TABLATURE SPARTITI PER CHITARRA DI MUSICA BLUES

BASIC BLUES GUITAR METHOD 3 INTERMEDIATE. Hamburger & Matt Smith. CD TAB.

Basic Blues Guitar Method, Book 3
By David Hamburger and Matt Smith

CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

This book is for intermediate players as well as those who have completed book two of the series. You will learn about minor blues, intros, turnarounds, endings, rhythm riffs and Texas swing. In addition to easy-to-understand lessons on improvisation and theory, how to use, mix and expand pentatonic scale patterns is explained. A CD is available which demonstrates each example.

BEGINNING BLUES GUITAR, BY ARLEN ROTH. Shuffle, assoli, tournaround, bending, fingerpicking, tutto il condimento necessario per i divoratori di primi piatti alla tavola calda di Robert Johnson. SHEET MUSIC BOOK with GUITAR TABLATURE.

LIBRO DI MUSICA BLUES.

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .

METODO 

CHITARRA RITMICA

CHITARRA SOLISTA

BLUES CHOPS FOR GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA BLUES CON CD.

SPARTITI PER CHITARRA CON

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA 

Blues Chops for Guitar

Technique Exercises for the Aspiring Guitarist
By Buck Brown
Item: 07-1042
UPC: 630746710422
ISBN 10: 1929395418
ISBN 13: 9781929395415

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more. Develop your chops practicing exercises in the style of music you enjoy! 

Introduction
About the Author

Chapter I-Blues Rhythm Guitar
Moveable Chords
The I-IV-V Progression-The Twelve Bar Blues
Open-Position Two-Note Shuffle Patterns
Closed-Position Two-Note Shuffle Patterns
Two-Note Shuffle Patterns with a b7
Closed-Position Two-Note Shuffle Patterns with a b7
Chord Shuffle Patterns .
New Blues 7 Chords
VOICING IN THE CYCLE OF 4THS
CHORD VOICING IN THE CYCLE OF 4THS - 3RD FINGER ANCHOR
7 CHORD VOICING IN THE CYCLE OF 4THS - 3RD FINGER ANCHOR
The 9 Chord
The 9-Chord Slide Blues
The 13 Chord
More Dominant 7 Chords
Turnarounds
More Shuffle Patterns

Chapter 2- Blues Lead Guitar
Alternate Picking
Finger Independence
Vibrato
The Minor Pentatonic Scale
Strengthening the 3rd and 4th Fingers
String Bending
The Major Pentatonic Scale
String Bending in the Major Pentatonic Scale
Pre- Bends
Pedal Steel-Style Bends
Step-and-a-Half Bends
Hammer-Ons
Pull-OFFs
Combinations with Hammer-ons, Pull-Offs and Bends
Double Stops

Chapter 3- Advanced Blues Techniques
Advanced Twelve-Bar Blues Harmony
Pick and Fingers Blues with a
Walking Bass Line
The Minor Blues
Sliding- The Ring-Finger Slide
More Sliding Exercises
Muted Sweeps
The Blues Trill
Harmonics
Downstroke Sweeps
Upstroke Sweeps
Cross Picking, String Skipping, Finger Rolls

Chapter 4-Slide Guitar
String Damping
Slide in Standard Tuning
Slide in G Tuning
Slide in D Tuning
Postscript

A compact disc is available with each book of this series. Using these discs will help make learning more enjoyable and the information more meaningful. The CD will help you to play the correct notes, rhythms and feel of each example. The track numbers below the symbols correspond directly to the example you want to hear. Track 1 will help you tune to this CD.

To become a better blues guitar player, you need to spend some serious time "learning the moves" -the techniques that blues guitarists employ and the little tricks of the trade that make them sound so good. This book is fJled with exercises that can help you with specific technical problems.
The exercises presented in this book cover all the important blues guitar techniques, such as string bending, pentatonic scales, hammer-ons and pull-offs, double stops, barre chords, advanced chords, pedal-steel tricks, blues changes, and there is even a chapter on slide guitar playing. There are also lots of exercises designed solely to train your fretting-hand fingers to act independently, which is not something they do naturally.
We also cover the picking hand in this book. Alternate picking exercises and pick-and-fingers techniques are examined in detail. Also, there is an extensive look at chords-the best ones to use, how to easily move from one to another, the most common sets of strings on which chords are played, how to recognize when to use anchor fingers and how to employ devices such as harmonics. Technical training is challenging, and may even seem somewhat daunting. But with application on your part, and a willingness to work at each exercise until it is mastered and understood, you will become a much better player. All the exercises follow the philosophical principle of "Occam's Razor," which says that the easiest, simplest way to do things is generally the best way. If you don't like the fingerings I've used, don't use them. But I think they are the easiest and if you give them a chance, you'll probably come to see why rchose them.
There may be some symbols you have not seen before:

I) = Extension 1. Extend (reach) your first finger out of position one fret, but do not move your hand out
of position.

