LIBRO CON CD

RAGTIME GUITAR, 14 Songs Arranged for Solo Guitar. Allan Jaffe. BOOK WITH CD & TABLATURE

LIBRO DI MUSICA RAGTIME CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE. 

14 Songs Arranged for Solo Guitar

Series: Guitar Solo
Softcover with CD - TAB
Arranger: Allan Jaffe

14 of Jaffe's fingerstyle arrangements of ragtime favorites and originals in standard notation and tablature with accompanying CD, 80 pages

"As a musical entity ragtime was, and is an instrumental work in 2/4 time composed for the piano that combines a syncopated series of melodies accompanied by an even, steady rhythm."-David A. Jasen and Trebor J. Tichener, Rags and Ragtime. In the first twenty years of the 20th century, an unprecedented phenomenon erupted into the world of Western music. For the first time, a form of popular music which was a true fusion of African-American and Western European musical traditions emerged. Although it began as an oral form played by pianists in the bars and brothels of several major American cities, thanks to the publishing houses, it quickly spread through the United States and eventually Europe. Unlike any other music up until then, this music was completely biracial. Everyone called it "ragtime." In an era before the age of radio and recording, the only way for music to reach the public, aside from the concert hall, was through sheet music. Many homes in the United States had their own pianos, and at least one family member was able to play this instrument, albeit often in a rudimentary fashion. Apart from the classical repertoire, most pianists favored versions of popular songs of the day, notated with a very simple accompaniment. Although ragtime challenged the skill levels of the average amateur pianist, Americans quickly succumbed to the new and unusual syncopations. The music became so popular that schools sprouted up around the country specifically for the purpose of teaching the lay-person how to play this strange and seductive music. The original creators and developers of ragtime were the great ragtime pianists and composers of the period, the three acknowledged masters of the classic rag being Scott Joplin, James Scott, and Joseph Lamb. Eventually the Tin Pan Alley composers, the pop songwriters of the day, recognized the commercial potential of this form and began cranking out ragtime pieces by the score. By the end of the 1920s, over five thousand ragtime works had been published. Possibly due to this rampant commercialization, the quality of the music degenerated and eventually ragtime disappeared from public favor until it was revived as a repertoire form years later. During the twenty or so years of ragtime's heyday, many wonderful pieces of music were born from the pens of its finest composers. Along with the works of the above-mentioned masters, one can find a wonderful assortment of music by other great ragtime artists, such as Tom Turpin, Charlie Hunter, Charles Johnson, and Artie Matthews, among others. Ragtime displayed great melodic, harmonic, and rhythmic invention; each piece possessed its own clear emotional impact. When I was asked by Hal Leonard Publications to do a book of rags for the guitar, comprising eleven arrangements of classic rags and three of my own, I had little idea of the rich musical world I was about to enter. Over the past ten years I had been writing my own guitar rags, originally inspired by the work of the three great blues guitarists, Mississippi John Hurt, Reverend Gary Davis, and Arthur "Blind" Blake. However, apart from Scott Joplin's compositions, I was unaware of the richness of this musical period. Thanks to two excellent literary sources, Rags and Ragtime by David A. Jasen and Trebor J. Tichener and They All Played Ragtime by Rudi Blesh and Harriet Janis, plus the multitude of websites dedicated to ragtime, I steeped myself in this music. Eventually, I chose eleven pieces which I felt were some of the best and most important works of ragtime's great composers. As the statement quoted at the beginning of this intro shows, ragtime has always been associated with the solo piano. In talking with people about this project I often heard the same response, "I have never heard ragtime played on the guitar." Indeed, most of the guitar music that has been called "ragtime" comes from the blues and is associated with the works of blues, folk, or country artists such as Gary Davis, Doc Watson, or Dave Van Ronk. On the surface, this seems to be a far cry from the classical-sounding solo piano compositions of Joplin or Lamb. But in fact, the music produced by these artists all share a syncopated melodic line superimposed on a steady bassaccompaniment figure. I found that with the appropriate key changes this music adapted well to the guitar. The rhythmic, melodic, and multi-timbral nature of the guitar makes it an excellent medium for ragtime. Of course there are challenges. Since this music was developed by pianists for pianists-with thick chords, big octave leaps, and bass lines moving in contrary motion to the melodies-there are few major inherent technical difficulties when played on the piano. This is a different story on the guitar. However, through a process of distillation, careful key selection, register changes, and liberal use of open strings, I was able to create versions of these pieces that retain the lyrical, harmonic, and rhythmic richness of the originals, while acquiring through the translation process a character of their own. The result, I believe, is guitar pieces that are a joy to learn and play.

The Entertainer - Scott Joplin (1902)

Marvin Hamlisch's adaptation of this rag for the movie, The Sting in 1976, was responsible for bringing the music of Scott Joplin and ragtime back to the attention of the public. It was originally dedicated to the vaudeville entertainer, James Brown, and, although I was unable to get any information about this person, in arranging it I had in mind an elegant "soft-shoe" performer. In order to bring out the beautiful melodies I have decided on a slower tempo for this tune.

Maple Leaf Rag - Scott Joplin (1899)

A fitting end to one century and beginning to the next, the publication of "Maple Leaf Rag" by publisher John Stark marks the emergence of ragtime as a popular musical form. By 1909 it had sold over a half-million copies. To the aspiring ragtime composer "Maple Leaf" became the model for this relatively new form of music. My version diverges from Joplin's original in two ways: 1. I have chosen to swing it, and 2. I have left out the standard repetition of the A section after the B section.

Heliotrope Bouquet - Scott Joplin and Louis Chauvin (1907)

This beautifully lyrical piece was a collaboration between Joplin and the legendary genius Louis Chauvin. As Chauvin's music had not previously appeared in print, Joplin suggested that in order for him to get his first publication, they should collaborate on this one. The A and B sections were written by Chauvin, the last two by Joplin. One can get some insight into Chauvin's unusual harmonic sense from the haunting A section.

