CHITARRA - GUITAR

WINTER JOHNNY, Guitar Styles and Techniques of a Blues Legend, Signature Licks. CD TABLATURE

Johnny Winter 
A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Blues Legend
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Author: Dave Rubin
Artist: Johnny Winter

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including: Bad Luck Situation - Be Careful with a Fool - Bladie Mae - Highway 61 Revisited - It Was Raining - Leland Mississippi - Mean Town Blues - Rock and Roll Hoochie Koo - Rock Me Baby - Still Alive and Well - Sweet Love & Evil Women - TV Mama. 96 pages

Inventory #HL 00695951
ISBN: 9781423416418
UPC: 884088096311
Width: 9.0"
Length: 12.0"
96 pages

JOHNNY WINTER: WHITE LIGHT

As if to mock the very notion of whether or not a "white man can play the blues,"
Johnny Winter, with his nearly translucent albino skin and blindingly white hair, blasted
down the doors starting in the late 1960s for everyone who loved the music. He once said,
perhaps ironically, "In my own mind, I was the best white blues player around," but clearly
that qualification no longer applies. The legendary Lonnie Mack and the British contingent
of Eric Clapton, Peter Green, Mick Taylor, and Jimmy Page before him had shown
the possibilities of rocking the blues, but no one was adequately prepared for Winter.
Notes flew from his fingers like blazing blue diamonds, creating shock and awe for everyone
within sight and earshot. It was the perfect culmination to the blues revival with Winter
carrying the torch while throwing gasoline on the fire. He would go on to not only influence
fellow Texans like Billy Gibbons and Stevie Ray Vaughan, but also the stone
Chicago blues cat Bernard Allison. Most significantly, for more than forty years he has
played and contributed to the musical language of the blues in ways that were only
strengthened by his numerous forays into rock.
John Dawson Winter III was born in Leland, Mississippi on February 23, 1944 to John
and Edwina, but was raised in Beaumont, Texas. The senior Winter, a career Army officer
who sang, played saxophone and banjo, and was a fan of the big bands, encouraged
Johnny and his younger brother Edgar to pursue music. John's father had been a cotton
broker in Leland and after WWII attempted to take over the business, becoming the boss
at the storied Stovall Plantation, an important figure in early blues history.
Johnny was singing and playing the clarinet by five, but eventually quit clarinet when
an orthodontist advised against it due to his overbite. Three years later he added the
ukulele to his repertoire and then was given the baritone variety by his grandfather. By
1954 he and Edgar were appearing as a duo, singing barbershop quartet songs like "Ain't
She Sweet" and "Bye Bye Blackbird," and even auditioning for the nationally broadcasted
Ted Mack's Original Amateur Hour. It was about this time that Winter's father offered
the opinion that there were only two people, Ukulele Ike and Arthur Godfrey, who had ever
amounted to anything on the diminutive stringed instrument, and that the guitar might
prove to be a better choice. The advice was heeded, especially after Winter realized that
the emerging rock 'n' roll music at the time was played on the guitar. Within the year, he
was learning note-for-note guitar solos off the records he bought by mowing lawns, hauling
garbage, and saving his lunch money. T-Bone Walker, Howlin' Wolf, Muddy Waters,
Chuck Berry, and Carl Perkins were favorites with The Best of Muddy Waters being an
early purchase and the records of Robert Johnson inspiring him to play slide guitar. He
recalls shopping regularly at a record shop owned by Keith Ferguson's father years
before Ferguson became the bassist for the Fabulous Thunderbirds. Winter's first guitar
was his great-grandmother's "hundred-year old classical guitar." Later, his great-grandfather
bought him his first electric guitar, a Gibson ES-125, non-cutaway, with a single P-90 pickup.
There were not many white people in Beaumont in the 1950s as seriously into playing
and listening to the blues as Winter. One of the few was Joey Long (nee Longoria)
who was a little older, and the first white man Winter heard play the music. Like almost
all electric blues guitarists from Texas, he was profoundly influenced by T-Bone Walker.
Winter, on the other hand, while acknowledging his debt to the legendary electric blues
pioneer, also had a strong love for Chicago blues not always shared by his fellow musicians.
When Winter would hear blues guitar idols like Otis Rush push and vibrato their
strings, he would marvel at how it was done, not realizing at the time that it was as much
an expression of their inner soulfulness as the lighter gauge strings they were using. For
a while he accomplished the technique with a whammy bar. Ever open to whatever blues
caught his fancy, it was the expert string articulation of Clapton that would eventually
convince Winter around 1967 to become an acknowledged master of finger vibrato and bending.
In 1959, with Johnny on guitar and Edgar accompanying on piano, Johnny & The
Jammers promptly won a local talent contest sponsored by radio station KTRM. Their
prize consisted of a recording session, and they cut the single "School Day Blues" b/w
"You Know I Love You," ultimately released by Dart Records. It became a regional hit,
resulting in Winter being called to provide guitar on record dates supervised by local promoters
and producers. As was the custom in those days, the music he was playing was
what people wanted to hear-rock 'n' roll, R&B, and then soul music-not blues. All the
while he was compulsively woodshedding his chops and voraciously listening to all the
blues recordings he could find. A treasure trove resided at radio station KJET where DJ
and bluesman Clarence Garlow of the Bon Ton show befriended him, took his requests
on air, and let him hang at the station while also showing him guitar techniques. "I first
saw him at Jefferson Music Company where I worked as a guitar teacher," Winter
explains. "He walked in and I recognized his voice. His style was similar to T-Bone Walker.
On his show he also played a lot of his own records" laughs Winter. "I was about twelve
years old, and he was one of the first guitar players to use light gauge strings, and he
taught me how to use an unwound third. We jammed together a few times, too, including
once at my house that was great."
Winter cites Chet Atkins and Merle Travis as guitarists who really made him want to
play (and his impetus for using a thumbpick). He learned the rudiments of country fingerstyle
from Jefferson Music coworker Luther Naley and some jazz from Seymour Drugan,
the father of Dennis Drugan (the bass player for the Jammers). He briefly attended Lamar
University in Beaumont after high school, sneaking down to Louisiana on the weekends
to jam in the blues clubs. There and in Texas he was often the only white person in the
club, but felt welcome for the most part due to his obvious and sincere love for the music.
His perseverance and total immersion in the blues gained him access to the local
scene by 1963 where he got to jam with B.B. King in a momentous occasion. The following
year he took a pilgrimage to Chicago to join Dennis Drugan in the Gents where he
hoped to play blues, but instead ended up once again performing the popular music of
the day. While in the Windy City he met Michael Bloomfield at his club, the Fickle Pickle,
for what would become a solid friendship based on mutual admiration. Winter was back
in Texas a year later, however, and cut "Eternally" for the KRCO label, which leased it to
Atlantic Records, scoring a regional hit that allowed him to advance to the next leveltouring
and opening for rock acts like Jerry Lee Lewis and the Everly Brothers. In 1967
he made a fortuitous move to Houston, a hot bed for blues in the Lone Star State, and
convened a trio with bassist Tommy Shannon and drummer Uncle John "Red" Turner,
who in turn encouraged Winter to concentrate on performing the blues, knowing he was
mastering the style at a rapid pace. The band became a fixture at the Vulcan Gas
Company ballroom, later dubbed Armadillo World Headquarters, and Winter's reputation
soared on the wings of his impossibly fast, furious, and fluid solos. While in residency he
got to play with Freddie King and met Muddy Waters for the first time, with whom he would
form a lifelong friendship. In addition, responding to the creative rock experimentation
going on in the late 1960s, he also tried his hand at the psychedelic experience musically
and sartorially.

