WATERS MUDDY, DEEP BLUES. Contiene: baby, please don't go -blow wind blow -the blues had a baby and they named it rock and roll -champagne and reefer -close to you -deep down in Florida -evil -good news -got my mojo working -honey bee -I can't be satisfield -I feel like going home -I just want to make love to you -I want to be loved -I'm Ready -I'm your hoochie coochie man -long distance call -Luisiana Blues -mannish boy -my home is on the Delta -my love strikes like lightning -rollin' and tumblin' -rollin' stone -sad, sad day -the same thing -screamin' and cryin' -she's nineteen years old -still a fool -streamline woman -you can't lose what you ain't never had -you schook me. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

Muddy Waters - Deep Blues
Series: Guitar Recorded Version TAB
Artist: Muddy Waters

30 tunes: Evil • Got My Mojo Working • Honey Bee • I'm Your Hoochie Coochie Man • more.

Produced in Cooperation with the estate of McKINLEY MORGANFIELD

Inventory #HL 00694789
ISBN: 9780793509553
UPC: 073999947892
Width: 9.0"
Length: 12.0"
184 pages

MUDDY WATERS - DEEP BLUES

Through 1953, the small group (sans piano, and sometimes sans bass) persisted
with classics like "Long Distance Call" and "Still A Fool." September of that year
saw the release of "Blow Wind Blow" with Muddy: guitar and vocals, Jimmy Rogers:
guitar, Otis Spann: piano, Walter "Shakey" Horton: harp, and Elgin Evans: drums.
A new element of swinging, rhythmic drive had been added to the down-home feel
of the original group. Then in 1954, "I'm Your Hoochie Coochie Man" was sprung
on an unsuspecting music world (with the magic Little Walter back), and a new
direction in blues was heralded. Master blues composer Willie Dixon wrote the opus
and played bass, freeing Rogers to play rhythm and fill guitar. The first (and
perhaps best) classic Muddy Waters band had arrived, and the music rocked with the
energy of big-city dynamism and real-life country soul.
A hand injury took the guitar out of Muddy's hands in the late fifties and early
sixties. The recordings continued with two guitars, however as a first-class stable of
guitarists was established to fill the positions. Besides Jimmy Rogers, there was Pat
Hare, Luther Tucker, and Andrew Stephens to choose from. Earl Hooker, and
Buddy Guy also left their highly individual stamps on "modern" Chicago blues
standards like "You Shook Me" and "The Same Thing."
Around the mid sixties, Muddy's axe was appearing again in the clubs and in the
studio. He was playing better than ever, as the acoustic sides "Good Morning Little
Schoolgirl" and "My Home In The Delta" and the fierce electric slide of "You Can't
Lose What You Ain't Never Had" attest.
The late sixties saw Muddy riding the crest of the blues revival on stage, but his
recorded output was checkered. Electric Mud and After The Rain were low-water
marks, with their ridiculous sounding wah-wahs and fuzztones. Fathers And Sons,
though, with the young turks Michael Bloomfield, Paul Butterfield, and Duck Dunn,
was a sweetly satisfying, authentic survey of Muddy's choice material. Such a loving,
empathetic approach to recording Muddy would not occur again until Johnny
Winters' successful collaborations from 1977 through 1981 for Blue Sky Records.
Plans were taking shape for more recordings when Muddy died on April 30, 1983.
Muddy Waters' influence on electric guitar music is rivaled only by that of B.B.
King. Though never a virtuoso soloist, he had an intuitive sense of the power and
expressive possibilities of amplifier distortion. Those Aristocrat and early Chess sides
glowed with the thumping, growling bass and fat, sustaining treble licks afforded by
over-driven vacuum tubes. He clearly said it with his sound as well as his choice of
notes. Muddy's guitar's voice was big and bad enough to go toe-to-toe with any
guitar picker who played with him.
Muddy's approach to equipment was as direct and simple as his music. After a
string of hollow-body Stellas, Harmonys, and Gretches, he was seen with a Les Paul
Standard with single-coil pickups. When he got his red Tele in the late fifties, it
became his main instrument for over 30 years. Strung with knuckle-busting
.012-.056 gauge strings, he paired it with a pre-CBS Fender Super Reverb Amp (all
knobs on "9") and the little metal pinky slide made for him by a friend in the forties.
Muddy didn't listen to guitarists other than the men from his generation. He
most certainly was not impressed by fast, flashy players, though he respected those
like Johnny Winter and Bob Margolin who could play his style. \Vhat he looked for
in any blues musician was the ability to play "snap rhythm" - short, fast
embellishments around the chord changes, like Robert Johnson.
When asked, in his later years, if he ever felt the urge to practice, he said, "No,
I've been playing the blues for 50 years; it's in my hands. I don't need to practice it."
Special thanks to Bob Margolin, who played with Muddy for 10 years beforeforming The
Legendary Blues Band and leading his own group, for his invaluable assistance.
Dave Rubin