Frog Legs Rag - James Scott (1906)

Scott is the forgotten genius of ragtime. This tune was his first publication and it was an immediate success. Although the B section is reminiscent of "Maple Leaf," we become aware of Scott's considerable originality throughout. The entire piece dances and is, I believe, an imaginative depiction of the movement of the appendages for which it is named. The D section, with James Scott's characteristic "octave echo," is a challenge technically on the guitar, but I have suggested a fingering which makes it a joy to play.

Grace and Beauty - James Scott (1909)

For me, this is the most lyrical and unusual of the James Scott rags. Scott was known to be the most adept pianist of the major three rag composers, and this is one of his most pianistic, using his characteristic octave leaps and arpeggiated "rips." Consequently, in order to make my arrangement "guitaristic" I have taken some liberties with the melody and bass lines.

Sunburst Rag - James Scott (1909)

This is a joyful and exuberant statement by Scott. Scott's rhythmic clarity and variety is apparent in this composition from one section to the next. The C section, which I find to be a wonderful workout for the left hand, seems to have been echoed, whether consciously or unconsciously, about sixty years later in Herb Alpert's "Spanish Flea." This work is beautifully structured, with the B section reappearing at the end, transformed by its modulation up a fourth.

American Beauty Rag - Joseph Lamb (1913)

This is one of the two rags I have arranged in "dropped D" tuning and is a beautiful, and at the same time, revolutionary work. The first two sections here are yet another example of Lamb's extraordinary lyricism and gift for long, arching melodies. Yet midway through this composition, beginning with the transition between Band C, Lamb takes quite a different direction. Suddenly the focus is on rhythm. The C section is remarkable in that, unlike any of the rags of this period, it seems to incorporate the "swing" rhythmic approach of jazz. Lamb notates the "swing" as a dotted eighth and sixteenth note rhythm and effectively alternates it with a straighteighth rhythm. Also unusual in this rag is the increasing intensity of the piece, beginning with the C section and continuing until the end.

1988 - Al's Slow Rag [Jaffe, Allan] 

1913 - American Beauty Rag [Lamb, Joseph] 

1911 - Barber Pole Rag [Johnson, Charles] 

1986 - Delta Rag [Jaffe, Allan] 

1906 - Dill Pickles [Johnson, Charles] 

1906 - Frog Legs Rag [Scott, James] 

1909  - Grace And Beauty [Scott, James] 

1907 - Heliotrope Bouquet [Joplin, Scott] [Chauvin, Louis] 

1990 - Joplin Rag [Jaffe, Allan] 

1899 - Maple Leaf Rag [Joplin, Scott] 

1915 - Ragtime Nightingale [Lamb, Joseph] 

1909 - Sunburst Rag [Scott, James] 

1902 - The Entertainer [Joplin, Scott] 

1916 - Top Liner Rag [Lamb, Joseph]

HAYNES WARREN, GUIDE TO SLIDE GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA ROCK BLUES, CON CD.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA E TABLATURE. 

CD FEATURES FULL BAND TRACKS BOTH WITH AND WITHOUT GUITAR, PLUS JAM TRACKS . 

Learn the slide guitar stylings of Warren Haynes from the man himself! The legendary guitarist of Gov't Mule, Phil Lesh and Friends, the Grateful Dead, and the Allman Brothers Band offers instructions on choosing a slide, perfecting left- and right-hand techniques, playing rhythm, and blues soloing-on electric and acoustic. The Warren Haynes Guide to Slide Guitar will give you the most in-depth and personal lessons ever on how to play slide guitar in the style of Warren Haynes. Also includes a split-channel CD of the exercises, played by Warren himself with a full band. Listen to the master or solo along to the backing tracks! 48 pages

WRITTEN BY WARREN HAYNES

WITH MIKE LEVINE 

Description

A unique book and CD from the hands of a true slide guitar legend - Warren Haynes. As guitarist with The Allman Brothers Band and The Grateful Dead, Haynes has forged himself a reputation as one of the greatest slide players in rock history, and you can now get a candid guide to his style from the man himself!

Haynes covers every part of your development as a slide guitarist, from choosing the best slide for you and perfecting the basic techniques to playing rhythm parts and blues soloing. A CD is included that features split-channel recordings of Warren performing all examples with a full band... either listen to the master at work, or solo along to the backing track and get your slide licks really cookin'. 48 pages

Acoustic Slide
Advanced Soloing
Approaching The Neck
Beyond The I-IV-V
Getting Started
Playing The Blues

... them, all of which paved the way for the new in-concert set. "I think we've always wanted to do a live album since we got together," says Haynes. "We're just happier in a concert situation, though it wasn't intentional that we'd do two studio discs first, just like the original ABBdid before Fillmore East. But just like then, our songs sound better in concert and, in fact, the Allman Brothers are and will always be a live band. We even cut our studio albums live, with everybody set up in the room and playing all at once. Most of the guitar solos that Dickey and I cut in the studio are live on the tape as they went down, which is very unusual. Of course, we go for that same spontaneity live and instead of just trading straight solos, sometimes we just bob and weave, leaving spaces for the other to fill in with harmonies, unison bits or counterpoint - it's all unplanned and experimental, like Miles Davis and John Coltrane improvising together or 'Trane and Cannonball Adderly. And we leave the mistakes and mishaps in while recording live, too. Like when I'm soloing in the first half of 'Blue Sky,' I start playing straight lead and then you can hear where I switch to slide and finish the lead playing bottleneck. The funny thing is that there's about a five or six beat pause in between them because the slide got kinda stuck in my vest pocket and it took a while to get the darn thing on my finger!" Given his broad listening tastes and keen melodic intuition, it shouldn't be surprising that Haynes also has a wealth of good advice to impart to younger players. As proof, just sample this tidbit of universal guitar wisdom, one which cuts to the heart of the matter just as fast as one of his always inventive solos: "Awhile back, I used to play country music for a living with David Allan Coe and, while I don't think I'd be happy playing country every day, I learned a lot from the experience because whenever you step outside your genre, you're bound to expand your horizons. When I used to read interviews with some of the truly great players, there was always one influence they'd mention that was a complete surprise, like B.B. King saying he dug jazzers like Django Reinhardt and Charlie Christian, which in turn gave him his own special voice as a blues player. In my mind, whether you're into blues or heavy metal, listening to and also playing other styles of music can only make you a better guitar player." 

