LIBRO CON CD

HILAND JOHNNY, LICKS & TRICKS VOL.2. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 

Product Description:
Recorded lessons from one of America's greatest guitarists Johnny Hiland teaches essential Licks and Tricks every great country player should know. Lessons in standard notation and TAB with complete audio instruction.

Song Title:
B-Bender Chord Licks
B-Bender Licks
B-Bender Licks Without Using The B-Bender
Bending Behind The Nut
The Funky Chicken Lick
The Tractor Trailer Lick
Train Whistle Lick

SMOOTH JAZZ PIANO. CD

Smooth Jazz Piano
Keyboard Style Series
Series: Keyboard Instruction
Format: Softcover with CD
Author: Mark Harrison
Artist: Various

This comprehensive book and CD package will teach you the basic skills you need to play smooth jazz piano. From comping to soloing, you'll learn the theory, the tools, and the tricks used by the pros. The accompanying CD features many of the examples in the book performed either solo or with a full band. Specifically, you'll learn: scales and chords, harmony and voicings, progressions and comping, rhythmic concepts, melodies and soloing, characteristic stylings, the history of jazz, and more. THE HAL LEONARD KEYBOARD STYLE SERIES provides focused lessons that contain valuable how-to insight, essential playing tips, and beneficial information for all players. Comprehensive treatment is given to each subject, complete with a companion CD with 89 tracks. 

Inventory #HL 00311095
ISBN: 9780634073946
UPC: 073999048414
Width: 9.0"
Length: 12.0"
80 pages

STRIDE & SWING PIANO. John Valerio. CD

Hal Leonard Keyboard Style Series
Series: keyboard instruction
Medium: Softcover with CD
Author: John Valerio

Focusing on styles such as classic ragtime, early blues & boogie woogie, New Orleans jazz, stride and swing, this new book/CD pack in the Hal Leonard Keyboard Style Series teaches left- and right-hand techniques including chords, bass runs, patterns and more. Key players of these styles Scott Joplin, Jimmy Yancey, Pete Johnson, Jelly Roll Morton, James P. Johnson, Fats Waller, Teddy Wilson and Art Tatum are prominently referenced. Includes 14 full songs to play, and an accompanying CD! 96 pages

INTRODUCTION
Welcome
to Stride and Swing Piano! This book is an in-depth look at early solo jazz
piano styles from the 1900s to the 1940s. Many pianists know the term stride as an accompaniment
technique in which the left hand alternates between a bass note and a
chord in an "oom-pah, oom-pah" manner. But stride was also the label given to a style of piano
music that emerged in the 1920s. This was an early form of jazz that evolved from predecessors like
ragtime, blues, and New Orleans style, and culminated in the swing style of the 1930s and' 40s.
Most of the early jazz piano styles up to and including swing piano feature this striding left-hand
motion.
This book traces the evolution of stride and swing piano styles-from their predecessors to their
fullest development; each chapter focuses on a particular style and player:
Classic Ragtime: Though not jazz per se, ragtime was an important forerunner, serving
as a model for styles like New Orleans and stride. Invented by Black Americans, ragtime
emerged during the 1890s and was a strictly written music with formal and rhythmic constraints.
Scott Joplin was its most famous composer.

Blues & Boogie Woogie: Also invented by Black Americans (in the 1800s), blues
was another important forerunner of stride and swing jazz styles. A looser music, blues had
its own melodic material, accompaniment style, and rhythmic feel. Jimmy Yancey was a premiere
blues pianist; Pete Johnson was a well-known player in the faster, boogie woogie style.

New Orleans Jazz: In the early 1900s, New Orleans pianists developed jazz, a style that
merged ragtime with blues, and added improvisation. Jelly Roll Morton was the most important
early jazz pianist. He loosened the "even subdivisions" of ragtime and made jazz swing.

Stride: Stride was a fast, virtuosic piano music born in Harlem during the 1920s and' 30s.
Early stride,
ala James P. Johnson, was more appropriately called "Eastern ragtime" than
later stride, which evolved into a lighter, smoother music, as played by Fats Waller.

Swing: Swing emerged during the mid '30s with jazz big bands. The driving accents of
stride were ironed out, and an even 4/4 pulse became the norm. Teddy Wilson best represented
the swing style; Art Tatum took it to its highest point.

