ARTISTI VARI

PUNK ROCK GUITAR STYLES. T. Hurtwitz. Dal garage-rock di Lou Reed e Iggy Pop, le cantine newyorkesi con Ramones, New York Dolls, Richard Hell & Voidoids, i punk club Inglesi dei Sex Pistols, Clash, Jam, i californiani X, Bad Religion, NOFX, Blink 182, il reggae e lo Ska degli Slits, la scena Grunge degli Offspring, Green Day, Nirvana. CD TAB.

By Tobias Hurwitz
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD
Licks in every substyle of punk including the New York scene, the LA scene, the London scene, thrash and grunge, with detailed information about important artists and their contributions. All licks are shown in standard music notation and TAB and demonstrated on the CD.

GENUINE ROCKABILLY GUITAR HITS. Contiene 24 canzoni: -American music (the Blaster) -believe what you say (Rick Nelson) -bluejean bop (Gene Vincent) -boppin' the blues (Carl Perkins) -boppin' the blues (Rick Nelson) -everybody's tryin to be my baby (Carl Perkins) -good rockin' tonight (Elvis Presley, Scotty Moore) -holly hop (Buddy Holly) -Marie, Marie (The Blaster) -my baby thinks he's a train (Rosanne Cash) -Oh bay babe (Johnny Burnette) -put your cat closes on (Carl Perkins) -rock around the clock (Bill Haley and the comets) -rock billy boogie (Johnny Burnette) -Rock this town (Stray cats) -rockabilly music (Ray Campi) -skinny Jim (Eddie Cochran) -strollin guitar (Eddie Cochran) -summertime blues (Eddie Cochran) -Susie-Q (Dale Hawkins) -tear it up (Johnny Burnette) -train kept a rollin' (Johnny Burnette) -twenty flight rock (Eddie Cochran) -wake up little Susie (the Everly brothers).  TABLTURE

Most of the world first learned about rock and roll in the second half of the '50s when Elvis Presley, Buddy Holly and Carl Perkins had their first hits. The rockabilly guitarists of this period - Scotty Moore, Eddie Cochran, Cliff Gallup, Carl Perkins, Paul Burlison, James Burton, Buddy Holly and the rest - became the idols of '60s, '70s and '80s rockers, and their music will always be the touchstone for rock guitar. You'll find their solos and backup playing transcribed and their style analyzed in the pages that follow. There are also some transcriptions of music from their disciples - contemporary players like Albert Lee, Dave and Phil Alvin of the Blasters, and The Stray Cats. Rockabilly started when white Southern performers began playing electric rhythm and blues. They recorded "covers" of R&B hits, like "Good Rockin' Tonight" (Wynonie Harris' version was the biggest R&B record of '48). They also wrote their own tunes and covered country and bluegrass songs. In all cases, they borrowed the flavor and styles of African-American artists, whose music was unlikely to reach white audiences. Naturally, the rockabilly players brought their country, bluegrass and gospel music roots to R&B. The new music that emerged was ROCK AND ROLL. To Alan Freed and other disc jockeys who promoted it, the formula was clear: get white musicians to play popular '50s race music.

One of the ways rockabilly differed from R&B was that the guitar was more prominent. The early rockabilly band consisted of an upright bass, electric guitar, a singer and a drummer. Rhythm guitar (often acoustic) and piano were optional, horns were rare; some two-guitar bands even lacked a drummer. Nearly all solos were played on electric guitar. The lead guitar borrowed heavily from the single and double-note styles of Chuck Berry and T-Bone Walker, the up-the-neck fingerpicking of Merle Travis, and the more basic fingerpicking blues styles of acoustic blues guitarists like Lightnin' Hopkins and Big Bill Broonzy. A little Les Paul-style jazz added to the brew.

THE TWELVE BAR BLUES. Most of the early rockabilly hits were twelve-bar blues tunes, or were based on that form. In this book, "American Music," "Boppin' The Blues," "Everybody's Tryin' To Be My Baby," "Holly Hop," "My Baby Thinks He's A Train," "Put Your Cat Clothes On," "Rock Around The Clock," "Oh Baby Babe," "Rock Billy Boogie," "Skinny Jim," "Tear It Up," "Train Kept A-Rollin" and "Twenty Flight Rock" are all twelve-bar blues tunes and five others are only slight variants of the blues format! Here's the twelve-bar form, expressed in terms of I, IV and V chords (tonic, subdominant and dominant) in the key of E. The final bar of this twelve-bar form is often called a "turnaround," because the V chord "turns the progression around" and leads the ear back to a repeat of the whole twelve bars or to an ending. 

