TABLATURE SPARTITI PER CHITARRA GRUPPI e PERSONALITA'

SANTANA, CLASSIC 1969-1990. 34 titles. SHEET MUSIC BOOK WITH GUITAR TABLATURE

LIBRO DI MUSICA ROCK,
SPARTITI PER CHITARRA E VOCE.
ACCORDI, PENTAGRAMMA E TABLATURE. 

All I Ever Wanted -Aqua Marine -Bella -Black Magic Woman/Gypsy Queen -Blues For Salvador -Brightest Star -Chill Out (Things Gonna Change) -Europa (Earth's Cry Heaven's Smile) -Every Now And Then -Everybody's Everything -Evil Ways -Flame Sky -Hannibal -The Healer -I Love You Much Too Much -I'll Be Waiting -In A Silent Way -Love Is You -Move On -Mudbone -Naima -Open Invitation -Oye Como Va -The River -Samba Pa Ti -Se Eni A Fe L'amo-Kere Kere -Somewhere In Heaven -Song Of The Wind -Soul Sacrifice -Sweet Black Cherry Pie -This Is This -Toussaint L'Overture -Waves Within -Wings of Grace.TABLATURE

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Volume 1 of this collector's edition set covers 34 classic songs from Carlos Santana's early years (the '60s through the '80s), all faithfully transcribed in note-for-note guitar TAB.

Titles: All I Ever Wanted * Aqua Marine * Bella * Black Magic Woman * Blues for Salvador * Brightest Star * Europa (Earth's Cry Heaven's Smile) * Every Now and Then * Everybody's Everything * Evil Ways * Flame Sky * Gypsy Queen * Hannibal * The Healer * I Love You Much Too Much * I'll Be Waiting * In a Silent Way * Love Is You * Move On * Mudbone * Naima * Open Invitation * Oye Como Va * The River * Samba Pa Ti * Se Eni a fe L'Amo-Kere Kere * Song of the Wind * Soul Sacrifice * Sweet Black Cherry Pie * This Is This * Toussaint L'Overture * Waves Within.

THEORY INTO PRACTICE

FEELINGS

Finivo sempre ad essere incompreso dai musicisti e specialmente i chitarristi quando dicevo che i musicisti di strada riescono ad emozionare di più che i musicisti da studio. Louis Armstrong era un musicista di strada. Non sapeva leggere la musica... come non lo sapeva Wes Montgomery. Non sto dicendo che l'ignoranza è la beatitudine. Miles Davis, Wayne Shorter, loro sapevano leggere la musica e sapevano sentirla. Penso che il criterio più importante della musica è che tu devi  imparare a suonare a "toccare l'accordo ombelicale" universale dell' ascoltatore. In questa ottica non importa come viene chiamata la tua musica: mariachi, rock, psichedelico o jazz, o in qualche altro modo. Non sono un'autorità per questo. Lo sono solo per quello che sento. Nella canzone "Goodness and Mercy", per esempio, ho iniziato a piangere mentre la suonavo. Per qualche motivo quando sono uscito davanti al publico, poi mi sono ritirato fuori dai monitors e quando ho suonato la prima nota, improvvisamente, sono stato sommerso dalle emozioni. Bene quando ti viene da ridere e da piangere contemporaneamente - Mi piace questa emozione. Questo fa' parte della musica.

FEELINGS

I get into a lot of trouble with musicians, especially guitar players, when I say that street musicians penetrate deeper than the studio-session musicians in feeling. Louis Armstrong was a street musician, He couldn't read music; neither could Wes Montgomery. I'm not saying that ignorance is bliss. Miles Davis, Wayne Shorter, they have everything: they can read and they can feel. But I think that the most important criteria in music is that you have to learn how to strike the universal umbilical chord of the listener. And that way they won't care what to call your music: psychedelic mariachi rock or blues or jazz: or anything. I'm not an authority on any of those things. I'm only an authority on what I feel. In "Goodness and Mercy," for example, I was crying when I played that song. For some reason, I went out in front of the PA; I walked out, away from the monitors, and when I hit the note, all of a sudden I started feeling that overspill of emotion. It's okay when you want to laugh and cry at the same time-I love that emotion. That's what music is about.