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including:

TITLE - AUTHOR - ALBUM - YEAR

Bad Luck Situation - Johnny Winter - SAINTS & SINNERS - 1974
Be Careful With A Fool - Words & Music: B.B. King, Joe Bihari - 1957 - JOHNNY WINTER - 1969 
Bladie Mae - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Highway 61 Revisited - Words and Music: Bob Dylan - 1965 - SECOND WINTER - 1969
It Was Raining - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Leland Mississippi  - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Mean Town Blues - Words and Music: Johnny Winter - THE PROGRESSIVE BLUES EXPERIMENT - 1969
Rock And Roll Hoochie Koo - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Rock Me Baby - Words and Music: B.B. King, Joe Bihan - 1964 - STILL ALIVE AND WELL - 1973
Still Alive And Well - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Sweet Love & Evil Women - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
TV Mama -  Johnny Winter - NOTHIN' BUT THE BLUES - 1977

GUITARIST'S GUIDE TO COMPUTER MUSIC. BOOK AND CD-ROM con CUBASE SX

LIBRO CON CD-ROM DI PROGRAMMI. IN QUESTO VOLUME IMPARERETE I TRUCCI E SEGRETI SU COME COLLEGARE LA VOSTRA CHITARRA ELETTRICA O ACUSTICA CON IL COMPUTER E SUONARE CON I PROGRAMMI DEL CD. REGISTRARE LE TRACCE CON IL POTENTE SEQUENCER CUBASE, E SUONARE CON GLI EFFETTI,  MODELLING E SIMULATORI INCLUSI, SOLAMENTE CON LA CHITARRA E IL VOSTRO PC. TUTTO SENZA SPENDERE UN CENTESIMO !  