Series: Guitar Recorded Version TAB
Artist: Various

Over 20 classics, including:

INTRODUCTION

ROCKABILLY THE BEST OF, LICKS. 12 titoli. CD TAB.

A Step-by-Step Breakdown of the Guitar Styles and Techniques of the Rockabilly Greats
Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Dave Rubin

Dave Rubin dissects the best licks from a dozen rockabilly bellringers:

Blue Suede Shoes
Bluejean Bop
Hello Mary Lou
Hippy Hippy Shake
Little Sister
Matchbox
Mystery Train
Poor Little Fool
Rock This Town
Stray Cat Strut
That'll Be The Day
Twenty Flight Rock

DISCO GUITAR BIBLE.

30 titoli: Bad Girls -Boogie Nights -Boogie Oogie Oogie -Brick House -Da Ya Think I'm Sexy -Dance with Me -Dancing Machine -December 1963 (Oh, What a Night) -Disco Inferno -Funkytown -Get down Tonight -Get Off -Good Times -I Love the Night Life -Kung Fu Fighting -Le Freak -Love Rollercoaster -Macho Man -Native New Yorker -Never Can Say Goodbye -Pick up the Pieces -Shadow Dancing -Shining Star -Stayin' Alive -Super Freak -Superstition -That's the Way (I like It) -We Are Family -Y.M.C.A. -You Should Be Dancing. TABLATURE

Disco Guitar Bible
Notes, tab, lyrics and chords for 30 get-down-and-funky hits: Bad Girls • Boogie Nights • Boogie Oogie Oogie • Brick House • Da Ya Think I'm Sexy • Dance with Me • Dancing Machine • December 1963 (Oh, What a Night) • Disco Inferno • Funkytown • Get down Tonight • Get Off • Good Times • I Love the Night Life • Kung Fu Fighting • Le Freak • Love Rollercoaster • Macho Man • Native New Yorker • Never Can Say Goodbye • Pick up the Pieces • Shadow Dancing • Shining Star • Stayin' Alive • Super Freak • Superstition • That's the Way (I like It) • We Are Family • Y.M.C.A. • You Should Be Dancing.

Inventory #HL 00690627
ISBN: 9780634061356
UPC: 073999906271
Width: 9.0"
Length: 12.0"
182 pages
Series: Guitar Recorded Versions TABLATURE
Artist: Various

Notes, TABLATURE, 182 Pages, lyrics and chords for 30 get-down-and-funky hits:

BAD GIRLS - Donna Summer - words and music: Joe "Beans" Esposito, Edward Hokenson, Bruce Sudano, Donna Summer - 1978
BOOGIE NIGHTS - Heatwave - words and music: Rod Temperton - 1976
BOOGIE OOGIE OOGIE - A Taste of Honey - words and music: Janice Marie Johnson, Perry Kibble - 1978
BRICK HOUSE - The Commodores - words and music: Lionel Richie, Ronald La  Pread, Walter Orange, Milan Williams Thomas McClary, William King - 1977
DA YA THINK l'M SEXY - Rod Stewart - words and music: Carmine Appice - 1978
DANCE WITH ME - Peter Brown - words and music: Peter Brown, Robert Rans - 1977
DANCING MACHINE - The Jakson 5 - words and music: Weldon Dean Parks, Hal Davis, Donald E. Fletcher - 1973
DECEMBER1963 (OH, WHAT A NIGHT) - Frankie Valli and the Four Seasons - words and music: Robert Gaudio eJudy Parker - 1975
DISCO INFERNO - The Trammps - words and music: Leroy Green, Tyrone J. Kersey - 1977
FUNKYTOWN - Lipps, Inc. - words and music: Steven Greenberg - 1980
GET DOWN TONIGHT - KC & The Sunshine Band - words and music: Harry Wayne Casey, Richard Finch - 1975
GET OFF - Foxy - words and music: Carl Driggs, Ismael Angel Ledesma - 1978
GOOD TIMES - Chic - words and music: Nile Rodgers, Bernard Edwards - 1979
I LOVE THE NIGHT LIFE - Alicia Bridges - words and music: Alicia Bridges, Susan Hutcheson - 1977
KUNG FU FIGHTING - Carl Douglas - words and music: Carl Douglas - 1974
LE FREAK - Chic - words and music: Nile Rodgers, Bernard Edwards - 1978
LOVE ROLLERCOASTER - Ohio Players - words and music: Ralph Middlebrooks, James Williams, Marshal Jones, Leroy Bonner, Clarence satchel, Willie Beck, Marvin R. Pierce - 1976
MACHO MAN - Village People - words and music: Jacques Morali, Henry Belolo, Victor Willis, Peter Whitehead - 1978
NATIVE NEW YORKER - Odyssey - words and music: Sandy Linzer, Denny Randell - 1977
NEVER CAN SAY GOODBYE - Gloria Gaynor - words and music: Clifton Davis - 1970
PICK UP THE PIECES - Average White Band - words and music: James Hamish Stuart, Allan Gorrie, Roger Ball, Robbie McIntosh, Owen McIntyre, Malcolm Duncan - 1974
SHADOW DANCING - Andy Gibb - words and music: Maurice Gibb, Robin Gibb, Andy Gibb, Barry Gibb - 1978
SHINING STAR - Earth, Wind & Fire - words and music: Maurice White, Philip Bailey, Larry Dunn - 1975
STAYIN' ALIVE - Bee Gees - from the Motion Picture SATURDAY NIHT FEVER - words and music: Robin Gibb, Maurice Gibb, Barry Gibb - 1977
SUPER FREAK - Rick James - words and music: Rick James, Alonzo Miller - 1981
SUPERSTITION - Stevie Wonder - words and music: Stevie Wnder - 1972
THAT'S THE WAY(I LIKE IT) - KC & The Sunshine Band - words and music: Harry Wane Casey, Richard Finch - 1975
WE ARE FAMILY - Sister Sledge - words and music: Nile Rodgers, Bernard edwards - 1979
Y.M.C.A. - ViIlage People - Jacques Morali, Henri Belolo, Victor Willis - 1978
YOU SHOULD BE DANCING - Bee Gees from  SATURDAY NIHT FEVER - words and music: Robin Gibb, Maurice Gibb, Barry Gibb - 1976