SOUND

Immaginiamo che tu sei un fotografo e vuoi fare la foto dello stagno. Quando tu fa la fotografia ci sono i riflessi del cielo e delle nuvole e poi i petali dei fiori che galleggiano sulla superfice. E dopo, vedi se guardi più nel profondo vedi un grande pesce, e tutto fino al fondo. Un bravo fotografo deve essere capace di catturare tutti e 4 i livelli. Imparare a suonare la chitarra ascoltando T-Bone e Wes Montgomery, e altri come loro, io ho percepito tutti e 4 i livelli in musica.   Oggi non li ricevo dalla maggioranza dei chitarristi, mi arriva soltanto il suono generico del pedale Bob Bradshaw, e la percezione rimane in superfice. Niente cielo, nessun pesce. Quando suoni con questi pedali suoni come chiunque altro e va via la tua personalità. Per me la personalità e individualità e unicità è il più grande dono che Dio ti ha dato. Questo ti fa riconoscere Yngwie Malmsteen o Buddy Guy da 2 note. Così evito di usare pedali che fanno diventare il mio suono come quello di chiunque altro. Io non uso batterie nella mia chitarra, e non uso transistors per  gli amplificatori. Uso valvole. Per me le valvole sono ancora vive. I transistor soffocati. Questo non è il mio suono, non  fatemi suonare così.

SOUND

Let's say you're a photographer, and you want to take a picture of a pond. When you take the picture, there's a reflection in the pond of the sky and the clouds. And then, you see flower petals floating on top, and if you look deep down, you see a big fish, and then you see all the way to the bottom. A good photographer should be able to capture all four levels. The way I learned guitar, through T-Bone and Wes Montgomery and people like that, I get all four in the sound. Today I don't get it from a lot of guitar players I only get the generic Bob Bradshaw pedal sound, where you only get the surface. You don't get the sky, and you don't get the bottom, and you don't get the fish. When you play through those pedals, you immediately sound like somebody else, and there goes your personality. To me, personality and individuality and uniqueness is the greatest thing that God gave to you; this is how you can tell Yngwie Malmsteen from Buddy Guy in two notes. So I avoid using pedals that make me sound like somebody else. I don't use batteries in my guitar, and I don't use transistors for amplifiers. I use tubes. To me, tubes are still flesh. Transistors are like saranwrap sound. That's not my sound, so don't make me sound like that.

TONE

Mi rivolgo ai cantanati più che ai chitarristi. Dal momento che sò del tono di testa, tono nasale, tono di gola, tono del petto, tono del diaframma. Questo è quello che devono conoscere della mia musica gl'ingenieri del suono. Allora io dico "apri la porta dello studio". Non appena si apre la porta, il suono esce come un prisma di vetro che si mette contro il sole e si vede tutto l'arcobaleno dietro. Io non voglio solo il giallo e l'arancio, voglio l'arcobaleno intero. Questo è il mio tono. Mi domando ora, se io sono l'ospite della registrazione di qualcun altro o è la mia registrazione.  Chiedo agli ingenieri di alzarsi dalle sedie e di lavorare insieme. Ho chiesto a loro di mettere 2 o 3 microfoni in diversi posti, uno sull'altoparlante diffusore, uno nella stanza e uno dietro, in modo da ottenere il modo complete. Faccio 4-7 note, sulla settima nota saltare fuori dagli altoparlanti. Quando io colpisco la sustain nota è l'equivalente del grappolo d'uva. Quando io spremo il grappolo d'uva, e io schizza e ti bagna, questo è quello che voglio. Non voglio un grappolo che lo schiacci e non esce niente. Io voglio riuscire a bagnarti con la mia emozione. E l'unico modo per ottenerlo è che l'ingeniere si emozioni con me. Per fare questo devi fare del tuo meglio. Non è una cosa facile, non è come andare a una festa. A volte è necessario mangiare gli avanzi di ieri. E' come fare delle immersioni con la stessa quantità d'aria, alcune volte trovi le perle, altre volte no. 

