INSIDE THE BLUES

ROCKIN' THE BLUES, The Best American and British Blues-Rock Guitarists: 1963-1973. BOOK WITH CD & GUITAR TABLATURE

LIBRO METODO DI MUSICA BLUES, CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

METODO, MANUALE, STUDIO, TECNICA. 

Lessons - Music - Historical analysis - rare Photos
Series: Guitar Educational
Softcover with CD - TABLATURE
Author: Dave Rubin

Take a journey inside the blues with Dave Rubin's latest book, Rockin' the Blues: 1963-1973. This seminal 10 years produced some of the most influential blues-rock guitarists of all time. Learn about the lives of these trail-blazing guitarists, their individual styles, accomplishments, and techniques, then play along with the accompanying CD and taste the magic yourself. Each chapter delves into the world of a key blues-rock guitarist from this period, with rare photos, historic insights, interviews, and guitar solos written in standard notation and tablature and performed by a full band on the included audio CD. Explore this exciting time in music history with a book that covers it like no other. Artists covered include: Duane Allman, Jeff Beck, Roy Buchanan, Eric Clapton, Alvin Lee, Keith Richards, Robbie Robertson, and others. 104 pages

ROCKIN' THE BLUES: From the U.S. to the U.K.

The history of the blues is laced with irony. The national tragedy of the transatlantic slave trade begun in the 1600s sought to deprive Africans of their culture, but inadvertently exposed them to European musical traditions and instruments that led to the birth of the blues in the American south circa 1890. Some in the Anglo population had their ears open early on as evidenced by a white man, Arthur Seals, beating W.e. Handy to the distinction by just two months with the first published blues, "Baby Seals' Blues" in 1912. After "Crazy Blues" by Mamie Smith was recorded in 1920 there began a lengthy period of the blues as an integral component in the African-American community until it was superseded by soul music in the early 1960s. Throughout this entire period of time most, though certainly not rdl, white listeners in America applied basically benign neglect to the blues. By the early 1950s, however, white country musicians in the South began incorporating blues licks and phrasing into a new, embryonic form of music as yet unnamed. Often they learned directly from their black neighbors or family employees out in the sticks. Merle Travis, Chet Atkins, and Scotty Moore were some of the earliest and most prominent, with Moore applying his seamless blending of country and blues licks to the music of an ambitious young man in the summer of 1954. The greasy, astoundingly charismatic singer Elvis Presley was joined by Moore and upright, "doghouse" bassist Bill Black at Sun Studios in Memphis, and their revolutionary hybrid of hillbilly boogie and blue would eventually come to be called rockabilly a few years later. In fact, it was the official, if not absolute, beginning of rock 'n' roll as a style of music and as an unprecedented youth movement. Other white cats like Carl Perkins, Jerry Lee Lewis, Dale Hawkins (whose 1957 recording of "Suzie-Q" featured James Burton's seminal blues-rock licks), Roy Orbison, and even Johnny Cash would build on Presley's success. Meanwhile, Chuck Berry was concurrently combining blues with country and western music and swing jazz (by way of jive-talking shuffler Louis Jordan) to create a distinct style that rocked and swung, and his influence on rock is inestimable. In addition, the chugging boogie blues of Jimmy Reed would also exert a considerable effect on both future American and English blues-rockers. It took some time for the I-IV-V progressions of 1950s rock 'n' roll to give way to a new form of rocked up blues in the early 1960s. Roy Buchanan in the Washington, D.e. area, Robbie Robertson in Toronto, and Lonnie Mack in Cincinnati, to name three of the most prominent, began bringing an edge and energy to their version of the blues rarely found outside of black blues guitarists like Lafayette "Thing" Thomas and Auburn "Pat" Hare. Keenly aware of the potential contained in the right combination of axe and amp, they were the sonic pioneers who would fry their vacuum tubes in order to achieve the thick, overloaded sound that would thrill fans and fellow musicians alike. The blues-based San Francisco bands like Big Brother and the Holding Company, Creedence Clearwater Revival, Quicksilver Messenger Service, the Steve Miller Band, and the early Santana band that arose in the mid-1960s (and contributed so much to the music of the counterculture movement in the latter part of the decade) also understood that the "medium (loud, distorted guitars) was the message." Technology played a significant part because as the amps got bigger, so did the sound, and savvy guitarists got hip to the fact that they could riff and solo with the expressiveness and power that had previously been the domain of honking tenor saxophonists. Perhaps no one delivered this powerful, earth-shaking message better than Jimi Hendrix, at once a true hluesman and blues-rock icon. The Allman Brothers Band with dual axemen Duane Allman and Dicky Betts were arguably the most important American group to bring all the elements together in an accessible style also steeped in authentic blues roots. Still at it after thirty-five years, they spawned a new genre known as Southern Rock that was in fact, blues-rock with a Dixie accent. Lynyrd Skynyrd, the Marshall Tucker Band, 38 special