Description
Record guitar on your home PC
Easy step by step instructions
Use your PC as an effects box
Record a whole band or create a virtual one
With CD of demo software and tutorials
All this computer music nonsense is to do with electronic bleeps, silly noises and dance music, isn't it? You couldn't be more wrong. A computer is far more suited to recording live 'real' music than anything else. An ther's nothing technical or mysterious about it, it can be exactly the same as recording to tape but with the added advantage of having an endless supply of effects, drums, backing and mixing, and at the end of the session you can put your music straight onto CD.
But isn't it all robotic, rigid , automatic and well, computerised? No. It's as freeform and creative as you are and can offer more production possibilities than you've ever thought of.
But I like all my hardware gearThen you can keep it. A computer will add to your musical arsenal not take anything away, so you can use your existing gear together with your computer

This book takes you through the easy steps of recording and producing music on your computer, with example songs and detailed instructions.
Included in the book is a CD containing a fully working demo version of Steinberg's studio recording software Cubase SX, and other useful bits like software guitar effects and a turner.
About the author
Robin vincent is technical director of Carillon Audio Systems, where he designs and builds computer music studios. He also plays a bit of guitar.

Software on the CD:
Steingerb Cubase SX demo
IK Multimedia Amplitude demo
Audio Phonics Guitar Tuner
Native Instruments Battery demo
FXpansion DR-008 Demo
Dsound GT Player demo
MIDI-OX
Midi Yoke
Music Lab's Slicydrummer and Fill-indrummer
Sonic Foundry Acid XPress

Minimum system requirements
Windows 98, 200 or XP
Pentium III (500MHz) or AMD K7 processor
256MB Ram
Soundcard
Windows MME
Directsound or ASIO
239 PAGES

GREAT BOTTLENECK BLUES LESSONS, Nine Powerful Excursions into Slide Guitar. GUITAR TABLATURE DVD

Great Bottleneck Blues Lessons
Nine Powerful Excursions into Slide Guitar
Series: Instructional/Guitar/DVD
Publisher: Homespun
Format: DVD - TAB
Artist: Various

Taught by Keb' Mo', Mike Dowling, Hans Theessink, Roy Book Binder, Bob Brozman, Catfish Keith, John Hammond, Rory Block and Steve James

Some of today's greatest proponents of traditional bottleneck/slide guitar playing teach the soulful sounds that started in the Mississippi Delta and forever changed the world's musical landscape. Songs: Sitting on Top of the World • Rollin' and Tumblin' • She Did You a Favor • Bye and Bye I'm Going to See the King • Henry • Ramblin' on My Mind • The Cuckoo • Drop Down Mama • Hot Time in the Old Town Tonight. LEVEL 3 • INCLUDES MUSIC + TAB • 115 MIN.

Inventory #HL 00642091
ISBN: 9781597732635
UPC: 884088362027
Publisher Code: DVDGSGSG21
Width: 5.25"
Length: 7.5"
Run Time: 1:55:00

Some of today's greatest proponents of traditional bottleneck/slide Guitar playing teach the soulful sounds that started in the Mississippi Delta and forever changed the world's musical landscape.
The powerful lessons on this DVD, compiled from the Homespun archives, represent Guitar instruction at its very best. Each segment, taught by a legendary master of blues/slide technique, has been chosen to give you a slightly different application of the use of the bottleneck to create distinct and memorable arrangements for your songs. These veteran performers communicate their unique style and musical vision to allow you to become a more confident and proficient guitarist.
Includes tuition material from:

Keb' Mo'
Mike Dowling
Hans Theessink
Roy Book Binder
Bob Brozman
Catfish Keith
John Hammond
Rory Block
Steve James

FORD ROBBEN, THE ART OF BLUES SOLOS. TABLATURE DVD

DVD METODO DI MUSICA BLUES.

SPARTITI PER CHITARRA. 

ACCORDI, PENTAGRAMMA E TABLATURE.