TONE
I relate to singers more than I do guitar players. Since I'm aware of singers' head tones, nasal tones, throat tones, chest tones and diaphragm tones, this is what I want the engineer to be aware of in my music. Engineers get really insecure. So I say, "Open the studio door." As soon as they open the door, the sound comes out like a prism of glass that you put up against the sun and you see all the rainbow behind. I don't just want the yellows and the oranges; I want the whole rainbow. That's what my tone is about. I demand it now, whether I'm a guest artist on somebody else's record or it's my record. I demand that the engineer get off his seat and go in and work with me. I ask them to put two or three microphones in different places; one on the speaker, one in the room, and one in the back, so you get the whole picture. I do four to seven notes; on the seventh note, I want it to jump out of the speakers. When I hit the sustain note-it's equivalent to a grape. When I squeeze that grape, and it squirts and it gets you wet, that's what I want. I don't want the grape that you squeeze and nothing comes out. I want to be able to get you wet with my emotion, and the only way to do it is to create a thing with the engineer that gets him wet. All you can do is do your best. Not every time you're going to have a feast. Sometimes you have to eat yesterday's leftovers. It's like you go diving, and you use the same amount of air to go down, aod sometimes you catch the pearls and sometimes you don't.

PRATICA

Io mi esercito con le scale, e senza le scale
Io suono una nota con il vibrato che suona come qualcuno che si lamenta. A volte quando una persona si lamenta è come un suono universale. Non c'è bisogno di conoscere il giapponese ma dal modo che John Lee Hooker suona tu capisci esattamente cosa sta dicendo. Così mi alleno nel non esprimere le note: do re mi  fa sol la si do. Mi mi alleno a esprime le emozioni umane. Forse penso a Aretha, io penso a Dionne Warwick, e a certe frasi che loro cantano. Così mi esercito l'ultima nota (canta modulazione), quella è la nota che pratico. Dimentico le altre note e ottengo la battuta finale, arrivo alla battuta finale, quindi se si sta suonando Blues o qualsiasi altra cosa sta suonando "Che nota, uomo !". Mi esercito dalle 22 alle 2 del mattino, perchè la mia famiglia si addormenta alle 22. Proseguo a suonare con rhythm machine che mi da un poco di spinta, e poi spengo guardo video di Hendrix o Wes Montgomery, e qualcun altro, poi suono e basta, ed è un poco come cambiare pelle. Nonostante ami molto Wes o T-Bone, Buddy Guy, suono per sbarazzarmi di tuute quelle persone che amo. Registro tutto, lascio girare il nastro, e il mattino dopo ascolto quello che ho registrato, ascolterò solamente, perchè quello é totalmente inconscio. Non sò se quello che ascolto l'ho suonato io.  E mi dico "ho suonato questo stanotte ? e' buono questo, ci sono 4 battune che sono buone. E gli do un voto da 1 a 10. C'è una canzone lì. Poi inizio a lavorarci sopra, e poi tutto d'un tratto trovo qualcosa che quando la gente lo ascolterà dirà "questo è Carlos". Filmo in video-tape le mie performance. Nei concerti quando suoni una nota, e senti quelle grida penetranti come nei vecchi dischi di James Brown, dove tu sai di dare a quella donna di più del suo amante, psichiatra, o rabbino, può fare per lei

(amore, amico, religione. Spesso le isteriche calmano uno poco la loro nevrosi nella prima e nella terza)

PRACTICE

I practice scales, and I practice nonscales which get inside the note. I play one note that when you vibrate it, it sounds like somebody holding you and moaning. Sometimes, when a person moans, it's like a universal sound. You don't have to hear lyrics in Japanese or Italian or English or anything; by the way John Lee Hooker moans, you know exactly what he's saying. So I practice not to articulate notes, do-re-mi-fa-sol-Ia-ti do: I practice to articulate human emotions. Maybe I think of Aretha; I think of Dionne Warwick, and certain phrases that they sing. So I practice the last note (sings modulation) - that's the note that I practice. I forget the other notes, and I get to the punchline, if you will, how I deliver the punchline, so, whether you're playing blues or whatever you're playing, they go, "Man, that note!" I practice from 10 o'clock to 2 o'clock in the morning, most of the time, 'cause my family falls asleep by 10. I go through a process of playing with a rhythm machine to give me that momentum, then I turn it off or I'll watch Jimi Hendrix or Wes Montgomery or somebody on video, and after a while I turn everything off and I just play, and it's kind of like a snake shedding its skin. As much as I love Wes or T-Bone or Buddy Guy, I play to get rid of all those people that I love. I tape everything. I just leave it running, and I'll play both sides of the cassette the next morning. I won't play anything; I'll just listen to what I did the night before, because it's totally unconscious. I don't even know that I played it. And I go, "Damn, I played this last night? Ooh, right here, these four bars right here," and I mark it, from 0 to 10. "There's a song right there." Then I start working on it, and then all of a sudden I've found out that thing where I know if people hear, they're gonna say, "That's Carlos." I also tape my performances-and videotape. I listen to the ones that, from one to ten, I got 15. I know which concert spilled over, where you hit a note and you hear those piercing screams that sound like those old James Brown records, where you know you got to that woman beyond what her lover, or the psychiatrist, or the rabbi can do for her. '