31 tunes
184 pages

INTRODUCTION MUDDY WATERS DEEP BLUES
DISCOGRAPHY
MUDDY WATERS GUITAR STYLE:
OPEN G TUNING, first position E blues, the backup guitarist

Table of contents :

Baby, Please Don't Go - 1953
Blow, Wind, Blow - 1953
The Blues Had A Baby And They Named It Rock And Roll - 1977
Champagne And Reefer - 1981
Close To You (I Wanna Get) - 1959 
Deep Down In Florida - 1977
Evil - 1957
Good News - 1957
Got My MoJo Working - 1956
Honey Bee - 1950
I Can't Be Satisfied - 1948
I Feel Like Going Home - 1948
I Just Want To Make Love To You - 1954
I Want To Be Loved - 1977
I'm Ready - 1978
I'm Your Hoochie Coochie Man - 
Long Distance Call - 1951
Louisiana Blues - 1950
Mannish Boy - 1977
My Home Is On The Delta - 1963
My Love Strikes Like Lightning - 1963
Rollin' Stone (Catfish Blues) - 1950
Rollin' And Tumblin' - 1944
Sad, Sad Day - 1981
The Same Thing - 1964
Screamin' And Cryin' - 1977
She's Nineteen Years Old - 1979
Still A Fool - 1950
Streamline Woman - 1948
You Can't Lose What You Ain't Never Had - 1964
You Shook Me - 1962

KING FREDDIE, COLLECTION. Full Time Love -Have You Ever Loved A Woman -Heads Up -Hide Away -I'm Tore Down -If You Believe (In What You Do) -In The Open -Lonesome Whistle Blues -San-Ho-Zay -See See Baby -Side Tracked -The Sad Nite Owl -The Stumble -Wash Out -You've Got To Love Her With A Feeling 80 pages. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

LIBRO DI MUSICA BLUES. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Serie: Guitar Recorded Version TABLATURE
Artista: Freddie King
Straordinaria collezione di 15 migliori brani della legenda del blues che contengono:
An outstanding collection of 15 of this blues legend's best, including:

Full Time Love
Have You Ever Loved A Woman
Heads Up
Hide Away
I'm Tore Down
If You Believe (In What You Do)
In The Open
Lonesome Whistle Blues
The Sad Nite Owl
San-Ho-Zay
See See Baby
Side Tracked
The Stumble
Wash Out
You've Got To Love Her With A Feeling

80 pages

JAMES SKIP, BLUES COLLECTION. GUITAR TABLATURE

LIBRO DI MUSICA BLUES.

SPARTITI PER CHITARRA E VOCE .

TESTI DELLE CANZONI, ACCORDI, PENTAGRAMMA E TABLATURE. 

OUT OF PRINT , LIBRO NON DISPONIBILE.

The Skip James Blues Collection by Skip James. For guitar and voice. Hal Leonard Guitar Recorded Versions. Delta Blues. Difficulty: medium. Guitar tablature songbook. Guitar tablature, vocal melody, lyrics, chord names and guitar tab glossary. 62 pages. Published by Hal Leonard (HL.690167).

ISBN 0793570433. With guitar tablature, vocal melody, lyrics, chord names and guitar tab glossary. Delta Blues. 9x12 inches.

Thirteen great tunes from the highly influential Delta bluesman Skip James. Includes: Be Ready When He Comes - Cherry Ball Blues - Crow Jane - Devil Got My Woman - Hard Luck Child - Hardtime Killing Floor Blues - I'm So Glad - Illinois Blues - more.

