" of players has really started to expand. This is probably due in most part to the rise in popularity of country music as of late. The Telecaster has always been a mainstay of country music since it was fust released, and today it's hard to imagine country without it. What a pleasure to be sitting here writing a book (now my eighth) about a subject and musical form that is so near and dear to my heart! I've been a Telecastef® fanatic since about 1965 when I first laid eyes on one, and I've been playing almost strictly "Tele"® since my tour with John Prine in 1975, when I purchased my 1953 Telecaster for a whopping $400! Shame I didn't have any money then-the guy had a car full of them, all about the same price. Telecasters are special. They seem to bring out something in guitarists that other guitars just don't. Not only that, but there seems to be an ever-growing affinity that we Tele players seem to have with each other that makes us a special brotherhood; a "club" of sorts. We know omething about our relationship to our Telecasters is special, and that we more than likely, all have similar feelings. One incredible fact to us all is how right Leo Fender got it the first time! After all, we are talking about the very first production solidbody guitar in the world here (introduced as the Broadcaster in 1948 by Fender), and an instrument of incredible simplicity and purity of design. Now, after almost 48 years and literally hundreds of new guitar experiments, the pure essence of the Telecaster shines through, and the original three: the Telecaster, the Stratocastef® and the Les Paul®,all still remain the "three wise men" of the guitar, and that by which all other guitars are measured. My feeling is that because these guitars were literally designed out of necessity, and were direct descendants of hollow-bodied instruments, their purity of design for both beauty and function was inevitable.
CONTENTS
INTRODUCTION
Intro Music CD 1
Tuning Notes
ABOUT THE AUTHOR
ABOUT THE TELECASTER
CHAPTER 1:
FOUNDATION TECHNIQUES
Shuffle Rhythms
Examples 1, 1A & 2
The Harmony Shuffle II
Examples 3 & 4
Piano Style Rhythm Grooves
Examples 5 & 6
Single-Note Rhythm Licks
Example 7
Heel Damping
Example 8
PICK AND FINGER TECHNIQUE
Example 9
The Constant Bass
Examples 10 & 11
Pick and Finger "Roll" Patterns"
Open G "Banjo" Rolls
Examples 12, 13 & 14
CHAPTER 2:
RHYTHM AND BLUES TELECASTER
Partial Chords in R&B Guitar
Examples 15 - 21
STEVE CROPPER
Example 22: The "Soul Man" Lick
CORNELL DUPREE
Examples 23 - 30
Example 31:
The "Memphis Soul Stew" Lick
CHAPTER 3:
TELECASTER BLUES
The Basic Blues Scales
Examples 32 & 33
Blues Passing Tones
Examples 34 & 35
First Position Licks
Examples 36 & 37
Adding The Major Third
Examples 38 - 41
BLUES STRING BENDING
Whole Step and Half Step Bends
VIBRATO
The "Bend and Release" Vibrato
Example 42
BLUES SOLOING
Examples 43 & 44
FALSE HARMONIC AND VOLUME CONTROL SWELL TECHNIQUES
Examples 45 - 47
Volume and Tone Control "Swells"
Examples 48 & 49
Tone Control Tricks
Examples 50 & 51
ROY BUCHANAN 66
Example 52: The "Haunted House" Lick
Examples 53 & 54: "Lonesome Fugitive"
Example 55: Soloing Buchanan Style
ALBERT COLLINS
Example 56
MUDDY WATERS
Example 57
CHAPTER 4:
COUNTRY AND ROCKABILLY TELECASTER
Basic Country Scales and Positions
Examples 58 - 60
Some Hot Country Licks
Examples 61 & 62
The Extended Country Pentatonic Scale
Examples 63 - 74
CD 2
COUNTRY STRING BENDING TECHNIQUES
String Bending as Substitution
Examples 75 - 83
Pedal Steel-Style "Banjo" Roll
Example 84
Advanced "Pedal Steel" Bend Positions
Example 85
Examples 86 - 88
CLARENCE WHITE
Examples 89 - 93
Example 94: Advanced String Bending Solo
Two-String Bends
Examples 95 - 98
JAMES BURTON: A TELE MAN FOR ALL SEASONS
Examples 99 - 103
Examples 104 & 105: The "Mystery Train" Lick
Chicken Pickin'
Example 106
DANNY GATTON: TELEMASTER
Examples 107 - 109
ALBERT LEE
Examples 110 & 111
BENDING BEHIND THE NUT
Examples 112 - 117
JERRY DONAHUE
Examples 118 & 119
HOT COUNTRY DOUBLE STOPS
Examples 120 & 121
Combining Double Stops with String Bending
Example 122 & 123
SCOTTY ANDERSON: KING OF THE DOUBLE-STOP.
Example 124
MARTY STUART: KEEPER OF THE FLAME
Example 125
VINCE GILL: FROM THE STUDIO TO SUPERSTAR
Example 126
PEDAL STEEL-STYLE "CARRY" LICKS
Examples 127 & 128
USING DISSONANCE IN COUNTRY PLAYING
Examples 129 - 132
HAWAIIAN LAP STEEL-STYLE
Example 133
JIMMY BRYANT: TELE PIONEER
Example 134
CHAPTERS:
THE TELECASTER IN ROCK
KEITH RICHARDS
Examples 135 - 137
PETE TOWNSHEND
Example 138
ANDY SUMMERS
Example 139
JEFF BECK
Example 140
JIMMY PAGE
Example 141
CLASSIC TELE ROCK LICKS
Example 142
Example 143: The Final Solo
CONCLUSION
Italiano
English