The one element that all of these styles have in common is the almost continuous playing of the
pulse (on every beat) by the left hand. This was accomplished by: 1) bass note vs. chord alternation,
2) the playing of bass lines, or 3) the continuous playing of chords.
Modern jazz piano styles have done away with the left hand's time keeping role [or the most pat1,
and contemporary players are often at a loss when called upon to play the left hand in an older solo
style. Stride and Swing Piano offers an introduction to the usage of traditional left-hand devicesincluding
characteristic chord voicings and bass note intervals, such as octaves and tenths-as well
as right-hand techniques such as single-note lines, chord voicings, intervals, mns, and improvisation.
Each chapter culminates in one or more original tunes demonstrating the style and its techniques.
Practice suggestions are also included. The reader is encouraged to learn and study these
tunes, and to apply all of the techniques in the book to standard jazz and pop songs of the era.
About the CD
The accompanying CD features many of the examples in the book-including 14 original tunesperformed
on solo piano. Listen to the CD to better understand each style and to practice your
own solo playing.

Early jazz had always been evolving on two simultaneous fronts-as a small ensemble
music, and as a solo piano music. By the mid 1930s, ensembles were changing. Jazz
bands were growing larger, into "big bands"-essentially, hybrids of the jazz combos and
larger dance bands of the '20s. Along with the transition from smaller to larger groups, a
"smoothing out" process took place in the music, and a distinctly new piano style emerged.
One crucial defining characteristic of swing* music is the evenness of all four beats played by the
rhythm section. The rhythm sections of the big bands used a bassist who usually played on all
four beats of the measure, laying down an even 4/4. This was different from the tuba or bass
players of older New Orleans style, who usually played on beats I and 3, with occasional walking
fills. The epitome of a swing rhythm section was Count Basie's band; they played all four beats
of each measure with such evenness and precision they sound like one person.
Swing pianists were caught between two worlds. Still rooted in the stride/ragtime model, they
began exploring new ways to establish the 4/4 pulse while freeing up the left hand. Swing demanded
a lighter touch and a looser feel; the driving accents of stride piano were ironed out.
Although the left hand still relied on an oom-pah striding motion, dynamic levels became more
consistent for bass notes and after-chords. So-called "walking bass" lines became commonplace.
The consummate swing pianist was Teddy Wilson (1912-1986). His playing represents the highest
cultivation of the pure swing style. Balance and restraint characterize his approach. Classically
trained, Wilson had a refined sense of touch. His technique was supple, and his music, subtle.
One reason for the lighter touch of the swing pianists was the use of the microphone; the earlier
jazz pianists had to pound on the piano to be heard within a group setting. Wilson gained notoriety
when he teamed up with clarinetist Benny Goodman and drummer Gene Krupa to form the
Benny Goodman Trio. This group was historically important not only for the great music they
created but also for being the first publicized interracial jazz performing group. The fact that this
trio had no bass player is a testament to Wilson's astounding left-hand technique and conception.
Wilson played solo piano in much the same way as he approached playing with a group.
*The term swing as used here refers to the style of jazz that evolved from the mid 1930s to the mid' 40s. It should not be confused
with the more general use of the word denoting the rhythmic conception associated with most jazz.
Left-Hand Techniques
Most of the left-hand techniques used by swing pianists were already used by the late stride players.
As with earlier styles, the left hand mostly kept time by playing the quarter-note pulse.
Crucial differences were that now all of the beats were played with equal stress, the touch was
much lighter, and the feeling was more relaxed. The hard-driving left hand of the stride pianists
was replaced by a steady, relaxed groove. There was also a difference in when and how often the
swing pianists applied each left-hand technique. These newer approaches are described in the following
pages.

CONTENTS

1 CLASSIC RAGTIME .
Scott Joplin

2 BLUES & BOOGIE WOOGIE
Jimmy Yancey & Pete Johnson

3 NEW ORLEANS JAZZ .
Jelly Roll Morton

4 STRIDE PIANO I.
James P. Johnson

5 STRIDE PIANO II.
Fats Waller

6 SWING PIANO I .
Teddy Wilson

7 SWING PIANO II .
Art Tatum
 

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 

acoustic guitar magazine, ESSENTIAL ACOUSTIC GUITAR LESSONS. CD TABLATURE

LIBRO CON CD, IN NOTAZIONE E TABLATURE

8 FULL SONGS TO PLAY

BASICS

RHYTHM

LEAD

EXPLORATION

Essential Acoustic Guitar Lessons
14 In-Depth Lessons for Players of All Levels
Series: String Letter Publishing
Publisher: String Letter Publishing
Format: Softcover with CD - TAB
Author: Various Authors

Inventory #HL 00695802
ISBN: 9780634068355
UPC: 073999958027
Width: 9.0"
Length: 12.0"
66 pages