WYLDE ZAKK BLACK LABEL SOCIETY, BEST OF. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO DI MUSICA METAL, CON CD .

SPARTITi PER VOCE E CHITARRA :

ACCORDI, PENTAGRAMMA, TABLATURE.

This collection of 12 songs from Zakk Wylde's band includes 12 note-for-note transcriptions with guitar tab:

Table of contents: All For You -Bleed For Me -Counterfeit God -Lords Of Destruction -Lost My Better Half -Speedball -Stillborn -Stoned And Drunk -Stronger Than Death -Suffering Overdue -Superterrorizer (live) -The Blessed Hellride. Also includes 7 bonus tracks on CD: from "sonic brew" -Low Down, from "stronger than death" -All for You -Superterrorizer, from "1919 eternal" -Bleed for Me -Lords of Destruction, from "the blessed hellride" -The Blessed Hellride -Stoned and Drunk. 86 pages. 

ACOUSTIC GUITAR, RAGTIME. CD TABLATURE
Fingerstyle: Jasse James -red river valley -victory rag -blue bell -when the saints go marching in -Gary Davis' pastime -rag in C -great bs' stomp -Blake's rag continuation -G rag journey -raggy blues in E -at a Georgia campmeeting -silver swan rag -grace and beauty -maple leaf rag -the entertainer -solace, a mexican serenade.

"Ragtime" is by nature melodious and nostalgic black piano music which was very popular from the end of 19th century to the early of 20th century. Also in acoustic guitar scene, it has uniquely developed as "ragtime guitar" which is based on its sounds and approaches. And today it has been established as fingerpicking solo music which we can play with one guitar.
In this book, the styles of such "ragtime guitar" are classified into three section; FOLK RAGS where the traditional folk songs are featured, RAGTIME BLIES for which the country bluesmen's ideas are used and CLASSICAL RAG where the melodies of piano rags are arranged for acoustic guitar, and you'll learn the characteristic tunes in each of them. All of the tune are recorded on the attached CD (18 tunes, 47 minutes). The tab/music for every tune is full scored. You can learn "ragtime guitar" infallibly with the detail explanations, the comlete tab/music and the CD. Enjoy the world of challenging "ragtime guitar". 96 pages.

BEST IN THE WEST, NASHVILLE GUITAR. Richard Kochli. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA COUNTRY / BLUEGRASS, COUNTRY ROCK, CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

IN ITALIANO

MANUALE, METODO, DIDATTICO, STUDIO PER APPRENDERE, TECNICA,

CHITARRA COUNTRY IL MANUALE COMPLETO

Autore: Richard Köchli
Pagine: 276
Formato: libro + CD

Descrizione breve

Il meglio della musica di Nashville: country, bluegrass, rockabilly, western swing, honky tonk, cajun. Un libro per diventare un vero chitarrista country: oltre 300 esercizi, fraseggi e brani tradizionali, spiegazioni, analisi e richiami al "mondo reale", cenni storici sugli stili principali, e alcuni dati sui più importanti innovatori. Per tutti i livelli, dal principiante al professionista.
Il country, tra i chitarristi, è un genere largamente apprezzato, ma pochi sono in grado di suonarlo in modo soddisfacente. E tu, quanto ne sai?
Tutti noi abbiamo di tanto in tanto occasione di imbatterci in brani country. Che a proporceli sia il grande schermo, la tv di casa, la radio o un disco l'effetto non cambia: ascoltare musica country è un'esperienza elettrizzante, che ci catapulta testa e cuore negli Stati Uniti, tra praterie e cowboy. Ma il country è molto di più: è un'infinità di esperienze musicali e umane che si incrociano e formano un genere musicale unico e appassionante, è uno dei frutti artistici per eccellenza del melting pot statunitense.
Suonare in modo convincente la chitarra in un contesto country non è affatto semplice, anche perché gli approcci allo strumento più diffusi tra i chitarristi jazz, blues e rock si rivelano spesso almeno parzialmente inadeguati al nuovo contesto. Ogni genere musicale presenta regole e prassi proprie, e il country non fa eccezione.
Purtroppo, rispetto ad altri generi musicali, le pubblicazioni didattiche disponibili in Italia sull'argomento scarseggiano. A colmare questa mancanza giunge oggi Chitarra country, il manuale completo, un libro che vi guiderà passo passo dalle basi a concetti avanzati e di sicura soddisfazione anche per i musicisti più smaliziati.
L'autore, lo svizzero Richard Köchli, affronta nel corso della trattazione tutti gli argomenti fondamentali del genere. Si passa dalle tecniche e dall'accompagnamento di base in strumming all'esecuzione di ritmiche e parti soliste bluegrass, dal fingerpicking allo western swing e all'honky tonk, dal rockabilly al cajun alla nuova generazione di musicisti di Nashville. Tra le tecniche affrontate non mancano il chicken-picking, il bottleneck, il bending da dietro il capotasto. Numerosissimi sono i lick ritmici o solisti proposti e minuziosamente commentati. Ma soprattutto questo libro spiega in modo chiaro e ricco di esempi l'approccio all'accompagnamento, al solismo e all'improvvisazione tipici del chitarrista country. In altre parole, chiarisce in che modo ragiona e quali strumenti ha a disposizione il tipico chitarrista country. Non mancano ampie e appassionanti introduzioni storiche e workshop dedicati ai maestri del genere.
Ogni capitolo è diviso in tre sezioni, corrispondenti ad altrettanti livelli di difficoltà del materiale proposto. Per accedere al livello uno è sufficiente una manualità minima sullo strumento e la conoscenza degli accordi di base. Il livello due è riservato invece a chi può vantare maggiori capacità ed esperienza. Nel livello tre vengono infine affrontati i concetti e le tecniche più avanzati, ed è adeguato ai professionisti o in generale ai musicisti più preparati.
Lo studio di Chitarra country, il manuale completo può veramente aprire le porte di nuovi mondi sonori in modo chiaro e accessibile. Anche qualora il country non fosse il tuo genere musicale di riferimento, i consigli, le tecniche e gli spunti musicali proposti nel libro potrebbero rappresentare un'occasione unica per espandere i tuoi orizzonti musicali; già molti altri hanno utilizzato con successo all'interno di altri generi musicali gli insegnamenti del country.
Insomma, che aspetti a farti conquistare dalla musica dei cowboy?
È adeguato a te se…
cerchi una guida completa, chiara e affidabile per avventurarti nel mondo della chitarra country.
Ti interessa studiare il country per ricavarne idee e spunti musicali da applicare in altri generi.
Hai già sviluppato una manualità anche minima sullo strumento (basta conoscere alcuni accordi e saper passare dall'uno all'altro senza difficoltà).
Non è adeguato a te se...
non hai mai suonato la chitarra, neppure a livello basilare.