INSTRUMENT

Paul Reed Smith è ancora la casa. Fondamentalmente suonare le prime tre chitarre che ho comprato da lui nel '79. Le vecchie suonano divinamente, e rimangono in accordate. Hanno ancora quel tono di T-Bone, Wes Montgomery, quel tono di Jimi. Non suono le cose nuove. Uso un vecchio ampli Boogie. La cosa principale è, che entrambi si sono impegnati a dire: 'Noi amiamo la tua onestà, e ti ringraziamo per aver utilizzato la nostra roba'. Paul ha fatto un impegno che egli farà una chitarra ne nel modo in cui lo ha fatto in origine, così, quando io suonerò la chitarra, con o senza amplificatore, il sustain, quando suoni un'accordo, o una nota, con l'amplificatore, avrai una durata molto lunga dellaq nota. Non ho bisogno di una certa chitarra o un preciso amplificatore per ottenere il mio tono. Anche con una Stratocaster, o con un Fender o un Pignose, posso raggiungere il mio tono. E' nella sensibilità delle tue dita, e il bagaglio di tutto ciò che si prende dalla vita, e si esprime attraverso questo pezzo di legno e le corde, e questa scatola con le manopole. Naturalmente, certe cose rendono più facile tutto, ma a questo punto, penso che anche se prendo una chitarra classica, o una chitarra acustica hollowbody, la gente può dire: "Questo è ancora Carlos."

INSTRUMENT

Paul Reed Smith is still the home. I basically play the first three guitars that I bought from him in '79. The old ones sound like they've got the Father, the Son, and the Holy Ghost tone, and they stay in tune. They've still got that T-Bone tone, that Wes Montgomery tone, that Jimi tone. I don't play nothing new. I use old Boogie amps. The main thing is, they both made a commitment to say, 'We love your honesty, and we thank you for using our stuff.' Paul made a commitment that he's gonna make a guitar to go back the way he did it originally, so when I strike the guitar, amplifier or no amplifier, it sustains; when you hit the chord, or the note, beyond the amplifier, you're already sustaining. I don't need a guitar or a certain amplifier to get my tone. Even with a Stratocaster, or with a Fender, or a Pignose, I can get to my tone. It's in the feeling of your fingers, and the content of everything that you take from life, that you express through this piece of wood and the strings, and this box with knobs in it. Of course, certain things make it easier, but at this point, I think that even if I grab an acoustic nylon guitar, or an acoustic hollowbody guitar, people can say, "That's still Carlos."

DIRECTION

Quando ascolto a John McLaughlin o Pat Metheny o Mike Stern, sento come loro espongono così bene, non vorrei suonare  così, a meno che io potessi fare qualcosa che quei ragazzi non hanno fatto. Ho appena ricevuto un video di John Coltrane suonando "A Love Supreme", mi ha proprio devastato. Il mio cervello è come un'ameba, come un bambino che sta imparando a scarabocchiare e lui è Leonardo da Vinci, o Michelangelo che dipinge il soffitto della Cappella Sistina. La cosa che vorrei per me, e sarebbe ancora più impegnativa, è quello di andare a scuola e imparare l'armonia, come Miles e Wayne, perché quello è il loro forte, quello che fanno è incredibile. Come Stravinsky, sentono armonicamente. Ti spaventano a morte con il loro contenuto armonico. Suonano una nota, ma gli mettono tutti quegli accordi attorno, e la gente dice: "Buon Dio, come fanno a farlo?" Io Non sento così, mi piacerebbe poter sentire di più, ogni tanto vorrei andare a scuola, come Tony Williams ha fatto, e imparare che, perché questo è affascinante per me. 

DIRECTION

When I listen to John McLaughlin or Pat Metheny or Mike Stern, I feel like they cover it so well, I wouldn't play like that, unless I could do something that those guys haven't done. I just got a video of John Coltrane playing "A Love Supreme"-it just devastates me. My brain is like an amoeba, like a kid who's learning how to doodle and he's Leonardo da Vinci, or Michelangelo painting the ceiling. To me, the thing that would be even more challenging is to go to school and learn harmonics, like Miles and Wayne, because that's their forte; what they do is incredible. Like Stravinsky, they hear harmonically. They'll scare you to death with their harmonic content. They play one note, but they put all those chords around it, and people say, "Good God, how do they do that?" I don't hear that; I wish I could hear that more, so I want to go to school sometime, like Tony Williams did, and learn that, because that's fascinating to me.