The Robben Ford Clinic
Series: DVD
Artist: Robben Ford

Robben Ford is simply one of the most emlated modern blues players of our time. In this DVD, his impeccable soloing techniques and tasty phrasing are brought to the forefront. You'll learn dozens of Robben's favorite phrases as he plays several tunes loaded with classic Ford riffs. Robben also answers questions about theory, style, recording, technique, influences and using altered scales. The video features a live performance of Robben's "Cannonball Shuffle" where you can cop every lick as his burning solo is shown in real time and in slow motion. Includes a 50-page printable PDF file with solos and examples. All songs are transcribed in music and tab! Running time: 1 hour, 48 minutes.

Contents:

DEVELOPING YOUR STYLE
"PLAYIN’ A BIT" PAGE 3
BASIC THEORY PAGE 9
"CANNONBALL SHUFFLE" PAGE 11
TECHNIQUES: PICKING & SLIDING DVD
"IN THE BEGINNING" PAGE 18
ROBBEN’S EARLY JAZZ INFLUENCES DVD
"OASIS" PAGE 31
ALTERED SCALES PAGE 40
"ROGER’S BLUES" PAGE 44
RECORDING
ROBBEN’S EQUIPMENT

SUPERSONIC GUITAR GROOVES, Jeremy Sash. CD TABLATURE

Product Description:
The goal of this book is to promote rhythmically and harmonically challenging phrases and licks in order to give you an authentic inside view on seven selected styles. Live or in a recording session, playing rhythm is the guitarist's main duty. This makes it even harder to understand why most guitarists' rhythm work (frankly) sounds rather unrehearsed and colorless.

Especially since working with drum machines and samplers has become a vital part of musical performance, a good sense of rhythm, and some cool licks may just be your "key to success."

Format: Book/CD Set
ISBN: 0786652594
UPC: 796279066914
ISBN13: 9780786652594
Voggenreiter
136 PAGES

99 PRO TRACKS INCLUDED
OVER 100 GROOVES FOR ALL STYLES:
ROCK - POP - WAVE
METAL - CROSSOVER
FUNK – SOUL
RHYTHM – BLUES
LATIN – FLAMENCO
AFRICAN - JAZZ

You could improve your rhythmical abilities with some simple methods:
- Please stop practicing rhythm-playing without a metronome!
This unstable ''do-it-yourself-groove" will get you nowhere. Use your
time more effectively: you haven't got enough of it anyway (or does
your girlfriend (boyfriend) have 17 favorite hobbies?).

- Set your metronome (please do not use manual ones) so that it clicks
on beats 2 and 4. You are emphasizing beats 1 and 3 yourself. Place a
piece of cardboard under your foot and tap the clicks of the metronome.
If you can't detect the metronome's click anymore, that's a sign
that you're playing "in time". Isn't it simple to produce a feeling of success?

It is extremely important to be totally Jltight". But there are also situations
in which a more Jllaid back" feeling is more appropriate. It is my guess
that most of you play more ahead of the beat" than ''laid back"!
Your adrenaline takes care of this and mostly you can't help it. That's why
you should also practice playing ''laid back":
Tap your foot a little ''behind" the beat.

- Dynamics! Do yourselves a favor and watch your dynamics while playing.
Imagine talking monotonously, without constantly raising or lowering
your voice. Would this sound very passionate? Well that's how you
will sound if you do not make dynamics a part of your playing.

- Most of the time, a bass or keyboard player will accompany you. For
this reason, it's better to avoid ''root" voicings whose highest and
lowest notes get in your fellow musicians' way. They will do everything
for you if you avoid clashing with them on every other voicing (remember:
you might need some extra hands next time you're moving).
It doesn't matter what you're playing. It's HOW you play it!
- Not 150 notes per second will do the trick, but the ''attitude" and feel
behind the notes.
- Being 120% convinced of what you're playing makes the difference
(often referred to as ''tone").

CONTENTS
"SUPERSONIC" THOUGHTS .

GROOVE .
NOTES .
SOUND .
WARMING UP .
NOTATION .
CD .

CHAPTER 1 - RHYTHM & BLUES .
CHAPTER 2 - JAZZ .
CHAPTER 3 - FUNK & SOUL .
CHAPTER 4 - ROCK & POP & WAVE .
CHAPTER 5 - METAL & CROSSOVER .
CHAPTER 6 - LATIN & FLAMENCO .
CHAPTER 7 - AFRiCAN .

THANKS .
LAST WORDS .