Prefazione......................................................................................................
Indice del CD.................................................................................................................
Capitolo 1: Le basi della chitarra ritmica country..........................................................
Un po’ di storia.........................................................................................................
Le prime ritmiche.....................................................................................................
Il capotasto mobile................................................................................................................
Il ritmo shuffle......................................................................................................................
Ritmiche country fondamentali.............................................................................................................
Il basso alternato.....................................................................................................................
Bass Run.............................................................................................................................
Il Carter backup lick.................................................................................................................................
Bass run fondamentali..............................................................................................................
Hammer-on........................................................................................................................
Pull-off...........................................................................................................................
Workshop – Jimmie Rodgers............................................................................................................
Note stoppate.................................................................................................................
Combinare le note stoppate con fill e bass run..............................................................
Utilizzo degli accordi con barrè nell’accompagnamento..................................................
Riff................................................................................................
Combinare diverse forme..............................................................................................................
Accompagnamenti di classe con gli accordi in prima posizione........................................................
Discografia.............................................................................................................................
Capitolo 2: Accompagnamento bluegrass.........................................................................................
Un po’ di storia...........................................................................................................................
La chitarra ritmica bluegrass...........................................................................................
G-run..........................................................................................................................
Pennate aggiuntive sugli accordi.............................................................................................................
Meno pennate sugli accordi...................................................................................................................
Finali...........................................................................................................................
G-run e accordi con barrè...............................................................................................................
Discografia.................................................................................................................
Capitolo 3: Lo stile solista di Maybelle Carter.................................................................................
La storia di Maybelle..........................................................................................................
La tecnica di Maybelle....................................................................................................................
Maybelle’s Flower...............................................................................................................
John Hardy.....................................................................................
Will The Circle Be Unbroken.........................................................................................
Farther Along...............................................................................................................
Discografia.................................................................................................................
Wreck Of Old 97............................................................................................................
Capitolo 4: Assoli bluegrass in flat-picking...................................................................................
La chitarra solista nel bluegrass......................................................................................................
Lick bluegrass in SOL maggiore......
Lick bluegrass in DO maggiore.........................................................................
Lick bluegrass in RE maggiore........................................................................................
Solo in SOL.....................................................................................................................
Solo in DO...............................................................................................
Analisi sintetica.

Fiddle tune...........................................................................................................
Workshop – Tre grandi plettratori..................................................................................................
Alton Delmore........................................................................................
Doc Watson............................................................................................................
Clarence White........................................................................................................................
Cross-picking...................................................................................................
Discografia..............................................................................................
Capitolo 5 – Finger-picking.....................................................................................................
Un po’ di storia..................................................................................................................
Introduzione al finger-picking...............................................................................................................
Accompagnamento..................................................................................................
Pattern fondamentali...........................................................................................................
Alternare i bassi...........................................................................................
Bass run..............................................
Melodia in finger-picking..................................................................................
Ampliare il pattern di base con degli inserti (fill-in)..........................................
Slide.....................................................
Bending...........................................................................................................................
Pattern in 3/4..............................................................................................................................
Workshop.......................................................................................................................
Sam McGee..........................................................................................
Merle Travis...........................................................
Travis-picking con forme d’accordo trasponibili......................................................................
Workshop – Chet Atkins...............................................................................................
Lick finger-picking da sfoggiare.......................................................................................
Assoli................................................................
Discografia..................................................................................................................
Capitolo 6: Viaggio nel rockabilly...........................................................................................................
Un po’ di storia...........................................................................................................
Basi dell’accompagnamento....................................................................................................
Riff d’accompagnamento trasponibili..........................................................................................................
Espandere i riff d’accompagnamento fondamentali.......................................................
Workshop – Scotty Moore......................................................................................
Combinazione di plettro e dita...........................................................
Lick solisti rockabilly..............................................................
Solo rockabilly............................................................
Una lezione diversa dal solito, per i professionisti..............................................................................
Discografia.............................................................................................
Capitolo 7: Gli stili solisti di Nashville...........................................................
Un po’ di storia......................................................................................................
Workshop: Luther Perkins....................................................................................................
Basi del solismo............................................................................................
Le quattro varianti della scala maggiore pentatonica...........................................................................................
Improvvisare con diverse scale...............................................................................
Armonizzare.........................................................................................................................
Lick basati sugli accordi....................................................................................
Lick a coppie di note....................................................................................
Combinazione dei materiali utilizzati...............................................................................
Lick con hammer-on e pull-off nello stile di Nashville............................................
Bending in stile pedal steel..........................................................................