Tony Williams is Born in Chicago and growing up in Boston, Williams began studies with drummer Alan Dawson at an early age and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's "Second Great Quintet." Williams was a vital element of the group, called by Davis in his autobiography "the center that the group's sound revolved around". His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures).

TITLE COMPOSER

1981 - All I Ever Wanted - Carlos Santana; Chris Solberg; Alex Ligertwood  - dall'album Marathon

1979 - Aqua Marine - Carlos Santana; Alan Pasqua - dall'album Marathon

1981 - Bella - Carlos Santana; Chester Thompson; Sterling Crew  - dall'album Blues for Salvador

1968 - Black Magic Woman - Peter Green  - dall'album Abraxas

 1987 - Blues for Salvador - Carlos Santana; Chester Thompson  - dall'album Blues for Salvador

1981 - Brightest Star - Carlos Santana; Alex Ligertwood - dall'album Zebop!

1976 - Europa (Earth's Cry Heaven's Smile) - Carlos Santana; Tom Coster - dall'album Amigos

1995 - Every Now and Then - Vernon Reid - dall'album Dance of the Rainbow Serpent

1971 - Everybody's Everything - Carlos Santana ; Milton L. Brown; Tyrone Moss - dall'album Santana III

1967 - Evil Ways - Clarence "Sonny" Henry - dall'album Santana

1973 - Flame Sky - John McLaughlin; Carlos Santana; Doug Rauch - dall'album Welcome

1966 - Gypsy Queen - Gabor Szabo - dall'album Abraxas

1987 - Hannibal - Carlos Santana; Alex Ligertwood ; Alan Pasqua; Raul Rekow - dall'album Zebop!

1940 - I Love You Much Too Much - parole Don Raye; musica Alex Olshanetsky; Chaim Towber - dall'album Zebop!

1977 - I'll Be Waiting - Carlos Santana - dall'album Moonflower

1969 - In a Silent Way - Josef Zawinul -  dall'album Dance of the Rainbow Serpent

1987 - Love Is You - Carlos Santana ; Chester Thompson - dall'album Freedom

Move On - Carlos Santana; Chris Rhyne - dall'album Inner Secrets

1983 - Mudbone - Carlos Santana -dall'album Havana Moon

1973 - Naima - Jone Coltrane; Dennis Lambert; Greg Walke; David Margen; David Potter - dall'album Love Devotion Surrender

1978 - Open Invitation - Carlos Santana; Greg Walker; David Margen; Dennis Lambert; Brian Potter  - dall'album Inner Secrets

1963 - Oye Como Va - Tito Puente - dall'album Abraxas

1970 - Samba Pa Ti - Carlos Santana - dall'album Abraxas

1996 - Se Eni A Fe L'amo-Kere Kere - Babatunde Olatunji  - dall'album Dance of the Rainbow Serpent

1972 - Song of the Wind - Carlos Santana; Gregg Rolie; Neal Schon - all'album Caravanserai

1970 - Soul Sacrifice - Carlos Santana; Gregg Rolie; Marcus Malone; David Brown - all'album Santana

1995 - Sweet Black Cherry Pie-  Carlos Santana; Chester Thompson; Alex Ligertwood - all'album Dance of the Rainbow Serpent

1989 - The Healer - Carlos Santana; John Lee Hooker; Chester Thompson; Roy Rogers - all'album Dance of the Rainbow Serpent

1976 - The River - Carlos Santana; Leon Patillo - all'album Festival

1986 - This Is This - Josef Zawinul - all'album Dance of the Rainbow Serpent

1971 - Toussaint l'Overture - Gregg Rolie; Michael Shrieve; Michael Carabello - all'album Santana III

1972 - Waves Within - Gregg Rolie; Doug Rauch - all'album Caravanaserai 

MUDVAYNE, LOST AND FOUND. TAB.

Series: Guitar Recorded Version TAB

Fans waited three years for the 2005 release by this heavy metal quartet from Illinois. Our songbook lets you rock out to all 12 songs:

PARENTAL ADVISORY FOR EXPLICIT LYRICS.