This book/CD pack offers a superb selection of lessons and songs for the acoustic guitar, expertly played by teachers on the accompanying CD. It includes exercises, licks and 8 full songs to play, in standard notation and tablature with chord diagrams. The CD includes two versions of each song: one played slowly and the other, up to tempo. The book is divided into four main sections: Basics - covering the fretboard, barre chords and flatpicking; Rhythm - bluegrass in dropped D, bass lines, classic pop changes; Lead - Celtic jigs, melodic improvisation, soloing with arpeggios; and Exploration - capo use, Hawaiian slack key, classical etude variations; and modal harmony. Players of all levels will find lessons to benefit them. 66 pages

Introduction

There
has never been a better time to play the guitar! Guitar makers call this the Golden Age of Lutherie for good reason; it's a time where players of all levels can find high-quality guitars in an price range. But this era could just as easily be called the Golden Age of Guitar Instruction. Never before have we had so many high-quality instructional materials and accurate song transcriptions for virtually any style of music. In Essential Acoustic Guitar Lessons, the experienced teachers at Acoustic Guitar offer up something for everyone. The Basics section will help you learn the notes on the guitar's fret board and get started with barre chords and flatpicking. More advanced lessons include styles as diverse as jazz improvisation, Celtic jigs, slack-key guitar, alternate tunings, and more. You'll even learn how to play your guitar like a bass, if the need arises! If one style particularly grabs you, log on to where you'll find a multitude of books delving into specific styles and techniques. So pick up your guitar, and let's get started!
Andrew DuBrock Music Editor

DAVID HAMBURGER
David Hamburger is a performer and writer who lives in Austin, Texas. He has been playing
folk and blues music since first picking up the guitar at the age of 12 and has been on the
faculty of the National Guitar Workshop since 1988. Hamburger's guitar, slide guitar, and
Dobro playing can be heard on his solo albums King of the Brooklyn Delta (Chester, 1994)
and Indigo Rose (Chester, 1999), as well as on numerous other independent recordings.
Hamburger is the author of many books, including The Acoustic Guitar Method, and has
contributed dozens of lessons and articles to Guitar Player and Acoustic Guitar magazines.
For a discography, performance schedule, and other information, visit his website at

KAREN HOGG
Karen Hogg is a multi-instrumentalist, music teacher, yoga teacher, and freelance writer living
in New York City. She has written two instructional books for Workshop Arts/Alfred
Publishing: Women in Rock and Guitar Made Easy. Hogg has been teaching for ten years and
is an instructor at the National Guitar Summer Workshop and the American Institute of
Guitar. She performs regularly on guitar and mandolin in various country and rock bands
around New York.

PAUL KOTAPISH
Paul Kotapish started playing guitar in bands shortly after he first heard the Beatles on his
transistor radio. He has toured the globe and recorded numerous albums with Irish fiddler
Kevin Burke, the Hillbillies from Mars, and Wake the Dead an acoustic ensemble that meshes Grateful Dead songs with traditional Irish music. During the day he messes around on computers doing forensic multimedia work for an Oakland,
California law firm.

TONY MARCUS
Tony Marcus plays lead guitar and violin in the '30s and '40s swing band Cats and Jammers,
which records for the Tuxedo label (2557 Wakefield Ave., Oakland, CA 94606). He's also
played with the Arkansas Sheiks, the Cheap Suit Serenaders (featuring counter-culture cartoonist
Robert Crumb), and the Royal Society Jazz Orchestra.

PETER MULVEY
Peter Mulvey began his musical career playing guitar in the subways of Boston and on the
streets of Dublin. Since those early busking days, he has recorded four critically acclaimed
albums (his latest, Ten Thosand Mornings, was released in 2002) and has captivated audiences
across the U.S. and Ireland with his intelligent lyrics and percussive, inventive guitar
work. You can find him.

CONTENTS

CD Track List
Introduction
Music Notation Key
About the Teachers

BASICS

Unlocking the Fretboard - KAREN HOGG

Barre Chords - DAVID HAMBURGER

Flatpicking 101 - DAVID HAMBURGER
Blackberry Blossom

RHYTHM
Bluegrass in Dropped D - HAPPY TRAUM
Angel Band

Bass Lines for Guitarists - PAUL KOTAPISH
Levis Beaulieu

Classic Pop Changes - ANDREW DUBROCK

Swing Voice Leading - TONY MARCUS

LEAD

Celtic Jigs - DAVID SURETTE
Coleraine/Monferrine

Melodic Improvisation - CHRIS GRAMPP

Soloing with Arpeggios - JAMIE FINDLAY

EXPLORATIONS

Getting Low Lows with a Partial Capo - PETER MULVEY

Hawaiian Slack Key - KEOLA BEAMER
A Grandmother's Wish
Wa'apa

Classical Etude Variations - MARK SMALL
Prelude

Modal Harmony - SCOTT NYGAARD
Winter Waltz