Guitar Notation Legend

MORE SOUNDS... Plath Thorsten. 10 Canzoni in fingerstyle: Spice Girls, Ciccone, Aerosmith, Don Cherry, Janet Damita Jackson, Oasis, Celine Dion, Metallica, Des'ree, Alanis Morissette. CD TABLATURE

ROCK POP for guitar

LIBRO PER CHITARRA CON TABLATURE

Product Description:

Ten songs for acoustic guitar that sound like they've been written for Aerosmith, Celine Dion, Metallica, Alanis Morissette, etc. You can either expand your solo repertoire by playing the etudes unaccompanied, or play along with the tracks on the enclosed CD and get valuable experience practicing in a band situation. For each etude, the author includes preliminary technical exercises for the right and left hands to help eliminate any technical difficulties you may encounter. For the more adventurous or advanced player, the author provides the scales or notes from the songs which can be used for a few years. Those who have been playing longer can have fun with improvisation and chordal accompaniment. In notation and tablature.

Forword
Welcome to the second volume of Rock Pop Studies for
acoustic guitar. Again we have ten studies from ten of the
world's greatest pop stars: from Celine Dion to Eagle Eye
Cherry to Aerosmith. You can either expand your solo
repertoire by playing the etudes unaccompanied, or play
along with the tracks on the enclosed CD and get
valuable experience practicing in a band situation.
I hope again, through the varied working methods in this
book, to be able to offer something to guitarists of every
level. Slowly played, these studies could be the first solo
pieces for someone who has been playing guitar for a
few years. Those who have been playing longer can
have fun with improvisation and chordal accompaniment.
Here I would like to thank AMA Publishing, Konni, and
Juergen Kumlehn, whose skillfull programming of the
playbacks will help guitarists everywhere make the most
of these songs.

Vorwort
Willkommen beim zweiten Band der Rock-Pop-EWden
fUr akustische Gitarre. Wieder standen zehn PopgrbBen
Pate fUr zehn weitere EWden: von Celine Dion Ober
Eagle Eye Cherry bis hin zu Aerosmith. Solo oder mit
dem Play-back auf der beiliegenden CD bieten diese
EWden eine hervorragende Mbglichkeit, das Solorepertoire
zu erweitern oder Erfahrungen im Zusammenspiel
mit einer Band (CD) zu machen.
Durch die verschiedenen Arbeitsmbglichkeiten, die
dieses Buch bietet, hoffe ich wieder, viele Gitarristinnen
und Gitarristen auf unterschiedlichstem Niveau anzusprechen.
Wer ein bis zwei Jahre Gitarre spielt, der findet
hier schon die ersten SolosWcke, wenn auch vielleicht
langsamer gespielt als auf der CD. Diejenigen, die schon
langer musizieren, werden ihre Freude neben den EtOden
auch mit der Akkordbegleitung oder Improvisation haben.
An dieser Stelle mein Dank an den AMA Verlag, an Konni
und an JOrgen Kumlehn, der wiederum wunderbare Playbacks
programmiert hat, so dass viele Gitarristinnen und
Gitarristen aufs neue Neue viel SpaB an den Songs haben
werden.
 

