TABLATURE SPARTITI PER CHITARRA DI MUSICA BLUES

BLUES GUITAR CLASSICS. Wolf Marshall. Vi è mai capitato di non riuscire a riconoscere un vecchio Blues quando l'avete sentito suonare da Eric Clapton o Gary Moore? In questo libro c'è uno studio su 10 blues songs con personalità a confronto diretto. Albert King e Gary Moore, Lee Hooker, B.B. King e Albert King (i due Re) e Otis Rush, Robben Ford e B.B. King, e Muddy Waters, Clapton e Freddie King, Mike Bloomfield e Jimi Hendrix, Buddy Guy e T-bone Walker, S.R.V. e Slim, altri. CD TABLATURE

Series: Signature Licks Guitar
Publisher: Signature Licks
Format: Softcover with CD
Author : Wolf Marshall

Learn to play 11 classics, including: Everyday (I Have the Blues) - Hideaway - I'm Your Hoochie Coochie Man - Killing Floor - T-Bone Shuffle - Texas Flood - The Things That I Used to Do , and more.

Last stop: Memphis, 1993. Texas bluesman Albert Collins was appropriately known as "the Iceman" or "the master of the Telecaster," and had a well-earned reputation for stopping listeners cold in their tracks. With a chilling ice-pick attack, he gained wide recognition among blues fans and guitar players alike via his namesake instrumental, "Frosty," in 1962. There are numerous versions of "Frosty" in the Collins catalog-this one significant for several reasons. Recorded in May 1993, it is from his last studio album, Collins Mix, and features a guest appearance by B.B. King-one of only two historic pairings of Collins and King on record. The session came about as a result of swapping favors. While in town, Albert sat in with B.B. on his Blues Summit album and, in return, asked King to perform on his record. What we get is a spirited and inspired romp through the Iceman's classic blues tune with remarkable guitar work by both players. "Frosty" is an uptempo 12-bar blues in D. Albert takes the head A and first two solo choruses B and C, followed by B.B. for two D and E.Albert returns with one more chorus F to close out the section with authority. The alternating solos provide a fascinating study of Collins's and King's individual styles. Both swing unbelievably. Collins has a snappy, rhythmic-based style, plays aggressively-slightly ahead or on top of the beat-with a piercing tone, and consistently employs a slick variant of the standard minor pentatonic scale. Found throughout the head and solos, it involves replacing the 7th of the minor pentatonic (C) with the major 6th (B). "Albert's 0 minor pentatonic" is then spelled D-F-G-A-B. This lends a jazzy, diminished sound to the arpeggio lines he favors over the typical pentatonic scale licks of most blues guitarists. The trill figures in measures 17 and 33-34 and the repeating bend passages in measures 23-24 and 61-64 are definitive Albert Collins stylistic traits. By contrast, King plays with a more relaxed-majestic-rhythmic approach and a fatter Lucille (ES-355) tone. Spurred on by "Frosty's" cool environment, he also incorporates the 6th into his minor pentatonic phrases. Notice also the frequent inclusion of the ninth (E) in his lines in measures 37-42 and 49-51. A high point is the energetic, raked arpeggio riff in measures 53-55. He climbs into the "B.B. box" in measures 58-60 to wrap up his solo on a decisive note. Albert Collins had an utterly unique sound and style made from an uncommon combination of ingredients. He tuned his Tele up to an open F minor chord (from low to high: F-C-F-Ab-C-F) [Ed. note: Both fingerings are presented in the Signature Licks music. TAB below Albert Collins' lines includes two staves: one in standard tuning and the second in Fm capoed at the ninth fret.], always used a capo (generally at the ninth fret), and hung his guitar off his right shoulder. He picked exclusively with his fingers for a variety of attacks, nuances, and dynamics. Albert's trademark guitar was a blonde, maple-neck '61 Telecaster with a humbucking neck pickup. He had been playing them since 1952, when "Gate mouth" Brown first turned him on to it, and was one of the first blues legends to playa modified Tele. Collins plugged into mid-70s Fender 4x12 Quad Reverb combo amps-each essentially a "100-watt stack in a box."

This book is a trip-literally. It's your ticket to witness the evolution of modern blues guitar from its early jump-style swing and Delta-based roots to its urban, electrified incarnations via an essential collection of indispensable classic songs. We'll be visiting both the innovators and their gifted disciples, and making stops all over the blues map in Chicago, Memphis, Texas, the West Coast, London, and even Japan. With the music and accompanying audio, it's also your ticket to hear, feel, and play-to experience-the exciting world of blues guitar first-hand. The guitar tradition in blues was begun by such artists as Charley Patton, Son House, Bukka White, Mississippi John Hurt, and particularly Robert Johnson-all of whom were acoustic players and proved influential to the succeeding generations of electric blues guitarists and even the rock players to follow (Eric Clapton, Mark Knopfler, and many others). The electric guitar entered the blues picture in the late thirties with musicians like Charlie Christian, Eddie Durham, and Lonnie Johnson. The first modern postwar blues guitarist was T-Bone Walker, an innovator who simultaneously defined the sound and approach of electric blues guitar and inspired and presaged the work of B.B. King, Albert King, Buddy Guy, Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan, and all to follow. This book is dedicated to a select handfull of the plugged-in innovators and pioneers of the blues-as well as the countless other performers which by their inclusion would necessitate more than ten such volumes. After you rummage through these goodies, be sure to check out the work of other giants like Elmore James, Jimmy Reed, Lightnin' Hopkins, Magic Sam, J.B. Lenoir, Johnny Winter, Lowell Fulsom, Earl King, Clarence "Gatemouth" Brown, Pat Hare, Wayne Benett, Peter Green, Bonnie Raitt, Johnny Copeland, and Robert Cray ...hmmm, maybe in volume two? It's a never-ending process, and aren't we glad. As you will see, blues is a tradition with each successive generation building and elaborating on the accomplishments of their forebears. To place yourself in the blues picture, it is highly recommended that you begin to improvise your own variations as soon as possible. Learn the basics from the printed music and TAB and listen carefully to the audio right side to learn the original guitar parts. Then turn your balance to full left to select the rhythm section only, close your eyes, open your heart and bare your soul-and play the blues.

BUILDING BLOCKS OF BLUES GUITAR
harmony
classic blues scales
pentanonic scale
classic blues shapes
TUNING 
Eb TUNING
A CLASSIC BLUES GUITAR AXOLOGY
DISCOGRAPHY

Song List:

1961 - Hide Away Performed by Eric Clapton, Freddie King
1959 - As The Years Go Passing By Performed by Albert King, Gary Moore
1970 - Boogie Chillen No. 2 Performed by John Lee Hooker
1952 - Everyday (I Have The Blues) Performed by B.B. King, Albert King, Otis Rush
1964 - Help The Poor Performed by Robben Ford, B.B. King
1957 - I'm Your Hoochie Coochie Man By Willie Dixon, Performed by Muddy Waters, Jimi Hendrix
1965 - Killing Floor Performed by Mike Bloomfield, Jimi Hendrix, Albert King, Howlin' Wolf
1958 - Texas Flood Performed by Fenton Robinson, Stevie Ray Vaughan
1953 - The Things That I Used To Do Performed by Guitar Slim, Stevie Ray Vaughan
1959 - T-Bone Shuffle Performed by Buddy Guy, T-Bone Walker
1965 - Frosty Performed by Albert Collins, B. B. King

80 pages

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