Chicken-picking..............................................................................
Ghost note...............................................................
Pennate introduttive su corde stoppate..................................
Workshop – James Burton.............................................................................................
Country rock, di cosa si tratta realmente..........................................................
Workshop: Pete Anderson..............................................................................
Avventure sulle corde a vuoto..............................................................................
Parti soliste a due voci....................................................................................
Specialità di Nashville ...................................................................................................................
Slide con il bottleneck.......................................................................................
Bending dietro il capotasto........................................................................................
La magica corsa cromatica.................................................................................................
Armonici.................................................................................................................
Workshop: Albert Lee........................................................................................
Discografia................................................................................................
Capitolo 8: Swing western e honky tonk..............................................................................
Un po’ di storia................................................................................
Accompagnamento in stile Texas..................................................................
Il sock rhythm................................................................................................................
Accordi di passaggio..........................................................................................................
Chitarra solista western swing........................................................................................
Chitarra solista honky tonk.....................................................................................
La scala diminuita..........................................................................................................
Workshop – Eldon Shamblin............................................................................
Discografia..............................................................................................
Capitolo 9: Cajun.............................................................................
Un po’ di storia........................................................................................
Analisi stilistica fondamentale.......................................................................................
Workshop Cajun...............................................................
Discografia....................................................................................
Capitolo 10: La nuova generazione...............................................................
Workshop...........................................................................................................
Danny Gatton..........................................................................................
Brent Mason.............................................................................................................
Altri assi di Nashville..................................................................................................
Ray Flacke..............................................................................................................
Steve Wariner......................................................................................................
Jerry Donahue............................................................................................
Workshop conclusivo...................................................................................
Capitolo 11: Teoria................................................................................................
La tastiera.................................................................................................................
Intervalli e gradi..................................................................................................................
La Nashville lead sheet...................................................................................................................
Le chiavi maggiori più comunemente usate e i loro gradi......................................................
Le chiavi minori più comunemente usate e i loro gradi............................................................
Schemi country ricorrenti.............................................................................................................
Intervalli armonici (due note suonate in contemporanea)..............................................................
Visione del manico per posizioni..................................................................
Legenda dei caratteri speciali....................................................................................

Indice8
1 - Ritmica shuffle.......................................................................
3 - Bass run..............................................................................
4, 7 - Carter backup lick................................................................................
9 - Old Smokey (trad.)........................................................................
11 - The Days Of 49 (trad.)................................................................................
13, 15, 17, 18 - Hammer-ons e pull-offs nell’accompagnamento................
20 - We Don’t Forget You, Jimmie................................................................................
21 - Bury Me Beneath The Willow (trad.).....................................................
22 - The Forzen Logger (trad.)..........................................................................................
23, 25, 27, 28, 29, 30, 31 - Stoppato........................................................................
33, 34 - Ritmiche con ghost note, con fill e bass run (DO maggiore).....................................
36, 38, 39 - Ritmiche con ghost note, con fill e bass run (SOL maggiore)..............................
40, 41, 42 - Ritmiche con ghost note, con fill e bass run (LA maggiore)................
44, 46, 47 - Ritmiche con ghost note, con fill e bass run (maggiore)...................................
49, 50 - Ritmiche con ghost note, con fill e bass run (RE maggiore).................................
51, 52 - Due esercizi (accompagnamento con ghost note esteso)........................................
54, 56, 59, 60 - Accordi con barrè nell’accompagnamento, forma di Mi................................................
61, 63, 64, 65 - Accordi con barrè nell’accompagnamento, forma di LA...............................................
66 - Accordi con barrè nell’accompagnamento, forma di Sol................................................................
67, 68 - Accordi con barrè nell’accompagnamento, forma di Do e combinazioni................................
69, 70 - Accompagnamenti di classe con accordi in prima posizione..................................................
71, 72, 74, 76 - G-run (accordo di Sol)..............................................................................................
78, 79, 80, 81, 83, 84, 85, 88, 89 - G-run su Sol, Re, La, Mi.......................................................................
90, 92, 93 - Più o meno pennate........................................................................................................ 
94, 95, 96 - Finale.........................................................................................................
97 - Banks Of The Ohio (trad.)....................................................................................
98 - Roll In My Sweet Baby’s Arms (trad.).........................
99 - Cripple Creek (trad.).................................................................
100 - All Your Good Songs......................................................................................................
101, 103, 104 - G-run con barrè...................................................
107, 108 - Maybelle’s Flower / John Hardy (trad.)........................
109 - Will The Circle Be Unbroken (trad.)..................................................................
110 - Farther Along (trad.)...................................................................................
111 - Wreck Of Old 97 (trad.)..................................................................................
112, 114, 115, 117, 118, 119, 120 - Lick bluegrass in SOL.......................................................................
123, 124, 125, 126 - Lick bluegrass in DO...........................................................................................
128, 129, 130 - Lick bluegrass in RE...........................................................................
132 - Solo bluegrass in SOL......................................................................
133 - Roll In My Sweet Baby’s Arms (trad.)...................................................................
134 - Solo bluegrass in DO.............................................................................................
135 - Banks Of The Ohio (trad.).........................................................................................................
136 - Fiddle tune “Turkey In The Straw” (trad.).......................................................................................
137 - Blues For Alton.....................................................................................................................
138 - Billy In The Low Ground (trad.)..............................................................................
139 - Nine Pound Hammer (trad.)....................................................................................
144, 146, 149 - Semplici schemi finger-picking..............................................
150, 151 - Pattern fondamentale 1a....................................................................................................
154, 157 - Pattern fondamentale 2a.......................................................................................
159, 160, 162 - Pattern 3 e 4 ed esercizio.........................................................................................
163, 164, 165 - Basso alternato e bass run...................................................................................... 
167 - Jesse James (trad.).....................................................................................................
168, 169, 171, 172 - Pattern estesi (H e P)...................................................................................
173, 174 - Pattern estesi (SL, B.)...............................................................................
indice del cd

Traccia Contenuti (Esempio – Argomento) Pagina
Indice del Cd9
 - Esercizio con varie tecniche...................................................................................................................................
 - Pattern in 3/4...............................................................................................................................
- I Never Will Marry (trad.)..............................................................................................................
- For Sam....................................................................................................................................
 - Travis-picking “Take This Hammer” (trad.)........................................................................................
 - Travis-picking “Worried Man” (trad.)..............................................................................................
 - Schemi di accompagnamento in stile Travis..........................................................................
 - Travis-picking “I’m A Pilgrim” (trad.)...................................................................................................
 - Travis-picking con accordi trasponibili “Careless Love” (trad.).......................................................
 - Mister Chetman......................................................................................................................
 - Lick da sfoggiare............................................................
 - Finger-picking solista........................................................................................................................ 
 - Riff boogie................................................................................................................................
 - Esercizio con accordi di settima................................................................................................
 - Varianti di boogie ed ending run..................................................................................
 - Riff d’accompagnamento trasponibili.................................................................................
 - Riff boogie estesi.............................................................................................
 - Esercizio “La terza blues”..............................................................................................................
 - The Scotty-Beam...............................................................................................................................
 - Lick solisti rockabilly..........................................................................
 - Nashville Cats Don’t Stray.................................................................................................................
 - Workshop Luther Perkins......................................................................................................... 

 - Variante fondamentale della scala pentatonica 1.....................................................
 - Esercizio pentatonico..............................................................................................................
 - Variante fondamentale della scala pentatonica 2...........................................................
 - Varianti fondamentali della scala pentatonica 3 e 4.........................................
 - Improvvisare con diverse scale.........................................................................................
 - Lick basati sugli accordi.........................................................................................
 - Esercizio in stile Hank Snow.................................................................................................................
 - Lick a doppie note.........................................................................................
 - Tom Dooley (trad.)............................................................................................................... 
 - Solo a “pacchetti”................................................................................................................................
 - Nashville lick con hammer-on e pull-off parte 1........................................................
 - Nashville lick con hammer-on e pull-off parte 2..........................................
 - Nashville lick con hammer-on e pull-off parte 3....................................................... 
 - Nashville lick con hammer-on e pull-off parte 4.............................................
 - Nashville lick con hammer-on e pull-off parte 5..................................................
 - Lick pedal steel parte 1............................................................................
 - Lick pedal steel parte 2...........................................................................
 - Lick pedal steel parte 3..................................................................
 - Esercizio pedal steel......................................................................................
 - Varie tecniche chicken-picking................................................................................
 - Tecniche chicken-picking con ghost note e note stoppate introduttive...
 - James’ Hote Tele............................................................................................
 - Nothing To Prove........................................................................................................................
 - Esercizio con bending pedal steel con corde a vuoto......................................................................
 - Hot lick sulle corde a vuoto...............................................................................
 - Roll melodici........................................................................................................... 
 - Esercizio a due voci soliste.................................................................................................
 - Jenny In Hawaii................................................................................................................
 - Lick con bending dietro il capotasto, corsa cromatica......................................................
 - A Little Bell – Waltz...............................................................................................................
 - Wizard Albert....................................................................................................
Indice del Cd10
- Sock rhythms, accordi di passaggio......................................................................................................
- Will The Circle Be Unbroken..........................................................................................................
- Honky-Tonk-Heartaches.......................................................................................................................
- Playboy Eldon...........................................................................................................................
- Lo stile Cajun...............................................................................................................................
- Les Jolies Filles De Louisiana.............................................................................................................
- Danny’s One-Man-Band.................................................................................
- Master Mason’s Turbo!..................................................................................................................
- Slick Country......................................................................................................................
Jamtrack 1 (SOL, “Roll In My Sweet Baby’s Arms”; bluegrass, country classico)
Jamtrack 2 (DO, 12-misure binario, country rock, -blues, -pop)
Jamtrack 3 (LA, 16-misure rockabilly shuffle) 

The History, the Players and the Technique of Country Guitar by Richard Kochli

276 pagine di esempi di Country, Rockabilly, Swing, Nashville, blues, Rock. CD TABLATURE

A comprehensive analysis of American country music from a European perspective, this massive 275-page book comes with a companion CD with 97 tracks. Everything from basic rhythm accompaniment to blazing bluegrass solos is addressed including: Carter lead style, fingerpicking, rockabilly riffs, Nashville lead styles, Western swing and honky-tonk, country blues and rock, Cajun history and styles, and a forecast of the future of country. The book is carefully structured with progressively arranged exercises, theory lessons and original and traditional tunes.

This book should prove to be an important resource for country music enthusiasts. All 387 musical examples appear in both standard notation and tablature. Complete lyrics are provided when applicable. Köchli's love and mastery of the entire spectrum of country music is evident throughout.

To me, country music, or just "country" is one of the basic, high voltage,
artistic movements of the 20th Century. It's a movement and a style that, like
jazz, grew out of the huge melting pot of the United States. Country jumps,
it's alive, it's down home - and it comes from the heart. Those who don't
know it may reduce it to the cliches of "Marlboro-Country" or cowboy movies.
But, they couldn't be more wrong: the country sound is a rich mix of musical
influences, and the innovations of some brilliant instrumentalists. And, best
of all, its approachable, hands-on music; if you play the guitar, you've got to love it.
"Best In The West" is not only my humble attempt to close a gap in the
sector of European instructional literature, but also a way to pay my dues.
When I was in your shoes a couple of years ago, I benefited from some
terrific musicians who reached out to me with their music and instruction
books. Now, I'm honored to be able to make my won contribution by helping
you learn this great style. I also hope, through these chapters and exercises,
that your guitar will become a little more personal - and more exciting.
The book intends to give you a far-reaching overview covering all of the
major guitar styles and techniques to be found in country. Over three
hundred exercises, licks, and traditionals, as well as explanations, styles,
analyses, and hints from the "real world" are meant to inspire you on your
way to becoming a true country player. But country is a lot more than
technique, so I try to give a brief historical background for each major style,
and a little bit about the people who made it happen in the first place.
Therefore, each of the ten chapters starts with some information meant to
put you in the right mood, while the individual workshops contain examples
of the great pioneers of each particular style.
Playing country music is meant to be enjoyed by all sorts of people, so this
book wasn't written with just professionals in mind; it offers something for
everyone. Every chapter is separated into three levels of difficulty:
• Level 1: For newcomers: basic introductory playing as a prerequisite.
• Level 2: For the more advanced: some experience in playing country music and emphasis on variety and specific styles.
• Level 3: For the pros and country-cats: specific techniques, styles, and new horizons.
Of course, there is no strict borderline between the different levels. They
can't be more than a guideline for your selection of exercises. Learning is an
individual thing, so if you're ready to move before I am partner, take off.
The final chapter, "Theory", offers a summary of the most important basics,
scales, chords, and so on. It's meant to help you understand concepts more
easily, and to support and accelerate your learning process.
Originally, country music was a simple form of expression, which was deeply
rooted in the human spirit and spoke to people where they lived. So, it's
important to keep in mind that technical skill is secondary to the "feel" of the
music, its emotion. Because of this, the enclosed CD helps you get started
by introducing you to the sounds, and wide variety of nuances, in country

Table of Contents
Preface .
CD Index .

Chapter 1: The Basics Of The Country Rhythm Guitar .
Some History .
The First Rhythms Level 1 .
The Capo .
The Shuffle Rhythm .
Basic Country Rhythms .
The alternating bass .
Bass runs .
The Carter backup lick .
Basic bass runs .
Hammer-on Level 2 .
Pull-off .
Workshop - Jimmie Rodgers .
Ghost Notes Or Dead Notes Level 3 .
Ghost Notes With Fills And Bass Runs .
Barre Chords In Backup Playing .
Riffs .
Combination of various types .
High Class Backups With Open Chords .
Discography .

Chapter 2: Bluegrass Backup .
Some History .
Bluegrass Rhythm Guitar Level 2/3 .
G-run .
Additional chord strokes .
Fewer chord strokes .
Ending .
Barre - G-run .
Discography .

Chapter 3: Carter Lead Style .
Maybelle's Story Level 1 .
Maybelle's Technique .
Maybelle's Flower .
John Hardy .
Will The Circle Be Unbroken Level 2 .
Farther Along .
Discography .
Wreck Of Old 97 Level 3 .

Chapter 4: Bluegrass Flat-Picking 50105 .
The Lead Guitar In Bluegrass Level 1 .
Bluegrass licks in G major .
Bluegrass licks in C major .
Bluegrass licks in D major .
Solo In G Level 2 .
Solo In C .
Short Analysis .
Fiddle Tunes Level 3 .
Workshops - Three Great Flat Pickers '" .
Alton Delmore .
Doc Watson .
Clarence White .
Cross- Picki ng .
Discography .

Chapter 5: Finger-Picking .
Some History .
Introduction To Finger-Picking Level 1 .
Backup Picking .
Basic patterns .
Alternating bass .
Bass runs .
Melody Picking .
Expanding The Basic Patterns With Fill-ins Level 2 .
Sliding .
Bending .
3/4 Time Patterns .
Workshops .
Sam McGee .
Merle Travis
Travis-Picking With Moveable Chords Level 3 .
Workshop - Chet Atkins
Finger-Picking Licks To Show Off "
Lead Picking .
Discography

Chapter 6: A Rockabilly Trip
Some History
Backup Basics Level 1 .
Moveable Backup Riffs .
Expanding The Basic Backup Riffs Level 2
Workshop - Scotty Moore .
Plectrum and finger-picking combination
Rockabilly Lead Licks
Rockabilly Solo Level 3
The slightly different lecture for the pro
Discography

Chapter 7: Nashville lead Styles
Some History
Workshop - Luther Perkins Level 1 .
Lead Basics .
The four variations of the major pentatonic scale .
Improvising with different scales .
Harmonizing .
Chord licks .
Double note licks .
Combinations Of The Used Material. .
Nashville Hammer-on And Pull-off Licks Level 2 .
Pedal Steel Bending .
Chicken-Picking .
Ghost otes / Muted Trills Lead-ins .
Workshop - James Burton .
Country Rock - What It Really Is .
Workshop - Pete Anderson .
Open String Adventures Level 3 .
Twin Leads .
Nashville Specials .
Bottleneck slide .
Bend behind the nut. .
The magic chromatic race .
Harmon ics .
Workshop - Albert Lee .
Discog raphy .

Chapter 8: Western Swing And Honky Tonk .
Some History .
Texas Style Camping Level 1 .
The sock rhythm .
Passing chords .
Western Swing Lead Guitar Level 2 .
Hanky Tonk Lead Guitar .
Diminished Scale Level 3 .
Workshop - Eldon Shamblin .
Discography .

Chapter 9: Cajun .
Some History .
Quick Style Analysis Level 1 .
Cajun Workshop Level 2/3 .
Discography .

Chapter 10: The New Generation .
Workshops .
Danny Gatton .
Brent Mason .
More Nashville Hot Shots .
Ray Flacke .
Steve Wariner .
Jerry Donahue .
Final Workshop .

Chapter 11: Theory .
The Fret Board .
Intervals and Degrees ,
The Nashville Lead Sheet. .
The Most Commonly Used Major Keys And Their Degrees .
The Most Commonly Used Minor Keys And Their Degrees .
Popular Country Schemes .
Simultaneously Played Intervals .
Position Oriented Overview .
Special Character Reference ,

CD INDEX
Contents (Example - Topic)
1 - The shuffle rhythm .
3 - The bass run .
4,7- Carter backup lick .
9 - Old Smokey (trad.) .
11 - The Days Of 49 (trad.) .
13,15,17,18 - Hammer-ons and pull-offs in backup playing .
20 - We Don't Forget You, Jimmie .
21 - Bury Me Beneath The Willow (trad.) .
22 - The Forzen Logger (trad.) .
23, 25, 27, 28, 29, 30, 31 - Muting .
33,34 - Ghost note rhythms with fills and bass runs (C major) .
36,38,39 - Ghost note rhythms with fills and bass runs (G major) .
40,41,42 - Ghost note rhythms with fills and bass runs (A major) .
44,46,47 - Ghost note rhythms with fills and bass runs (E major) .
49,50 - Ghost note rhythms with fills and bass runs (0 major) .
51,52 - Two exercises (expanded ghost note backup style) .
54,56,59,60 - Barre chords in backups, E-type .
61,63,64,65 - Barre chords in backups, A-type .
66 - Barre chords in the backups, G-type .
67,68 - Barre chords in the backups, C-type and combinations .
69, 70 - High class backup with open chords .
71,72,74,76 - The G-run (G chord) .
78, 79, 80, 81, 83, 84, 85, 88, 89 - G-run over G, 0, A, and E .
90,92,93 - Additional or less chord strokes .
94,95,96 - Ending .
97 - Banks Of The Ohio (trad.) .
98 - Roll In My Sweet Baby's Arms (trad.) .
99 - Cripple Creek (trad.) .
100 - All Your Good Songs .
101, 103, 104 - Barre G-runs .
107,108 - Maybelle's Flower / John Hardy (trad.) .
109 - Will The Circle Be Unbroken (trad.) .
110 - Farther Along (trad.) .
111 - Wreck Of Old 97 (trad.) .
112, 114, 115, 117, 118, 119, 120 - Bluegrass licks in G .
123,124,125,126 - Bluegrass licks in C .
128,129,130 - Bluegrass licks in 0 .
132 - Bluegrass solo in G .
133 - Roll In My Sweet Baby's Arms (trad.) .
134 - Bluegrass solo in C .
135 - Banks Of The Ohio (trad.) .
136 - Fiddle tune "Turkey In The Straw" (trad.) .
137 - Blues For Alton .
138 - Billy In The Low Ground (trad.) .
139 - Nine Pound Hammer (trad.) .
144, 146, 149 - Simple classical picking patterns .
150,151 - Basic pattern 1a .
154, 157 - Basic pattern 2a .
159,160,162 - Pattern 3 and 4 as well as exercise .
163, 164, 165 - Alternate bass and bass runs .
167 - Jesse James (trad.) .
168,169,171,172 - Extended patterns (H and P) .
173,174 - Extended patterns (SL, B) .
175 - Exercise with different techniques .
176, 177, 178, 179 - 3/4 time patterns .
180 - I Never Will Marry (trad.) .
182 - For Sam .
184 - Travis-picking "Take This Hammer" (trad.) .
185 - Travis-picking "Worried Man" (trad.) .
186,188,190 - Travis-backup patterns .
191 - Travis-picking "I'm A Pilgrim" (trad.) .
192 - Travis-picking with moveable chords "Careless Love" (trad.) .
193 - Mister Chetman .
195,196,197,199,200/202,201,203,204 - Licks to show off .
206, 208 - Lead picking .
209 - Boogie riff .
211 - Exercise with strokes using seventh chords .
213,214,217 - Variations of boogie runs, ending run .
218,220 - Movable backup riffs .
224,225, 226, 227 - Extended boogie riffs .
229 - Exercise "Bluesy Third" .
231 - The Scotty-Beam .
232,234,235,236,237 - Rockabilly lead licks .
238 - Nashville Cats Don't Stray .
239, 240 - Workshop Luther Perkins .
242,243 - Pentatonic basic scale variation 1 .
246 - Pentatonic exercise .
247, 248, 250, 252 - Pentatonic basic scale variation 2 .
255,257,260 - Pentatonic basic scale variations 3 and 4 .
261 - Improvisation with different scales .
262,265, 268, 269, 271, 273 - Chord licks .
274 - Exercise in Hank Snow style .
275, 277 - Double note licks .
279 _ Tom Dooley (trad.) .
280 - Exercise solos in sectors .
281,284,286 _ Nashville hammer-on and pull-off licks part 1 .
287,288,289, 290 - Nashville hammer-on and pull-off licks part 2 .
292, 293/294 - Nashville hammer-on and pull-off licks part 3 .
296,298,299,301 - Nashville hammer-on and pull-off licks part 4 .
302,304, 305 - Nashville hammer-on and pull-off licks part 5 .
307,309,310,311,313 - Pedal steel licks part 1.. .
316,318,319,321,323,324 - Pedal steel licks part 2 .
326,327,329,330 - Pedal steel licks part 3 .
331 - Pedal steel exercise .
332 - Different chicken-picking techniques .
333,334,335 - Chicken-picking techniques with ghost notes and trills .
336 - James' Hate Tele .
337 - Nothing To Prove .
338 - Exercise with pedal steel bending using open strings .
341/342,344 - Open string hot lick .
349,350,352 - Melodic roll patterns .
354 - Exercise twin lead .
355 - Jenny In Hawaii. .
356,358,360 - Bend behind the nut licks, chromatic race .
361 -A Little Bell- Waltz .
362 - Wizard Albert .
363,364 - Sock rhythms, passing chords .
376 (inc!. 375) - Will The Circle Be Unbroken .
377 - Honky- Tonk-Heartaches .
378 - Playboy Eldon .
379 - Cajun style .
381 - Les Jolies Filles De Louisiana .
382 - Danny's One-Man-Band .
383 - Master Mason's Turbo! .
387 - Slick Country .
Jamtrack 1 (G, "Roll In My Sweet Baby's Arms"; bluegrass, oldtime country)
Jamtrack 2 (C, 12-bars binary, country rock, -blues, -pop)
Jamtrack 3 (A, 16-bars Rockabilly shuffle)
 

A Little Bell - Waltz R. Kochli
All Your Good Songs R. Kochli
Banks of The Ohio Arranged by R. Kochli
Billy in The Low Ground Arranged by R. Kochli
Blues for Alton Written & Arranged by R. Kochli
Bury Me Beneath The Willow Arranged by R. Kochli
Careless Love Arranged by R. Kochli
Cripple Creek Arranged by R. Kochli
Danny's One-Man-Band R. Kochli
East Virginia Arranged by R. Kochli
Farther Along Arranged by R. Kochli
For Sam Written & Arranged by R. Kochli
Honky-Tonk-Heartaches R. Kochli
I Never Will Marry Arranged by R. Kochli
I'm A Pilgrim Arranged by R. Kochli
James' Hote Tele R. Kochli
Jenny In Hawaii R. Kochli
Jesse James Arranged by R. Kochli
John Hardy Arranged by R. Kochli
Les Jolies Filles De Louisiana R. Kochli
Master Mason's Turbo! R. Kochli
Maybelle's Flower R. Kochli
Mister Chetman Written & Arranged by R. Kochli
Nashville Cats Don't Stray R. Kochli
Nine Pound Hammer Arranged by R. Kochli
Nothing To Prove R. Kochli
Oh When The Saints Arranged by R. Kochli
Old Smokey Arranged by R. Kochli
Playboy Eldon R. Kochli
Roll In My Sweet Baby's Arms Arranged by R. Kochli
Slick Country R. Kochli
Take This Hammer Arranged by R. Kochli
The Days of 49 Arranged by R. Kochli
The Frozen Logger Arranged by R. Kochli
The Scotty-Beam R. Kochli
Tom Dooley Arranged by R. Kochli
Turkey in The Straw Arranged by R. Kochli
We Don't Forget You, Jimmie Written & Arranged by R. Kochli
Will The Circle Be Unbroken Arranged by R. Kochli
Wizard Albert R. Kochli
Worried Man Arranged by R. Kochli
Wreck of Old 97 Arranged by R. Kochli