CHITARRA - GUITAR

KING B.B.,THE DEFINITIVE COLLECTION. CD TABLATURE

B.B. King - The Definitive Collection
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: B.B. King
Author: Wolf Marshall

Learn the trademark styles and techniques of the most celebrated guitarist in blues! This book/CD pack by Wolf Marshall is a breakdown of B.B. King's guitar style, sound and techniques, with a brief history and lessons for each piece. Covers 16 signature blues tunes, including: Beautician blues -cryin' won't help you -don't answer the door -five long years -just like a woman -paying the cost to be the boss -please love me -riding with the king -rock me baby -sweet little angel -sweet sixteen -three o'clock blues -the thrill is gone -why I sing the blues -you done lost your good thing now -you upset me baby. 

Inventory #HL 00695635

ISBN: 9780634030574
UPC: 073999209907
Width: 9.0"
Length: 12.0"
64 pages

INTRODUCTION
The credentials that establish B.B. King as the King of the Blues are voluminous and indisputable. He is the music's elder statesman, its most visible global ambassador, and an all-important hero and role model to generations of musicians everywhere. Riley B. "B.B." King came on the scene at a time when electric guitar playing was in its infancy. He picked up the gauntlet thrown down by T-Bone Walker in the late 1940s and went on to redefine blues guitar for all time. He built a highly distinctive single-note style which codified the techniques of string bending and finger vibrato. Furthermore, he was among the first to effectively harness the power and tone of a distorted amplifier for its sustain and vocal quality. These factors epitomize the electric guitar in the modern era and remain part and parcel of virtually every contemporary guitar style. Today B.B.'s music is essential listening in all sectors of modern guitar. Countless aspiring players from Buddy Guy, Otis Rush, and Mike Bloomfield to Eric Clapton, Jimi Hendrix, Carlos Santana, Mark Knopfler, and Stevie Ray Vaughan have transplanted King's licks into their repertory or been influenced by his slinky phrasing, as will tomorrow' s guitar stars. In my teenage years I followed my heroes' leads and spent hundreds of hours listening to and assimilating B.B.'s sounds with rewarding results. It is an illuminating and invaluable experience for all guitarists. To this end the following volume is offered. This definitive B.B. King collection is the first guitar signature licks book/CD to fully explore his music and playing style. It is offered as an introduction, a detailed hands-on study, and a tribute to the great blues master. Enjoy.

DISCOGRAPHY
The titles in this volume came from the following recordings:

KING OF THE BLUES. (Box set: MCA) 'Three 0' Clock Blues," "Rock Me Baby," "Don't Answer the Door," "Paying the Cost To Be the Boss," "Why I Sing the Blues," "The Thrill Is Gone"

SINGIN' THE BLUESfTHE BLUES (FlairNirgin Records) "Please Love Me," "Sweet Little Angel," "Cryin' Won't Help You"

THE BEST OF B.B. KING, Volume 1. (FlairNirgin Records) "Beautician Blues," "Five Long Years"
MY KINO OF BLUES. (EM I-Capitol Special Markets) "You Done Lost Your Good Thing Now"
WHY I SING THE BLUES. (MCA) "Sweet Sixteen"
RIDING WITH THE KING, B.B. King and Eric Clapton. (Reprise) "Riding With the King"

B.B. KING
(All instruments from the collection of the author) A Gibson devotee from the beginning, B.B. King first played hollow-body archtop electric guitars. Various photos from the 1950s have pictured him with an ES-5 with P-90s, a Byrdland with Alnico Vs, and an ES-175D with humbuckers. B.B. acquired his first semi-hollow, an ES-335, in 1958 and was seen with a dot-neck 335 at his momentous 1962 ABC-Bluesway recording debut. By the mid 1960s King was playing the luxurious ES-355. This model became his favorite guitar for two decades. The Gibson B.B. King "Lucille" was introduced in 1980 as the B.B. King Custom. Based on the 355, "Lucille" officially joined the fold in 1988 as the flagship of Gibson's semi-hollow line. It features an ebony fingerboard with block inlay markers, fancy multiple binding around the body and headstock, gold-plated hardware, stereo circuitry with two output jacks, and a six-position Varitone switch. B.B.'s personal refinements on the signature instrument include a fine-tuner TP-6 tailpiece, a semi-hollow body without soundholes in an ebony finish, and the name "Lucille" inlayed on the head. "Lucille" delivers the definitive B.B. King tone, allowing the player to fully mix neck and bridge pickups in the center position, an option not available on most Gibson twin-pickup guitars. Listen for yourself. My "Lucille" is heard on most tracks of the accompanying audio. Pictured in the backline is one of the favorite Fender tube amps used by B.B. during the 1960s: a 2x12 Twin-Reverb. B.B. switched to Gibson Lab Series L5 2x12 solid-state amps sometime in the 1970s. He continues to use these and reissue Fender '65 Twin-Reverbs to the present. B.B. strings Lucille with a Gibson B.B. King heavy bottom- light top 10-54 string set and prefers a medium-stiff Gibson pick.