How To Use This Book
For all of those who didn't read, or more accurately, didn't
play through the first volume of Rock Pop Studies for
Guitar, here are a few tips for using this book.
Try playing the studies alone on the guitar. If you can
read music, use the music provided. Otherwise you can
try the tabulature notation. You can play along with the
band or the CD. Unfortunately, we couldn't send the band
along with this book, the drums were too heavy!
For each etude I've included preliminary technical
exercises for the right and left hands to help eliminate
any technical difficulties you may encounter. We've
printed chord diagrams and the harmony for each song
before each study. So, for example, if you can't
remember how to play Bm7, just look at the diagrams
above the music. We've also listed many different ways
to playa chord, an F for example, so that you can start
collecting them for your musical future. Most chords are
kept to three- or four-part voicings. Maybe we'll see
Fmaj7/9 # 11 the next time!
Lastly, for the more adventurous, we've provided the
scale or notes from the song which can be used for
improvisation. There is a great deal of literature available
for learning improvisation. In this book we want to
concentrate on fully utilizing the playbacks. Try improvising
using the given scales. You can notate your own
improvised melodies on the tab and music paper
provided after the tab version of each song.
If something doesn't work the first time, try it again a few
times. This is called practice, a word we sometimes fear.
Let me help you to enjoy practicing with these studies!

Was kann man mit diesem
Buch machen?
Fur aile, die den ersten Band nicht gelesen, oder besser
gesagt, nicht gespielt haben - bitte schnell nachholen -
gebe ich hier noch einmal ein paar Arbeitshinweise oder
besser Spielhinweise, weil an dieser Stelle das Wort
Arbeit merkwurdig klingt.
Zunachst kannst du die EtUden einfach nur solo spielen.
Wer die Notenschrift beherrscht, nimmt die Notenversion,
dagegen konnen die anderen die Tabulaturnotation benutzen.
Dann kannst du das Ganze mit Band bzw. CD
spielen. Wir haben leider keine Band beilegen konnen,
das Schlagzeug war einfach zu groB.
Damit die EtUden keine technischen Probleme bereiten,
werden in kurzen Vorubungen fUr die linke und die rechte
Hand die Schwierigkeiten der jeweiligen StUcke vorweggenommen.
Weiterhin gibt es Akkorddiagramme der
einzelnen Songs, deren Akkordablaufe direkt darunter
stehen. Falls also einem Hm7 wieder nicht einfallt, Augen
einfach nach oben. Die Akkorde habe ich, wie zum
Beispiel bei F-Dur, verschiedenartig dargestellt und du
kannst dich freuen, denn in deiner gitarristischen Zukunft
wird es hundert weitere Moglichkeiten geben F-Dur zu
greifen. Da ich in diesem Buch niemanden verwirren
mochte, habe ich mich meist auf Drei- bzw. Vierklange
beschrankt. Fj7/91,l11 gibt es dann nachstes Mal - vielleicht.
Um die Transparenz in dem zweisprachigen Buch
zu erhalten, wird, auBer im Text, bei Tonen und Akkorden
die internationale Bezeichnung (v. a. h= b und b = bb)
verwendet.
Zuletzt werden noch fUr die Mutigen immer einige Tone
des Songs notiert, die sich zur Improvisation eignen. Zum
Erlernen der Improvisation erschien bereits sehr viel
Literatur. In diesem Buch soil Flber nur die Moglichkeit
geschaffen werden, die Play-backs in ihren Funktionen
voll auszunutzen. Probiere einfach, mit den vorgegebenen
Tonleitern zu improvisieren. Hinter der Tabulatur
findest du wieder ein freies Noten- und Tabulaturblatt, auf
dem du improvisierte Melodien aufschreiben kannst.
So lite das Eine oder Andere nicht gleich auf Anhieb
funktionieren, wiederhole es ofters. Wir benutzen dafUr in
der Musik das grassliche Wort "uben". Aber wenn schon
uben, dann mit SpaB, und den hoffe ich mit diesen
Rock-Pop-EtUden erneut vermitteln zu haben.
 