All That You Are
Choices
Determined
Fall Into Sleep
Forget To Remember
Happy?
IMN
Just
Pulling The String
Pushing Through
Rain.Sun.Gone
TV Radio

88 pages

CAKE, THE BEST OF. TABLATURE

The Best of Cake
Cake

ITEM: 00-28973
UPC: 038081315089
ISBN 10: 0739049488
ISBN 13: 9780739049488

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Learn the best songs ever released from popular alternative rock band Cake. Compiled from all six of Cake’s albums, this 17-song collection is a must-have for guitarists. Songs include lyrics and authentic guitar TAB.

TItles:

- Arco Arena

- The Distance

- Guitar

- I Will Survive

- Jolene

- Love You Madly

- Mahna Mahna

- Never There

- No Phones

- Rock ‘N’ Roll Lifestyle

- Satan Is My Motor

- Shadow Stabbing

- Sheep Go to Heaven

- Short Skirt/Long Jacket * Stickshifts and Safetybelts

- War Pigs- Black Sabbath

- Wheels

JETHRO TULL, FLUTE SOLOS.

LIBRO DI MUSICA ROCK.

SPARTITI PER FLAUTO.

ACCORDI, PENTAGRAMMA.

As Performed by Ian Anderson
Series: Artist Books
Artist: Ian Anderson
Artist: Jethro Tull

Flute solos from 18 Jethro Tull songs have been transcribed for this collection. Songs include:

These solos are transcribed from the albums on which the songs may be found and, as such, are difficult to play (in true Ian Anderson intense, dynamic fashion). As the solos are excerpts from the complete pieces, they are often improvisational passages, containing different melodic ideas and voicings, and may not always include the original melody.

EXPLANATION OF THE FLUTE SYMBOLS

To achieve some of the techniques Ian Anderson employs on his flute

we've added the following notations to the arrangements:

01 = first harmonic

02 = second harmonic

sing = sing into the flute

ord. = stop sing

fl. = flutter tongue

sing S = sing in the shape of the line

0/ = increasing harmonics

The harmonics are achieved merely by overblowing until the next higher note (overtone) sounds. For the second harmonic, blow until the second higher note sounds. The increasing harmonics are achieved by gradually blowing harder and harder to get as many harmonics as possible.

Singing into the flute may be awkward at first. It is recommended that you learn the pieces first without the singing, then add the effect later. Sing the written note in the octave most comfortable for your voice. It is important to keep the airstream moving fast so there will be a good balance between flute and voice. Ian Anderson has a distinct "dark" sound. In playing these pieces you may wish to play with the blow hole of your flute a little more covered than normal, and blow down into it more. The "dirty" passages should be played with a heavy tongue and almost overblown. You should, however, be careful not to let these techniques become habit.

Baker St. Muse

Big Dipper

Bouree
Bungle In The Jungle
Chequered Flag (Dead Or Alive)
Cross-Eyed Mary
Cup Of Wonder
Fire At Midnight
From Later
Living In The Past
Look Into The Sun
My God
Nothing Is Easy
Passion Play Edit #8
Thick As A Brick
Third Hurrah
The Whistler
The Witch's Promise

48 pages

CREEDENCE CLEARWATER REVIVAL, Guitar Play-Along DVD Volume 20. SHEET MUSIC BOOK WITH GUITAR TABLATURE DVD

VIDEO DVD LEZIONE DI MUSICA ROCK, CON BASI.

METODO PER CHITARRA. 

Series: Guitar Play-Along DVD TAB
Artist: Creedence Clearwater Revival

The Guitar Play-Along DVD Series lets you hear and see how to play songs like never before. Just watch, listen and learn! Each song starts with a lesson from a professional guitar teacher. Then, the teacher performs the complete song along with professionally recorded backing tracks. You can choose to turn the guitar off if you want to play along or leave the guitar in the mix to hear how it should sound. You can also choose from three viewing options: fret hand with tab, wide view with tab, pick & fret hands close-up. Each DVD includes great songs that all guitarists will want to know! Volume 20 includes: Bad Moon Rising - Born on the Bayou - Down on the Corner - Fortunate Son - Green River - Lodi - Proud Mary - Up Around the Bend. 96 minutes.

Bad Moon Rising
Born On The Bayou
Down On The Corner
Fortunate Son
Green River
Lodi
Proud Mary
Up Around The Bend