THE RECORDING
Guitar: Wolf Marshall
Drums: Mike Sandberg
Bass: Michael Della Gala
Keyboards: Ted Vaughn. John Nau plays keyboards on "Just Like A Woman"
Sax and Brass: The Roland Coltrane Orchestra

Produced by Wolf Marshall at Marshall Arts Music
Special thanks to Alex Perez, Del Breckenfeld, and Bill Cummiskey, Fender Musical Instruments.
Extra special thanks to Matt Ferguson, Paul Moses, and David Rohrer, Gibson USA.

THREE O' CLOCK BLUES
Words and Music by 8.8. King and Jules 8ihari
Figure 1-lntro and Verse 1
"Three 0' Clock Blues" was Riley B. King's breakthrough hit and is a cornerstone of his legacy. This auspicious track has humble origins. A reworked Lowell Fulson tune, it was recorded in 1951 using portable tape equipment and the local Memphis YMCA as a makeshift studio. The resulting performance was released as an RPM single, reaching #1 on the R&B charts in 1952. "Three 0' Clock Blues" captures B.B. as an emerging blues artist in transition. It was during this period that he first named his guitar "Lucille" and was still very much under the spell of T-Bone Walker guitaristically. The phrasing, tone, and several key mannerisms clearly reflect Walker's approach. Nonetheless, this is a landmark B.B. moment marking an important evolutionary point in blues guitar history and presaging future classics like "Sweet Little Angel" and "Five Long Years." "Three 0' Clock Blues" is a smoldering slow blues in Bb.It begins with a four-measure intro entering on the V chord, a device commonly found in blues arrangements. In the verse Lucille adopts the dialoguing role, playing off vocal phrases with terse answering guitar fills typical of B.B.'s question-and-answer style. Throughout the intro and verse fills, most of B.B.'s lines are based on a mixture of the B~ Mixolydian mode (B~-C-D- E~-F-G~-Ab) and Bbminor pentatonic scale (B~-Db-E~-F-A~) resulting in a familiar juxtaposition of dominant seventh and minor sounds. The microtona! quarter-step bend, an important chromaticism of blues, is used freely in B.B.'s guitar lines, generally to color the third and seventh degrees of the scale. The prominent E note in measure 2 indicates use of the Bb Blues scale. Measures 3 and 4 contain swing lines reminiscent of Charlie Christian. In many characteristic phrases, as in measures 3, 12, and 16, the Db note acts as a C# leading tone into the 0 note, the major third of a Bb arpeggio figure. Here it is heard in two specific forms: an ascending arpeggio in measure 12 and a descending arpeggio in measure 16. The latter is a frequently-used cadence lick. Both forms remain B.B. King trademarks to the present. The slur in measure 7 is attributable to T-Bone and provides an early clue as to the genesis of a classic B.B. King lick. In the coming years B.B. often incorporated the practice of sliding into a unison tonic note on adjacent strings as a phrasing mannerism and a position-shifting tactic. It will henceforth be named The BB. Shift Lick in this volume to avoid redundancy. The tone is typical of B.B.'s sound in the early 1950s and emanates from an archtop electric guitar (probably his Gibson ES-5) with heavier strings mated to a slightly overdriven tube amp. 

Beautician Blues - Words and Music: B.B. King, Jules Bihari - 1964
Cryin' Won't Help You - Words and Music: B.B. King, Jules Bihari - 1955
Don't Answer The Door - Words and Music: B.B. King - 1995
Five Long Years - Words and Music: B.B. King - 1966
Just Like A Woman - Words and Music: B.B. King - 1966
Paying The Cost To Be The Boss - Words and Music: B.B. King - 1968
Please Love Me - Words and Music: B.B. King, Jules Bihari - 1952
Riding With The King - Words and Music: John Hiatt - 1983
Rock Me Baby - Words and Music: B.B. King, Jules Bihari - 1964
Sweet Little Angel - Words and Music: B.B. King, Jules Bihari - 1956
Sweet Sixteen - Words and Music: B.B. King, Jules Bihari - 1967
Three O'Clock Blues - Words and Music: B.B. King, Jules Bihari - 1952
The Thrill Is Gone - Words and Music: Roy Hawkins, Rick Darnell - 1951
Why I Sing The Blues - Words and Music: B.B. King - 1969
You Done Lost Your Good Thing Now - Words and Music: B.B. King, Jules Bihari - 1960
You Upset Me Baby - Words and Music: B.B. King, Jules Bihari - 1954

MASTERING BLUES GUITAR. the complete electric blues guitar method, beginning, intermediate, mastering, Wayne Riker. Il Blues in 12 battute, shuffle, intro, tournarounds, scale, tecnica blues, l'improvvisazione, modo misolidio, arpeggi di settima dominante, fraseggi, double-stop, blues in 8 battute, accordi diminuiti, la scala naturale minore blues, il ritmo del delta blues, la secondaria dominante, jazz blues. CD TABLATURE

LIBRO METODO DI MUSICA BLUES, CON CD. 