"Little Alanis", Alanis Morissette, was already performing
on American TV at the age of ten. At the tender age of
eleven she precociously took the money she had made
performing and financed her first single, "Fate Stay With
Me", which sold 2000 copies. Ten years later Flea and
Dave Navarro, the string virtuosos from the Red Hot Chili
Peppers played on her 1995 album "Jagged Little Pill",
and on the hit single "You Oughta Know". With this song
and "Ironic" she had two smash hits.
We would like to honor this exceptional career with
LITTLE ALANIS, the last and most difficult study in this
volume. The rhythm and some of the guitar voicings are
not easy. That's why it's good that there are preliminary
exercises and a CD to listen to. Bar five, which begins
with a pickup, is studied in a left- and right-hand exercise.
When you understand both studies, apply the finger
positions to bar five. Bar 17 is also not easy. There is also
a left- and right-hand exercise for this bar. Separating the
left and right hands is generally a good way to overcome
difficulties. Often it's not the left but the right hand which
causes the problems in difficult sections. Be careful with
the right hand because it's responsible for your tone.
Have fun switching between your left and right hands,
and of course with LITTLE ALANIS!

Bereits mit zehn Jahren schauspielerte die "kleine Alanis",
Alanis Morissette, im amerikanischen Fernsehen. 1m
zarten Alter von elf Jahren nahm sie wie selbstverstandlich
das mit dieser Rolle verdiente Geld und
bezahlte damit ihre erste Singleaufnahme. "Fate Stay
With Me" hieB dieser Song und verkaufte sich immerhin
2000-mal. Zehn Jahre spater, 1995, zupften auf ihrer CD
"Jagged Little Pill" schon die Saitenvirtuosen der Red Hot
Chili Peppers, Flea und Dave Navarro, und zwar auf der
Hitsingle "You Oughta Know". Mit diesem Song und mit
"Ironic" erzielte sie zwei groBe Erfolge.
Diese sprunghafte Karriere wurdigen wir mit LITTLE
ALANIS, der letzten und zugleich wohl auch schwersten
EtUde in diesem Band. Der Rhythmus wie auch manche
Griffverbindungen sind nicht einfach. Wie gut, dass es
Vorubungen und eine CD gibt, auf der man sich dieses
StUck anhbren kann. Zu Takt 5, der mit einem Auftakt
beginnt, findst du jeweils eine Vorubung fOr die linke wie
fOr die rechte Hand. Wenn du jede fOr sich verstanden
hast, ubertrage die Fingersatze auf Takt 5. Auch Takt 17
ist nicht leicht. Hierfur hast du ebenfalls zwei Vorubungen,
eine fOr die Iinke und eine fOr die rechte Hand.
Die Trennung beider Hande ist generell eine gute
Methode, um gitarristische Schwierigkeiten in den "Griff"
zu bekommen. Haufig sorgt nicht die linke, sondern die
rechte Hand bei schwierigen Stellen fOr Unruhe.
AuBerdem macht die rechte Hand den Ton und
deswegen sollte man sie schon mal gesondert betrachten.
Dann viel SpaB beim Hin- und Herschauen
zwischen linker und rechter Hand und natUrlich bei
LITTLE ALANIS!
 

CD Track List
How to use this book

ROSEMARY (SPICE GIRLS)
Introduction, Preliminary exercises, Chords
ROSEMARY - Music
ROSEMARY - Tab

SUBSTITUTE (LOUISE VERONICA CICCONE)
Introduction, Preliminary exercises, Chords
SUBSTITUTE - Music
SUBSTITUTE - Tab

MOUTH (AEROSMITH)
Introduction, Preliminary exercises, Chords
MOUTH - Music
MOUTH - Tab

WINGS OF AN EAGLE (DON CHERRY)
Introduction, Preliminary exercises, Chords
WINGS OF AN EAGLE - Music
WINGS OF AN EAGLE - Tab

AGAIN AND AGAIN (JANET DAMITA JACKSON)
Introduction, Preliminary exercises, Chords
AGAIN AND AGAIN - Music
AGAIN AND AGAIN - Tab

MAYBE (OASIS)
Introduction, Preliminary exercises, Chords
MAYBE - Music
MAYBE - Tab

DON'T GO DOWN (CELINE DION)
Introduction, Preliminary exercises, Chords
DON'T GO DOWN - Music
DON'T GO DOWN - Tab

LARS' GARAGE (METALLICA)
Introduction, Preliminary exercises, Chords
LARS' GARAGE - Music
LARS' GARAGE - Tab

NATURAL (DES'REE)
Introduction, Preliminary exercises, Chords
NATURAL - Music
NATURAL - Tab

LITTLE ALANIS (ALANIS MORISSETTE)
Introduction, Preliminary exercises, Chords
LITTLE ALANIS - Music
LITTLE ALANIS - Tab

Glossary