Devil Got My Woman

I'm So Glad

Hard Luck Child

Drunken Spree

Be Ready When He Comes

Cherry Ball Blues

Hard Time Killing Floor Blues

Four O'Clock Blues

I'm Gonna Yola My Blues Away

Special Rider Blues

Illinois Blues

Cypress Grove Blues

Crow Jane

GUY BUDDY, FEELS LIKE RAIN. Guitar Tab Edition . SHEET MUSIC BOOK with GUITAR TABLATURE .

LIBRO DI MUSICA BLUES.

SPARTITI PER VOCE E CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Publisher: PPC/ Belwin, Inc.; 1ST edition (1993)
ASIN: B002OE6QKI

1. She's A Superstar - Buddy Guy
2. I Go Crazy - Buddy Guy - 2:27  
3. Feels Like Rain - Buddy Guy - 4:36  
4. She's Nineteen Years Old - Buddy Guy - 5:44 
5. Some Kind Of Wonderful - Buddy Guy Featuring Paul Rodgers - 3:28 
6. Sufferin' Mind - Buddy Guy - 3:33 
7. Change In The Weather - Buddy Guy - 4:37
8. I Could Cry - Buddy Guy - 5:10 
9. Mary Ann - Buddy Guy - 3:12 
10. Trouble Man - Buddy Guy - 4:06 
11. Country Man - Buddy Guy

BACK-UP BANJO, Janet Davis. 240 Pagine. SHEET MUSIC BOOK WITH 2 CD & TABLATURE.

LIBRO METODO DI MUSICA. 

SPARTITI PER BANJO : 

Back-up Banjo è un libro completo per l'accompaniamento con banjo, grazie alla ricchezza dell'informazione su come applicare la tecnica con molto gusto. Sicome i musicisti che suonano il banjo nei gruppi dedicano almeno 75%  del suo tempo al accompaniamento, è estremamente importante di perfezionarsi. Janet Davis offre le speciali proposte per accompagnare i cantanti i vasta quantità di stili - e fornisce degli esempi musicali che illustrano le sue idee.  Janet divide i suoi concetti in componenti base faccendoli diventare cristalmente chiari. Vari tecniche del back-up sono suddivise in categorie determinate dal tempo della canzone, dallo strumento di accompaniamento, e dallo spazio sulla tastiera dove vengono suonati gli accordi. Con pentagramma e tablatura, 240 pagine

Contiene 2 CD con le dimostrazioni delle canzoni. 

Product Description:
With its wealth of information on how technique can be tastefully applied, Back-Up Banjo is the definitive book on the subject of banjo accompaniment. Since a banjo player in a band plays accompaniment at least 75% of the time, it is extremely important to master playing in this style. Janet Davis offers specific suggestions for accompanying a vocalist or instrumentalist in a variety of styles-- and then provides musical examples illustrating her points. Janet breaks her concepts down into their basic components, making them crystal clear in lay terms. The various back-up techniques are separated into categories determined by song tempo, by lead instrument being accompanied, and by the area of the fingerboard in which the chords are being played. In notation and tablature. 240 Pages.

This set includes a companion 2-CD set which demonstrates the examples in the book.

Song Title: Composer/Source:
John Hardy --
Battle Hymn Of The Republic --
New River Train --
Salt River --
Swing Low, Sweet Chariot --
Cumberland Gap --
Down In The Valley --
East Virginia --
May I Sleep In Your Barn Tonight, Mister? --
Wreck Of The Old 97 --
Gray Eagle --
Blackberry Blossom --
Reuben --
Soldier's Joy --
Cripple Creek --
Bury Me Beneath The Willow --
Jesse James --
Stone's Rag --
Tom Dooley --
When The Saints Go Marching In --
All The Good Times Are Past --
Banks Of The Ohio --
Cotton Patch Rag --
John Henry --
Sally Goodin' --
Wabash Cannonball --
Little Maggie --
Long Journey Home --
Red River Valley --
She'll Be Comin' Around The Mountain --
John Hardy --
Battle Hymn Of The Republic --
New River Train --
Salt River --
Swing Low, Sweet Chariot --
Cumberland Gap --
Down In The Valley --
East Virginia --
May I Sleep In Your Barn Tonight, Mister? --
Wreck Of The Old 97 --
Gray Eagle --
Blackberry Blossom --
Reuben --
Soldier's Joy --
Cripple Creek --
Bury Me Beneath The Willow --
Jesse James --
Stone's Rag --
Tom Dooley --
When The Saints Go Marching In --
All The Good Times Are Past --
Banks Of The Ohio --
Cotton Patch Rag --
John Henry --
Sally Goodin' --
Wabash Cannonball --
Little Maggie --
Long Journey Home --
Red River Valley --
She'll Be Comin' Around The Mountain

FOREWORD

The primary aim of this book is to present, explain, and exemplify the basic techniques commonly used on the five string banjo to accompany vocalists and/or instrumentalists. "BACK-UP" is simply another term for "ACCOMPANIMENT'.
This book is designed so that a beginning student of back-up can become accomplished at playing back-up for many different songs, using the techniques commonly used by many professional banjo players. The basic outline of the book separates the various back-up techniques into categories. These are determined by the tempo of the song being played, by the lead instrument being accompanied, and by the area of the fingerboard in which the chords are being played. The first section of the book deals with general back-up techniques, which can be used as back-up for songs played at ANY tempo (speed), and which can be used as back-up for ANY lead instrument playing the melody. As the book progresses, each style of back-up becomes more specialized Each section of the book is also designed so that it first discusses the basic techniques and uses for a particular style of back-up, and then goes into some of the means for adding polish to that style of back-up. Thc guidelines and the back-up patterns offered throughout this book are based upon common practice among professional banjo players, and will, hopefully, provide you with the tools for playing effective back-up for many different songs.
Happy Pickin' Janet Davis

INTRODUCTION
What Is Back-Up?
A banjo player normally plays accompaniment at least 75% of the time when he is playing with a band or with another musician, orwhen he is singing, while only about 25% of his effort involves playing the melody of the song. Therefore, an important aspect of playing the banjo is the art of playing back- up.
"BACK- UP" is simply another term for" ACCOMPANIMENT".
Back-up played on the banjo consists essentially of a combination of two elements: CHORDS & RHYTHM. For most styles of back-up, the left hand works from chord positions, while the right hand plays specific fingering patterns. The same patterns can be used as back-up for many different songs.
Which patterns are used for a specific song will be determined primarily by the tempo of the song, and by which instrument is playing the melody.
The art of playing back-up on the banjo can, in many respects, be compared to the art of building a structure with a set of blocks of various shapes and sizes. The same set of blocks can be used to build many different structures. All of the blocks might be used for one type of building, whereas only a few blocks of a specific shape might be required for another building. Certain blocks might be more useful for foundation purposes (i. e. for support), while other blocks might serve more ornamental functions. Each style of back-up contains a definite set of patterns which can be used over and over as back-up for many different songs. How the patterns are used. where they are placed in the context of the songs, when
embellishment techniques are used,--all of these things work together to determine the overall effectiveness of the back-up for a specific song.

VAMPING
VAMPING is a commonly used back-up technique which involves playing
rhythm and chords. This technique can be used as back-up for any song, to
accompany any lead instrument or vocalist. It can be used as the only backup
technique throughout an entire song, or it can be combined with other
styles of back-up. The vamping technique can be used with any chord, or
with every chord in a song. You can't go wrong using the vamping technique
as a style of back-up. Although vamping is often treated as a beginning back
-up technique, its' use is by no means limited to beginners. Many great
back-up artists use this technique frequently! The vamping style of backup
is particularly effective for breakdowns and for other fast instrumentals,
such as "Foggy Mountain Breakdown", "Earl's Breakdown", and "Flinthill
Special". It is also effective for up-tempo vocals such as "Footprints In
the Snow" and "Salty Dog", as well as for slower paced songs such as "I
Wonder Where You Are Tonight". Jazz tunes are frequently supported by
vamping. The vamping style of back-up is often used as the primary style
of accompaniment for guitar and dobro lead breaks.
"Vamping" is effective ONLY if it is played correctly. It is NOT simply
picking chords to the rhythm of a song. Vamping also involves
DAMPENING the strings with the left hand, after each chord is plucked
with the right fingers.
STE PI: Hold a chord position with the left hand.
(Hold the full position--all four strings. ) G

STEP 2: Pick the 1st, 2nd, & 3rd strings
with M, I, & T of the right hand
(simultaneously). * This should sound the chord.