4) = Extension 4. Same as extension 1, except with your 4th finger
I hope this book helps you play cleaner, faster and with better articulation. The goal, as always, is no mistakes. See you at the gig.

Buck Brown knows that guitar playing is the "real job" his mom always told him to get. In the past 35 years, he has been fortunate to play with such great artists as Nils Lofgren, Tony Trischka, Stacy Phillips, Dave Hamburger, Robert Lee Castleman, Mark Egan and all ot the incredible teachers at the National Guitar Workshop (where he taught from 1984 to 1991). Buck has written ten National Guitar Workshop publications (under the name Robert Brown) including Chord ConnectwrlJ, his masterwork on guitar harmony.
As a composer, he has written music for innumerable episodes ofAmerua J MOJt Wanted, has won an Emmy Award in Cleveland, a Bronze Medal at the New York Film Festival and has been nominated twice tor Helen Hayes Awards in Musical Theatre. When he is not on the road, Buck plays and teaches in Washington, D.C., is married to the fabulous chanteuse Rebecca Davis, uves with three dogs, bats right, throws right and plays loud.

Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools.
Each book addresses skills needed for a specific style. For example, Jazz Chops covers the finger independence needed for smooth, rapid changes between complex jazz chords in the context of important progressions, such as ii-V-I. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more.
Rock Chops deals with all the important soloing techniques, such as speed picking, sweeping, tapping, harmonics, scale sequencing and so on.
Develop your chops practicing exercises in the style of music you enjoy~or if you are a multi-style guitarist, go through all three!
 

12-BAR BLUES. Inside the blues. The complete guide for guitar. La chitarra ritmica blues, all'interno delle 12 battute. Esempi di Boogie woogie, shuffle, swing, riff, jazzy blues, Chicago blues, bebop blues, turnarounds, intros, 1 soloing, tutto sotto una luce "blues". Con 24 jam pronte di D. Rubin. CD TABLATURE

LIBRO METODO DI MUSICA BLUES CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

Series: Guitar Educational
Softcover with CD - TABLATURE
Author: Dave Rubin

The term "12-bar blues" has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. In standard notation and tablature. 64 pages.

nel CD comprese 24 basi complete

Slow 12/8, swinging shuffle, moderate boogie shuffle, chicago riffs blues, slow minor blues, jazzy minor blues, riff blues, boogie woogie blues, jazzy blues, jazzer blues, bebop blues, accompanying kayboards, Turnarounds, intros, soloing over a 12 bar blues. 

INTRODUCTION

The Origin of 12-Bar Blues By Dave Rubin and Edward Komara

The 12-bar blues is a musical building block that can be used to provide moving and exhaustive performances. With an elegant logic unique to the blues genre, the I, IV, and V changes guide the feet and arms from one dance step to another. When words are added and sung, they can acquire from these changes an ironic inflection that can be humorous or sarcastic. With a shuffle beat mimicking the beating of the human heart on adrenaline, the 12-bar progression can become the basis of a self-perpetuating cycle well-suited for vivid narratives or exuberant frolics. The I chord (meas. 1-4) presents the initial melody, and the IV chord (meas. 5-6) resets it with some degree of harmonic tension before the I chord reappears with sweet relief (meas. 7-8). The V chord (meas. 9) breathtakingly caps the momentum and then the turnaround (meas. 11-12) closes the chorus while at the same time preparing for the next installment of twelve bars.

The 12-bar blues as we know it, with three melodic phrases of four measures each and the second phrase starting on the IV chord, has its roots back in England during the time of Henry VIII. There, in the mid 1500s, twelve-measure modal folk tunes with three phrases were reported for the first time. It would be another 150 years or so before this "note per syllable" singing would give

way to figured bass and eventually tonality (chord changes) by way of opera. Example

1, "I Have Been a Foster," is a modal composition typical of the period. Note, however, that though it mostly centers on F, it ends (presciently?) on C, the V chord. If we strictly adhere to the notated key of C, it could also be seen as IV (F) resolving to I (C). Admittedly, this is looking at this example from modal antiquity through the high-resolution tonal lens of the late twentieth century, but the implied motion of either I-V or IV-I is there.