TABLE OF CONTENTS

Introduction

John McVie Interview 

Scales for Blues-Rock Guitar 

Duane Allman

Jeff Beck

Roy Buchanan

Eric Clapton

Rory Gallagher

Billy Gibbons

Peter Green

Bugs Henderson

Alvin Lee

Steve Miller

Jimmy Page

Keith Richards

Robbie Robertson

Mick Taylor

Mick Taylor Interview

Leslie West

Guitar Notation Legend 

BIRTH OF THE GROOVE, R&B SOUL AND FUNK GUITAR 1940-1965. DAVE RUBIN. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA R&B, SOUL, FUNK, CON CD

SPARTITI PER CHITARRA CON ACCORDI, PENTAGRAMMA E TABLATURE. 

La musica di Steve Cropper, Curtis Mayfield, Ike Turner, Mickey Baker, Billy Butler, Cornell Dupree, Tiny Grimes, Jerry Jemmott, Johnny Moore, Jimmy Nolen, Clif White, Robert Ward, e tanti altri. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Arranger: Dave Rubin

The years 1945-1965 saw a radical and exciting shift in American popular music. Blues and swing jazz helped to produce a new musical form called rhythm and blues, which in turn set in motion the development of soul and funk, not to mention rock 'n' roll. What united these genres was an emphasis on the beat, or the groove, over the melody that would culminate in the syncopated monochord workouts of funk. Along the way, some of the greatest electric guitarists of the postwar years explored the boundaries of the new instrument with a rich array of hot licks. This book/CD pack explores everything from the swinging boogie of Tiny Grimes, to the sweaty primal funk of Jimmy Nolen, to the styles of Mickey Baker, Billy Butler, Steve Cropper, Cornell Dupree, Jerry Jemmott, Curtis Mayfield, Ike Turner and everyone in between. Includes in-depth lessons, historical analysis, rare photos, and a CD with 33 full-band tracks. 88 pages.

PREFACE
Thehistory of R&B, soul, and funk guitarists has been largely ignored when compared with that of blues guitarists. However, though they have tended to labor in obscurity in the shadow of vocalists, these unsung heroes have contributed significantly to the legacy of postwar electric guitar.
Inasmuch as the three genres have a far more varied selection of rhythmic and harmonic accompaniments than blues, the innovation and creativity has naturally occurred in the realm of backup, rather than soloing. Exceptions to this statement are to be found in the cerebral and emotional soloing of Billy Butler and Cornell Dupree, to name only the most obvious. It should be of interest to guitarists whose ears are mostly attuned to the sound of single-note lines, though, to understand the art form that Curtis Mayfield, Steve Cropper, and Robert Ward have made from the well-placed fill and chordal pattern.
The years 1945-1965 were chosen because it was the era where the most original advances were
made. That is not to say that great guitar music was not made after that date, only that the initial root source of the blues started to diminish in favor of more commercial influences. Perhaps a Volume II will be in order, particularly in the area of seventies funk.
I hope you will enjoy playing this remarkable music as much as I have, and that the history and biographies provide some sense of acknowledgement for the exceptional artists covered.
Dave Rubin New York City, 1999

DEDICATION
Iwould like to dedicate this book to my daughter, Michelle ("Cookie") and my wife, Cheryl.
Without their love and encouragement, I would "have the blues" more than playing and studying them.

ACKNOWLEDGMENTS
Iam indebted to, Edward Komara, Nick Koukotas, Darrell Bridges, Ira Bolterman, Steve Kirkman,
and all at Hal Leonard Corporation for their invaluable help and suggestions.

TABLE OF CONTENTS

Preface .
Dedication and Acknowledgments .
Introduction .
Scales and Chords for R&B, Soul, and Funk Guitar .
Tiny Grillles .
Johnny Moore .
Mickey Baker .
Ike Turner .
Billy Butler .
Clif White .
Curtis Mayfield .
Cornell Dupree .
Jerry Jemmott .
Steve Cropper .
Robert Ward .
Jimmy Nolen .
About the Author .
Guitar Notation Legend .

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.