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA, ACCORDI, ARPEGGI, ASSOLI

Complete Blues Guitar Method: Mastering Blues Guitar

By Wayne Riker
FORMAT: Book & CD

This advanced volume in the comprehensive method for blues guitarists is also great for rock players who want to develop a blues edge. Covers theory from blues scales, composite scales, and the Mixolydian mode to arpeggio superimpositions and the 8-bar blues, with examples of gospel blues, minor blues and others. Also contains licks in the styles of blues masters such as Muddy Waters, Big Bill Broonzy, Freddie King, B. B. King, John Lee Hooker and many others. All music is shown in standard notation and TAB. 144 pages.

All three books are loaded with:
• Large, easy-to-read scale and chord diagrams
• Examples in standard music notation and TAB
• Tons of licks in the styles of the blues masters
• Blues techniques and theory used in lead and rhythm guitar playing
• Plenty of eight- and twelve-bar solo examples

BEGINNING BLUES GUITAR David Hamburger
Perfect for beginning blues and rock/blues guitarists. Included are tips in basic blues theory and left-hand techniques.You will also discover the rhythm styles of Texas Swing, slow and minor blues, and styles of blues greats such as MuddyWaters, Buddy Guy and many others. Call-and-response phrasing, intros, turnarounds, endings and improvisation are also covered. This is the best step-by-step blues method for guitar that teaches the substance and style of the blues.

INTERMEDIATE BLUES GUITAR Matt Smith
This book is great for the guitarist who knows the basics of blues guitar and is ready to take the next step. Topics include blues techniques and phrasing, R&B- and funk-blues fills, non-scale tones, chord extensions and substitutions, and more.You will start with a quick review of basic materials and finish with "Licks of the Masters."

MASTERING BLUES GUITAR Wayne Riker
This advanced method for blues guitarists is also a great method for rock players who want a blues edge.This book includes everything from blues to composite scales, the Mixolydian mode, arpeggio superimpositions, the eight-bar blues, gospel blues, minor blues and more. It also includes techniques and licks of the great players like Muddy Waters, Big Bill Broonzy, Freddie King, B.B. King, John Lee Hooker and many others.This is the most thorough method for electric blues guitar.

HOW TO USE THIS BOOK
Since this book explores a wide variety of blues styles and improvisational ideas, it is not absolutely necessary that you proceed chapter by chapter. However, the book has been organized in a way that progressively adds new terms and information in each chapter. Don't assume you know everything about a subject, even if it's one of your strengths. Everyone approaches the blues from a different perspective, so if one new concept that you learn from this book helps your playing, it's worth it. No book can make you a better player. You have to go out and play to improve. A book can provide new vocabulary that can be added to your musical repertoire. Whether you play informally or professionally, try immediately plugging examples you like into your playing. For the single-note examples, experiment with different phrasing, add your own notes to extend a lick or play the same lick on different string sets. The musical definition section at the beginning of this book should be used as a glossary. Look up any terms or concepts you don't understand. You should read the basic theory section to make sure you have no gaps in your understanding of keys, intervals, harmonized scales, etc. Taking a college level course or obtaining a couple books in theory is a good way of improving your theoretical knowledge. Becoming a good musician as well as a good guitarist is essential, particularly if you are going to play professionally.

DEDICATION
This book is dedicated to my parents, Virginia and Walter Riker, and to my two children, Tara and Trent, who have all stood by me in the best and worst of circumstances.

ACKNOWLEDGMENTS
I would like to recognize the people whose musical influence and inspiration have helped shape this book: Dion Grody, Walt Riker III, Craig Linenberger, Greg Gucker, John Varner, Dr. Unicio Violi, JohnAbercrombie, AIAlpert, Marc Sussman, Dave English, Kimbo Smith, Les Wise, Don Mock, Ron Eschete, Howard Roberts, and special thanks to Nat Gunod, David Smolover, and all my colleagues at the California campus of the National Guitar Summer Workshop.

TRACK
An audio recording is available for every book in this series. We hope it will make learning with these books easier and more enjoyable. This symbol will appear next to every example that is played on the audio recording. Use the recordingand your rewind button!- to help insure that you are capturing the feel ofeach example, interpreting the rhythms correctly, and so on. If you have the compact disc version of this book, you can use the Track numbers below the symbol to go directly to the examples for any page. Have fun! How to Use This Book

TABLE OF CONTENTS
ABOUT THE AUTHOR .
HOW TO USE THIS BOOK .
BASIC THEORY .
MUSICAL DEFINITIONS .