Just across the Irish Sea, from England, Irish fiddlers were developing twelve-measure ditties, also sans harmonic changes, as early as 1620

ART OF THE SHUFFLE FOR GUITAR. Inside the blues. Dave Rubin, Hal Leonard. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA BLUES, CON CD.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.  

An exploration of shuffle, Boogie and Swing rhythms.

Inside the blues. E' proprio vero che l'incisivo accompagnamento ritmico della musica blues uscì dai tasti del pianoforte, e che la chitarra poi imitò soltanto? Questa edizione sulle varie forme ritmiche blues, approfondirà le radici delle vostre conoscenze fino ai torrenti sotterranei della regione del Delta, delle aride pianure rocciose del Texas, della polverosa Kansas City, delle foreste di New Orleans, dell'asfalto e delle pozzanghere di Chicago. CD. TABLATURE

Shuffle
1: A dance step of indefinite Southern African-American origin, perhaps dating from the eighteenth century, in which the feet are moved rhythmically across the floor without being lifted (as in a minstrel show-author).

2: A rhythm derived from the dance step. The term is onomatopoeic, "sh" describing its characteristic smoothness (and especially its sound when played on the snare drum). The alternation of long and short syllables (shuffle, shuffle) evokes its distinguishing rhythm, a subdivision of the beat into uneven triplets, which is more specific than the fundamental swing or boogie woogie rhythm only in that it is usually played legato and at a relaxed tempo.

The term "shuffle," as applied to a type of musical rhythm, appeared around 1917. One of the earliest published songs to use it in its title was "Riverboat Shuffle" by Hoagy Carmichael. Though the recorded version by comet legend Bix Beiderbecke and Wolverines (1924) is both hot and cool, the rhythm is pure 4/4 dixieland. In 1921 a musical revue called "Shuffle Along" was produced with music by Eubie Blake and Noble Sissle. It included, but was not restricted to, the shuffle dance step. However, like the multitude of tunes before the mid~thirties that alluded to a "shuffle," the rhythms on parade were in the style of ragtime, dixieland and the blues. A number of rhythmic strains, including one from the unlikeliest of sources, would need to coalesce to create the true shuffle pattern. To trace this development is to traverse the glorious history of the blues and jazz. From the breakdowns, stomps and hollers of the post~Civil War South to the swinging shuffles of Louis Jordan and Tbone Walker in the forties, the accent has been on the body language of rhythm. Boogie woogie music, with its walking and moving bass lines, undoubtedly provided the driving propulsion behind shuffle rhythms. Though associated almost exclusively with the piano and especially its great solo practitioners, it is generally agreed that guitarists laid the groundwork for this blues-based idiom. The anthropologist and writer, Zora Neale Hurston, described the entertainment in the late 1800s juke joints as thus: "One guitar was enough for a dance. To have two was considered excellent. Where two were playing, one man played the lead and the other seconded him. The first player was "picking" and the second was "framming," that is, playing chords while the lead carried the melody by dexterous finger-work. Sometimes a third player was added, and he played a tom-tom effect on the lower strings." As the century wore on, pianos took the place of guitars in the lumber, mining, railroad and turpentine camps. Though it is conjecture, the practicality of employing one musician versus two or three, plus the sheer increase in volume afforded by pianos in rowdy barrelhouses (as opposed to acoustic guitars), makes sense of this change. There is less ambivalence, though, about the music performed. Quite simply, patrons wanted to hear the same raucous, rolling rhythms, so piano players devised left-hand patterns analogous to rhythm guitar parts while embelli hino and oloing with the right.

Series: Guitar Educational
Softcover with CD - TABLATURE
Author: Dave Rubin

This method book explores shuffle, boogie and swing rhythms for guitar. Includes tab and notation, and covers Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and bebop blues. Also includes audio for demonstration of each style and to jam along with. 64 pages.

Traces the roots of Shuffle, boogie and swing rhythms from the late 1800s to the late 1940s. Delta, country, Chicago, Kansas City, Texas, New Orleans, West Coast, and Bebop Blues styles are explored in-depth with numerous music examples. The accompanying CD demostrates each example with a complete rhythm section, includes rare photos.