STEP 3: Now, partially release the pressure on the strings with the left
hand. This should STOP the tones from sustaining. DON'T LET
THE CHORD RING AFTER THE RIGHT HAND PLAYS IT. Release
the pressure of the left fingers, but DO NOT lift the fingers from
the strings. The left fingers deaden the sound in this manner.
(The 5th string is not used with this technique.)
NOTE: When chording up-the-neck, on the higher pitched tones of the banjo,
the right hand should pick the strings in the area of the banjo where the
fingerboard joins the head, well away from the bridge, ("Y" position).
*The early style of vamping involved picking only the first two strings with
the right hand. The third string was added sometime later, giving the backup
a fuller sound, and providing stronger harmonic support for the lead
instrument.

TABLE OF CONTENTS
Foreword .
Introduction .
Definitions .
General Guidelines .
Explanation of Tablature & Rhythm .
Chords - Discussion of .
Moveable Chord Position Chart .
Exercises .
Locating Chords Without a Chart .
Basic Back-Up Techniques .
Vamping
Basic Vamping Patterns .
Vamping Pattern Variations
Embellishment
Two Positions of the Same Chord .
Using the Slide .
Passing Tones .
Fill-In Licks .
Examples .
Additional Functions .
Songs: lead plus back-up using basic techniques .
Wabash Cannonball .
John Hardy .
Cripple Creek .
Cumberland Gap .
Salt River. .
Scruggs-Style Back-Up - Discussion Of. .
Standard Roll Patterns .
Using the Deep Tones - Open through 5th Fret. .
Roll Patterns & Variations .
Commonly Used G, C, & D Chord Patterns .
Embellishment
Passing Tones .
Roll Patterns Using Passing Tones .
Licks Using Passing Tones .
Fill-In Licks .
Rhythmic Embellishment .
Songs: Back-Up .
Wabash Cannonball .
John Hardy .
East Virginia (lead plus back-up) .
New River Train (lead plus back-up) .
Long Journey Home (lead plus back-up) .
Wreck of the Old 97 (lead plus back-up) .
Up-The- Neck Back-Up - 5th through 22nd Frets .
Roll Patterns & Variations .
Fill-In Licks - Discussion Of .
Patterns .
Licks for Specific Chords .

Songs: Back-Up .
Wabash Cannonball .
John Hardy .
New River Train .
Wreck of the Old 97 .
Long Journey Home .
East Virginia .
Endings .
Guidelines For Using Back-Up Styles and Techniques .
Songs (Complete) .
Little Maggie .
Red River Valley .
Jesse James .
Bury Me Beneath The Willow .
Back-Up In Any Key- Discussion Of. .
Songs (Complete) .
Battle Hymn Of The Republic (key of C) .
Banks Of The Ohio (key of C) .
John Henry (key of D) .
She'll Be Coming Around The Mountain (key of D) .
May I Sleep Tn Your Barn Tonight, Mister? (key ofBb) .
When The Saints Go Marching In (key of F) .
Soldiers Joy (C Tuning) .
Reuben (D Tuning) .
Fiddle Tune Back-Up - Discussion Of. .
Songs: Lead plus Back-up
Sally Goodin' .
Gray Eagle .
Blackberry Blossom .
Cotton Patch Rag (key of C) .
Stones Rag (key of D) .
Slow Song Back-Up - Discussion Of .
Licks .
Songs:
Wabash Cannonball (Back-Up) .
Swing Low, Sweet Chariot (lead plus back-up) .
Tom Dooley (lead plus back-up) .
Waltz Time (~) Back-Up- Discussion Of .
Patterns .
Licks .
Songs: Lead plus Back-up
All The Good Times Are Past. .
Down In The Valley .
Current Trends In Back-Up - Discussion Of .
Chord Charts: include uses in Advanced Back-up
Major Chords .
Minor Chords .
Diminished Chords .
Augmented Chords .
Dominant Seventh Chords .