CHORDS FOR CHAPTER I .

CHAPTER 1-The Twelve-Bar Blues .
Shuffle BIues .
BIues-Rock Rhythms .
The Closed-Position Rhythm Patterns .
Funk Blues .

CHAPTER 2-lntros, Turnarounds, Vamps and Endings .
Intros .
Turnarounds .
Vamps .
Endings .

CHAPTER 3-The Blues Scale .
Closed Position Blues Scales .
Open Position Blues Scales .
Analyzing ScaleTones .

CHAPTER 4-Blues Techniques .
Left Hand Techniques .
Picking Techniques .

CHAPTE 5 - Improvisational Concepts .
Composite Blues Scales .
The Mixolydian Mode .
The Dominant 7th Arpeggio .
Arpeggio Superimposition .
The Major Triad .
The Minor Triad .
Targeting Chord Tones .

CHAPTER 6-Licks Over the I7-IV7-V7 Blues .
Licks Over the 17Chord .
Licks Over the IV7 Chord .
Licks Over the V7 Chord .
Double-Stop Licks .
Octaves .

CHORDS FOR CHAPTER 7 ,

CHAPTER 7-The Eight-Bar Blues .
The Diminished 7th Chord .
The Diminished 7th Arpeggio .
Eight-Bar Blues Solos .

CHORDS FOR CHAPTER 8 .

CHAPTER 8-Slow Blues .
Basic Slow BIues .
Stormy Monday Blues .
The Augmented Chord .

CHORDS FOR CHAPTER 9

CHAPTER 9-Minor Blues .
The Natural Minor Blues .
Altered Minor Blues .

CHORDS FOR CHAPTER 10

CHAPTER 10 - Blues Rhythms With Fills
The Delta Blues .
Bass Fills .
Horn Fills .

CHORDS FOR CHAPTER 11

CHAPTER 11 -Pop Blues .
Secondary Dam inants .
The Dorian Mode .

CHORDS FOR CHAPTER 12 .

CHAPTER 12-jazz Blues .
Alte rnate Changes .
Be-bop BIues .
Walking Bass Blues .
Every Beat Blues .
JazzWaltz BIues .

PRACTICE TIPS .
APPENDIX-Blues Guitarists You Should Hear  

GIANTS OF BLUES, FROM ROBERT JOHNSON TO ERIC CLAPTON. NEVILLE MARTEN. SHEET MUSIC BOOK WITH CD & TABLATURE.

LIBRO METODO DI MUSICA BLUES, CON CD. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

By Neville Marten. For Guitar Tab. Giants Of. Blues. Level: Intermediate. Sheet Music and Audio CD. 120 pages.
Tracing the history of blues guitar from Robert Johnson through Eric Clapton, John Lee Hooker, Stevie Ray Vaughan, Jimi Hendrix, Peter Green and many more, Neville Marten explains each player's definitive playing techniques, showing how to emulate their solos and develop their tricks to expand your own musical vocaulary. Playing styles, personal trademarks and characteristics are explained and illustrated clearly in notation and tab, as well as played in full on the CD.

The CD includes two licks from each player, a solo using those licks and finally a jam track which you can play along with, eventually creating your own solo.

A short biography of each player assesses their historical position in the genre's development, while the musical traditions from generation are examined.

120 pages

ELECTRIC BLUES GUITAR, Derek Cornett. 10 Jam complete di vari blues. Tecnica del bending, vibrato, scale pentatoniche, e naturalmente blues scale. SHEET MUSIC BOOK with CD & GUITAR TABLATURE.

LIBRO DI MUSICA BLUES, CON CD. 

LIBRO METODO CON CD E GUITAR TABLATURE

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover with CD
Author: Derek Cornett

An introduction to the most commonly used scales and techniques for the modern blues player, complete with demonstration CD for several of the examples. 48 pages

BENDING

REVERSE BENDS

PRE-BENDING

UNISON BEND

SLIDING

VIBRATO

HAMMER-ONS AND PULL-OFFS

PENTATONIC SCALES

C MAJOR PENTATONIC

C MAJOR PENTATONIC LICKS

A MINOR PENTATONIC SCALE

A MINOR PENTATONIC LICKS

A HARMONIC MINOR SCALE

A HARMONIC MINOR LICKS

G MIXOLYDIAN SCALE

G BEBOP MIXOLYDIAN

G BEBOP MIXOLYDIAN LICKS

E BLUES SCALE

E BLUES LICKS

A DIMINISHED SCALE

DIMINISHED LICKS

A WHOLE TONE SCALE

WHOLE TONE LICKS

10 PLAY-ALONG SONGS: