LIBRO CON CD

BOOGIE BLUES RIFFS Dave Rubin 25 classic patterns arranged guitar CD TABLATURE LIBRO SPARTITI

BOOGIE BLUES RIFFS, D. Rubin 25 classic patterns arranged for guitar. CD TABLATURE

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

in Standard Notation and TABLATURE
Series: Guitar Collection
Softcover with CD - TABLATURE
Author: Dave Rubin
In the words of John Lee Hooker, "If you got the boogie in you, it got to come out." This book/CD pack contains 25 must-know boogie blues riffs arranged for beginning to intermediate guitarists, as well as interesting facts and quotes from blues history. The companion CD demonstrates every example in the book. 32 pages.

Prezzo: €19,99

€19,99

BLUES LEAD GUITAR SOLOS. Wayne Riker CD TABLATURE

BLUES LEAD GUITAR SOLOS. CD TAB.

By Wayne Riker. For Guitar. Guitar Method or Supplement. Blues. Book & CD. 96 pages. This book teaches how to organize all your great ideas into power-packed leads by providing a complete analysis of 16 full-length solos. Each one is discussed in detail, covering everything from the particular blues form to the structure and techniques used. Styles include Chicago blues, Delta blues, rock blues, slow blues, "Stormy Monday" style and the minor blues. All 16 solos are performed on the accompanying CD.

Prezzo: €17,99

€17,99

BLUES TURNAROUNDS inside the blues phrases for guitar Dave Rubin and Rusty Zinn BOOK CD TABLATURE

BLUES TURNAROUNDS. Inside the blues. A compendium of patterns & phrases for guitar. 76 tracks. Dave Rubin and Rusty Zinn. SHEET MUSIC BOOK WITH CD AND GUITAR TABLATURE .

LIBRO DI MUSICA BLUES CON CD.

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA, TABLATURE .

CD CON 76 DEMOSTRATION TRACKS,

LIBRO METODO.

Series: Guitar Educational
Softcover with CD - TAB
Author: Dave Rubin
Author: Rusty Zinn

Written by blues expert Dave Rubin and Rusty Zinn, one of the finest young guitarists and singers on the contemporary blues scene, this book/CD pack provides the beginning to advanced blues guitarist with all of the essential turnarounds and so much more! The CD includes 76 demonstration tracks. 40 pages.

The art of The Turnarounds

W.e. Handy, known as the "Father of the Blues" due to his early efforts at promoting the form, published "Memphis Blues" in 1912, a song containing the first written solo, or "jass (zz)" break. A series of 12-bar verses with a 16-bar bridge, the last verse contains an end turnaround resolving to the I chord (see Fig. 1). It appears to be the first hard copy of the descending, diminished blues turnaround pattern (I-I7-Io-iv6-I) that, in the hands of Lonnie Johnson in the late twenties, and particularly Robert Johnson a decade later, would become the template for virtually all subsequent blues turnarounds.

The idea of ending a verse of music on the V (dominant) chord and resolving back to the I chord is suggested in twelve-measure, modal folk tunes from the mid-1500s in England. Music from this period did not have tonality (chord changes); however, the direction of the vocal line and musical accompaniment could be seen to imply changes. Roughly 100 years later music starts to appear with I-V-I implied changes in measures 11 and 12. It would take until the time of the Civil War in the 1860s and just after, however, for 12-bar, I-IV-V blues to take shape, and even longer for resolution to the V chord in measure 12 to become the norm.

Both W.e. Handy and Big Bill Broonzy, among others, have frequently cited "Joe Turner Blues" from the 1890s as the first recognized 12-bar blues. Indeed, it fits the format but does not include a verse or end turnaround. In fact, it would take Handy's "St. Louis Blues" (1914) to contain a i-II7-V-V7 turnaround (see Fig. 2) in the minor key "tango section" that begins, "St. Louis woman, with your diamond ring ... "

Prezzo: €59,99

€59,99

BLUES GUITAR CLASSICS, Guitar SIGNATURE LICKS. Wolf Marshall. CD TABLATURE

BLUES GUITAR CLASSICS. Wolf Marshall. Vi è mai capitato di non riuscire a riconoscere un vecchio Blues quando l'avete sentito suonare da Eric Clapton o Gary Moore? In questo libro c'è uno studio su 10 blues songs con personalità a confronto diretto. Albert King e Gary Moore, Lee Hooker, B.B. King e Albert King (i due Re) e Otis Rush, Robben Ford e B.B. King, e Muddy Waters, Clapton e Freddie King, Mike Bloomfield e Jimi Hendrix, Buddy Guy e T-bone Walker, S.R.V. e Slim, altri. CD TABLATURE

Series: Signature Licks Guitar
Publisher: Signature Licks
Format: Softcover with CD
Author : Wolf Marshall

Learn to play 11 classics, including: Everyday (I Have the Blues) - Hideaway - I'm Your Hoochie Coochie Man - Killing Floor - T-Bone Shuffle - Texas Flood - The Things That I Used to Do , and more.

Last stop: Memphis, 1993. Texas bluesman Albert Collins was appropriately known as "the Iceman" or "the master of the Telecaster," and had a well-earned reputation for stopping listeners cold in their tracks. With a chilling ice-pick attack, he gained wide recognition among blues fans and guitar players alike via his namesake instrumental, "Frosty," in 1962. There are numerous versions of "Frosty" in the Collins catalog-this one significant for several reasons. Recorded in May 1993, it is from his last studio album, Collins Mix, and features a guest appearance by B.B. King-one of only two historic pairings of Collins and King on record. The session came about as a result of swapping favors. While in town, Albert sat in with B.B. on his Blues Summit album and, in return, asked King to perform on his record. What we get is a spirited and inspired romp through the Iceman's classic blues tune with remarkable guitar work by both players. "Frosty" is an uptempo 12-bar blues in D. Albert takes the head A and first two solo choruses B and C, followed by B.B. for two D and E.Albert returns with one more chorus F to close out the section with authority. The alternating solos provide a fascinating study of Collins's and King's individual styles. Both swing unbelievably. Collins has a snappy, rhythmic-based style, plays aggressively-slightly ahead or on top of the beat-with a piercing tone, and consistently employs a slick variant of the standard minor pentatonic scale. Found throughout the head and solos, it involves replacing the 7th of the minor pentatonic (C) with the major 6th (B). "Albert's 0 minor pentatonic" is then spelled D-F-G-A-B. This lends a jazzy, diminished sound to the arpeggio lines he favors over the typical pentatonic scale licks of most blues guitarists. The trill figures in measures 17 and 33-34 and the repeating bend passages in measures 23-24 and 61-64 are definitive Albert Collins stylistic traits. By contrast, King plays with a more relaxed-majestic-rhythmic approach and a fatter Lucille (ES-355) tone. Spurred on by "Frosty's" cool environment, he also incorporates the 6th into his minor pentatonic phrases. Notice also the frequent inclusion of the ninth (E) in his lines in measures 37-42 and 49-51. A high point is the energetic, raked arpeggio riff in measures 53-55. He climbs into the "B.B. box" in measures 58-60 to wrap up his solo on a decisive note. Albert Collins had an utterly unique sound and style made from an uncommon combination of ingredients. He tuned his Tele up to an open F minor chord (from low to high: F-C-F-Ab-C-F) [Ed. note: Both fingerings are presented in the Signature Licks music. TAB below Albert Collins' lines includes two staves: one in standard tuning and the second in Fm capoed at the ninth fret.], always used a capo (generally at the ninth fret), and hung his guitar off his right shoulder. He picked exclusively with his fingers for a variety of attacks, nuances, and dynamics. Albert's trademark guitar was a blonde, maple-neck '61 Telecaster with a humbucking neck pickup. He had been playing them since 1952, when "Gate mouth" Brown first turned him on to it, and was one of the first blues legends to playa modified Tele. Collins plugged into mid-70s Fender 4x12 Quad Reverb combo amps-each essentially a "100-watt stack in a box."

This book is a trip-literally. It's your ticket to witness the evolution of modern blues guitar from its early jump-style swing and Delta-based roots to its urban, electrified incarnations via an essential collection of indispensable classic songs. We'll be visiting both the innovators and their gifted disciples, and making stops all over the blues map in Chicago, Memphis, Texas, the West Coast, London, and even Japan. With the music and accompanying audio, it's also your ticket to hear, feel, and play-to experience-the exciting world of blues guitar first-hand. The guitar tradition in blues was begun by such artists as Charley Patton, Son House, Bukka White, Mississippi John Hurt, and particularly Robert Johnson-all of whom were acoustic players and proved influential to the succeeding generations of electric blues guitarists and even the rock players to follow (Eric Clapton, Mark Knopfler, and many others). The electric guitar entered the blues picture in the late thirties with musicians like Charlie Christian, Eddie Durham, and Lonnie Johnson. The first modern postwar blues guitarist was T-Bone Walker, an innovator who simultaneously defined the sound and approach of electric blues guitar and inspired and presaged the work of B.B. King, Albert King, Buddy Guy, Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan, and all to follow. This book is dedicated to a select handfull of the plugged-in innovators and pioneers of the blues-as well as the countless other performers which by their inclusion would necessitate more than ten such volumes. After you rummage through these goodies, be sure to check out the work of other giants like Elmore James, Jimmy Reed, Lightnin' Hopkins, Magic Sam, J.B. Lenoir, Johnny Winter, Lowell Fulsom, Earl King, Clarence "Gatemouth" Brown, Pat Hare, Wayne Benett, Peter Green, Bonnie Raitt, Johnny Copeland, and Robert Cray ...hmmm, maybe in volume two? It's a never-ending process, and aren't we glad. As you will see, blues is a tradition with each successive generation building and elaborating on the accomplishments of their forebears. To place yourself in the blues picture, it is highly recommended that you begin to improvise your own variations as soon as possible. Learn the basics from the printed music and TAB and listen carefully to the audio right side to learn the original guitar parts. Then turn your balance to full left to select the rhythm section only, close your eyes, open your heart and bare your soul-and play the blues.

BUILDING BLOCKS OF BLUES GUITAR
harmony
classic blues scales
pentanonic scale
classic blues shapes
TUNING
Eb TUNING
A CLASSIC BLUES GUITAR AXOLOGY
DISCOGRAPHY

Song List:

1961 - Hide Away Performed by Eric Clapton, Freddie King
1959 - As The Years Go Passing By Performed by Albert King, Gary Moore
1970 - Boogie Chillen No. 2 Performed by John Lee Hooker
1952 - Everyday (I Have The Blues) Performed by B.B. King, Albert King, Otis Rush
1964 - Help The Poor Performed by Robben Ford, B.B. King
1957 - I'm Your Hoochie Coochie Man By Willie Dixon, Performed by Muddy Waters, Jimi Hendrix
1965 - Killing Floor Performed by Mike Bloomfield, Jimi Hendrix, Albert King, Howlin' Wolf
1958 - Texas Flood Performed by Fenton Robinson, Stevie Ray Vaughan
1953 - The Things That I Used To Do Performed by Guitar Slim, Stevie Ray Vaughan
1959 - T-Bone Shuffle Performed by Buddy Guy, T-Bone Walker
1965 - Frosty Performed by Albert Collins, B. B. King

80 pages

Prezzo: €19,99

€19,99

MAESTRI CHITARRA BLUES Peter Fischer LIBRO CD TABLATURE SPARTITI METODO ACCORDI PENTATONICA

I MAESTRI DELLA CHITARRA BLUES / BLUES GUITAR RULES. Peter Fischer. 167 Pagine, 125 esempi, 11 basi. LIBRO CD TABLATURE

LIBRO DI MUSICA BLUES, METODO PER CHITARRA CON CD.
SPARTITI PER CHITARRA CON ACCORDI, PENTAGRAMMA E TABLATURE.

IN ITALIANO

INDICE DEI CONTENUTI
Prefazione .
Schema del piano di studi .
Playlist del Cd .
Sei consigli per esercitarsi .
La storia del Blues – Come ebbe origine il blues .

Fase 1 – Il Blues semplificato.
Capitolo 1 - Le Basi del Blues, parte 1.
Capitolo 2 – Semplici pattern ritmici blues.
Capitolo 3 – Il Turnaround.
Capitolo 4 – Semplici soli blues.
Capitolo 5 – Semplici stili blues originari.

Fase 2 – Stili Blues e Rock Blues.

Capitolo 6 – Le basi del Blues, parte 2.
Capitolo 7 – Blues Rock degli anni ‘60 e ‘70.
Capitolo 8 – Blues Texano.
Capitolo 9 – Blues Fusion.
Capitolo 10 – Blues Rock Moderno.

Fase 3 - Blues Jazz.

Capitolo 11 – Jazz Blues Dominante.
Capitolo 12 – Jazz Blues Minore.
Capitolo 13 – Jazz Blues Maggiore.
Capitolo 14 – Accompagnamento Jazz Blues.
Capitolo 15 – Turnaround Jazz Blues.
Capitolo 16 - Lick e frasi Jazz Blues.
Capitolo 17 – Classici suoni blues.

Prefazione

Ciao e benvenuti a “I Maestri della Chitarra Blues”!
Mentre studiavo al GIT a Los Angeles nel 1989/1990 ogni giovedì c’erano concerti più o meno regolari con artisti ospiti.
Un giovedì, sul programma c’erano Albert Collins e la sua band.
Devo ammettere, molto onestamente, che avevo già sentito il nome, ma era tutto quello che sapevo di Albert Collins. Che questa serata sarebbe stata uno dei più importanti eventi del mio intero soggiorno al GIT era un pensiero che non mi sfiorò fino al primo bis. Il concerto era stato buono, ma lo stile di Mr. Collins non era esattamente l’apice di meraviglia tecnica, non mi aveva sconvolto.
Fino a quel momento avevo associato il termine blues più a gente come Robben Ford. Tutto cambiò, tuttavia, con l’ultima canzone della serata quando Albert Collins iniziò a passare tra il pubblico (come faceva ogni serata, per quel che ne so) con un cavo lungo circa 200 metri, “bluesificando” personalmente ogni singolo membro del pubblico presente in sala. E sebbene fossi dove speravo non sarebbe arrivato, mi trovai all’improvviso faccia a faccia con l’”Iceman”.

Essendo a non più di trenta centimetri da lui, ero praticamente in trappola: la fuga era impossibile. Così guardai
il persuasivo bluesman nella sua faccia consumata, mentre suonando verso di me gridava “Forza bianco
mingherlino, prendi il maledetto blues!”. Fui folgorato, ma Collins si era già mosso per portare il blues all’anima
seguente.
Ora, quest’esperienza non mi ha impressionato come ha fatto la luce in chiesa col Blues Brother Jake, ma mi
diede una scossa che mi portò ad un contatto più “reale” con la musica e col significato del termine blues.
Ovviamente, questo sentimento era così forte ed importante per Mr. Collins che non esitava a predicare il blues,
persino ad un ignaro ragazzo bianco.
Una parte della mia ricerca sul blues e sull’influenza che esso ha avuto sulla chitarra rock si può trovare nel mio
primo libro “I Maestri della Chitarra Rock” (Volontè). Come anche nel libro seguente, “Segreti della
Chitarra Rock” (Volontè), vorrei andare a fondo nei concetti pratici e teorici della chitarra blues.

Capitolo 1
Basi del Blues, parte 1
- Armonia, ritmo e forme del blues
- Costruzione del blues dominante e minore
- Ritmo shuffle, forme di 12, 8,
16 + 24 battute per blues
dominanti e minori

Capitolo 2
Semplici pattern ritmici blues
- Riff a note singole
- Accompagnamenti a power chord per il blues dominante e minore
- Riff
- Voicing di accordi
- Pattern ritmici
- Progetti

Capitolo 3
Turnaround
- La funzione e la struttura del turnaround nella forma blues
- Creare il collegamento: passare da chitarra ritmica a suonare assoli
- Riff a note singole
- Riff ad intervalli per i turnaround nel blues dominante e minore
- Progetti

Capitolo 4

Chitarra solista blues semplificata
A- Materiale musicale: pentatonica minore e maggiore, scale blues
B – Strutture improvvisative: forma AAB, domanda e risposta
C- Tecniche esecutive: legato ascendente e discendente, glissati, bending, vibrato
D- Chitarra slide: action delle corde, tipi di slide, tecniche esecutive, accordature aperte, fraseggio

E – Feeling blues: intonazione imperfetta
- Diteggiature
- Esercizi
- Esempi di soli
- Progetti

Capitolo 5
Semplici stili blues originari
- Introduzione degli stili di Robert Johnson, Muddy Waters, John Lee Hooker, B.B.King ed Albert King
- Esempi di soli
- Consigli su esecuzione e suono
- Discografia
Schema: Il Piano di Studi
Fase 1 Blues Semplice
Capitolo Teoria Applicazione Pratica7

Capitolo 6
Basi del Blues, parte 2
- I modi nel blues dominante e minore
- Combinazioni di scale, arpeggi, la scala minore armonica nel blues minore
- Shuffle a tempo raddoppiato
- Diteggiature
- Progetti
- Esempi di soli

Capitolo 7
Blues Rock degli anni ‘60 e ‘70
- Introduzione agli stili di Jimi Hendrix, Eric Clapton e Duane Allman
Esempi di soli
- Consigli su esecuzione e suono
- Discografia

Capitolo 8
Blues Texano
- Introduzione allo stile di Billy Gibbons
Esempi di soli
- Consigli su esecuzione e suono
- Discografia

Capitolo 9
Blues Fusion
- Introduzione allo stile di Larry Carlton e Robben Ford
- Accordi sospesi
- Tensione e risoluzione
- Sostituzione di arpeggi
Esempi di soli
- Consigli su esecuzione e suono
- Voicing di accordi
- Progressioni di accordi

Capitolo 10
Blues Rock Moderno
- Introduzione allo stile di Gary Moore e blues metal moderno
Esempi di soli
- Consigli su esecuzione e suono
- Progressioni di accordi
- String skipping
Schema: Il Piano di Studi
Fase 2 Stili Blues Rock
Capitolo Teoria Applicazione Pratica
Piano di studio
Schema: Il Piano di Studi
Fase 3 Blues Jazzato
Capitolo Teoria Applicazione Pratica

Capitolo 11
Il Jazz Blues Dominante
- Costruzione, materiale melodico e sostituzioni di accordi per il jazz blues dominante
- Accordi di settima diminuita
- Progressioni II-V-I in minore e maggiore
- Accordi di settima dominante alterati
- Sostituzione al tritono
- Interscambio modale
- Progressioni di accordi e voicing

Capitolo 12
Jazz Blues Minore
- Costruzione, materiale melodico e sostituzioni di accordi per il jazz blues minore
- Progressioni II-V-I in minore e maggiore
- Accordi di settima dominante
- Accordi di settima alterati
- Sostituzione al tritono
- Relative maggiori / minori
- Progressioni di accordi

Capitolo 13
Jazz Blues Maggiore
- Costruzione, materiale sulle note e sostituzioni di accordi per il blues maggiore
- Progressioni II-V-I in minore e maggiore
- Interscambio modale
- Sostituzione al tritono
- Progressioni di accordi

Capitolo 14
Accompagnamento Jazz Blues
- Voicing 1-3-7
- Frasi di walking bass
- Chord/scale
- Pattern II-V-I
- Voicing di accordi ed esempi di chorus

Capitolo 15
Turnaround Jazz Blues
- Progressioni turnaround per i jazz blues dominante, maggiore e minore
- Materiale melodico per i succitati turnaround
- Progressioni di accordi
- Sostituzione al tritono
- Frasi di walking bass
- Il principio della nota comune
- Accordi diminuiti
- Chord melody
- Turnaround
- Introduzioni

Capitolo 16
Lick e frasi Jazz Blues
- Lick per le progressioni II-VI in maggiore e minore
- Lick per i turnaround
- Lick
- Diteggiature
- Progetti

Playlist del cd Le Regole della Chitarra Blues
Numero Capitolo Titolo
1 Semplici pattern ritmici Esempi 1 -18
2 Turnaround Esempi 11 - 31
3 Semplici soli blues Esempi 32 - 36
4 Semplici stili blues originari Esempi 37 - 41
5 Basi del blues parte 2 Esempi 42 + 43
6 Blues rock degli anni 60 e 70 Esempi 44 - 46
7 Blues Texano Esempi 47 + 48
8 Blues fusion Esempi 49 + 50
9 Rock blues moderno Esempi 51 + 52
10 Jazz blues dominante Esempio 53
11 Accompagnamento jazz blues Esempi 54 - 71
12 Turnaround Jazz blues Esempi 86 - 103
13 Frasi e lick Jazz blues Esempi 104 -125
14 Forme di blues dominante Jamtrack 1
15 Forme di blues minore Jamtrack 2
16 Stile di B.B. King Jamtrack 3
17 Stile di Albert King Jamtrack 4
18 Stile di Larry Carlton Jamtrack 5
19 Stile di Robben Ford Jamtrack 6
20 Stile di Gary Moore Jamtrack 7
21 Stile metal moderno Jamtrack 8
22 Jazz blues dominante Jamtrack 9
23 Jazz blues minore Jamtrack 10
24 Jazz blues maggiore Jamtrack 11

Il Cd è stato registrato presso lo Studio Hit ‘n’ Run , Lüdenscheid, Germania.
Peter Fischer: Chitarra e basso
Olaf Krüger: Programmazione della batteria
Bodo Schulte: Tecnico del suono e tastiere

Product Description:

An in-depth look at the practical and theoretical concepts of traditional and modern blues guitar, covering all the important technical, rhythm and improvisational ideas. The book is divided into three stages: easy blues, blues & blues rock styles, and jazz blues. Stage 1 describes the development and basis of blues guitar, and is particularly appropriate for beginners. Stage 2 goes off more in the rock direction and gives the reader an insight into the concepts and licks of several influential guitarists including Clapton, Hendrix, Robben Ford, Stevie Ray Vaughan, Gary Moore, and others. Stage 3 features a number of concepts that come from jazz that can also be used in a blues context. A great number of examples and blues jam tracks appear on the accompanying CD. In notation and tablature.

Format: Book/CD Set

Contents:

Preface
Outline of the Study Plan
CD Playlist
Six Tips for Practicing
The Story of the Blues - How the Blues came to be

Stage 1 - The Blues made easy
Chapter 1 - Blues Basics, Part 1
Chapter 2 - Simple Blues Rhythm Patterns
Chapter 3 - The Turnaround
Chapter 4 - Easy Blues Lead Guitar
Chapter 5 - Easy and Early Blues Styles

Stage 2 -- Blues
Chapter 6 - Blues Basics, Part 2
Chapter 7 -- Blues Rock in the 60's and 70's
Chapter 8 -- Texas Blues
Chapter 9 -- Fusion Blues
Chapter 10 -- Modern Blues Rock

Stage 3 -- Jazz Blues
Chapter 11 -- Dominant Jazz Blues
Chapter 12 -- Minor Jazz Blues
Chapter 13 -- Major Jazz Blues
Chapter 14 -- Jazz Blues Comping
Chapter 15 -- Jazz Blues Turnarounds
Chapter 16 -- Jazz Blues Licks and Lines
Chapter 17 -- Classic Blues Sounds

Prezzo: €26,99

€26,99

BASIC BLUES GUITAR Private Lessons Steve Trovato LIBRO CD TABLATURE Kansas City Jazz Swing-Shuffle

BASIC BLUES GUITAR, Private Lessons. Steve Trovato. CD TABLATURE

LIBRO DI MUSICA PER CHITARRA IN ITALIANO, CON CD E TABLATURE.

LEZIONI PRIVATE

MUSICIANS INSTITUTE

Esegui parti di chitarra ritmica nello stile di Stevie Ray Vaughan, B. B. King, Chuck Berry, T-Bone Walker, Albert King, Freddie Green e molti altri!

- Il CD allegato comprende 40 tracce d'esempio complete

- Shuffle, swing, straight blues, mambo, blues minore e blues in 8 battute

- La forma blues, le variazioni più comuni, i turnaround

- I principali accordi, pattern e riff

- In notazione standard e tablatura

Basic Blues Guitar - Edizione italiana
Autore Steve Trovato

Una vera e propria guida all'esecuzione di parti ritmiche di chitarra blues. Nove capitoli, ciascuno dei quali include la ritmica di base e le variazioni relative a un determinato e diffuso genere di blues: Medium Shuffle (alla Stevie Ray Vaughan), Chuck Berry Style (basato su ottavi "diritti", non shuffle), Uptown Swing alla B.B. King,Kansas City Jazz Swing, Blues Lento in 12/8, Mambo Feel, Blues Minore, Blues/Rock (basato su ottavi "diritti", non shuffle), Blues in otto battute. Ogni genere presentato comprende i voicing degli accordi comunemente usati dai musicisti. Il libro include un ampio spettro di tempi e varie chiavi differenti, il che lo rende uno strumento di studio molto coinvolgente.

COME USARE QUESTO LIBRO

Questo libro è stato ideato e scritto per mettere a disposizione una comoda guida di riferimento all’esecuzione

di parti ritmiche di chitarra blues. È composto da nove diversi capitoli. Ciascuno include la ritmica di base e le

variazioni relative a un determinato e diffuso genere di blues. Questi generi sono:

• Medium Shuffle (alla Stevie Ray Vaughan)

• Chuck Berry Style (basato su ottavi “diritti”, non shuffle)

• Uptown Swing alla B.B. King

• Kansas City Jazz Swing

• Blues Lento in 12/8

• Mambo Feel

• Blues Minore

• Blues/Rock (basato su ottavi “diritti”, non shuffle)

• Blues in otto battute

Ogni capitolo inizia con una discussione circa le tecniche e le caratteristiche ritmiche tipiche del genere di blues affrontato. Quindi ne vengono proposte alcune variazioni, che spaziano da piuttosto semplici ad abbastanza complesse. La prima variazione è una illustrazione scarna e lineare della progressione di base, con voicing degli accordi e turnaround ridotti al minimo. Ciascuna successiva variazione diventa progressivamente più complessa - tanto ritmicamente quando armonicamente. Ogni genere presentato, comprende i voicing degli accordi comunemente usati dai musicisti. Ho cercato di impiegare quelli che mi è sembrato valorizzassero le ritmiche proposte. Ad esempio, un blues jazzato suonerà al meglio con accordi più estesi e complessi di quelli usati in un ruvido shuffle di tre accordi. Sono stati inclusi un ampio spettro di tempi e varie chiavi differenti, cosa che dovrebbe rendere questo libro uno strumento di studio impegnativo e coinvolgente.

LA FORMA BLUES

Solitamente, la forma blues è lunga dodici misure (o battute). Alla fine di ogni sezione di dodici battute (chiamata chorus), è presente un turnaround. Questo è una breve affermazione musicale che riconduce l’ascoltatore all’inizio del chorus. Sebbene esistano altre forme di blues, quella in dodici misure è di gran lunga la più diffusa. La maggior parte di questo libro si occuperà di varie tipologie ritmiche all’interno di tale forma. Ad ogni modo, ci sarà anche una sezione dedicata al blues in otto battute, per via della sua popolarità.

LA RITMICA BLUES

Esistono alcuni diversi approcci ritmici nella musica blues. Generalmente il tempo del brano e l’intenzione ritmica della batteria indicano quale di questi sarebbe appropriato. Di solito queste “tipologie ritmiche” ricadono in una di tre categorie: lo shuffle (o swing), la scansione in ottavi “diritti”, non shuffle, e il “mambo feel”. La maggior parte degli altri blues consiste in variazioni o permutazioni di questi tre generi di base.

LA PROGRESSIONE BLUES

La progressione armonica, in un blues, consiste il più delle volte in soli tre accordi. Questi sono di norma accordi di settima di dominante, tranne quando la chiave è minore (vedi il capitolo 7). Ci si riferisce solitamente a questa progressione come a una sequenza I-IV-V, in quanto i tre accordi eseguiti sono costruiti sul primo, quarto e quinto grado di una scala maggiore. L’ultima battuta contiene il turnaround. In parole povere, un turnaround è solitamente un accordo V7 nell’ultima misura, che viene raggiunto tramite uno spostamento di semitono dall’alto o dal basso. Questo espediente sonoro completa il chorus, e induce l’ascoltatore a desiderare il ritorno all’inizio di questo.

CONTENUTI:

Accordatura

Come usare questo libro

La forma blues

La ritmica blues

La progressione blues

CAPITOLO 1

Medium Shuffle

CAPITOLO 2

Chuck Berry Style

CAPITOLO 3

Uptown Swing alla B.B. King

CAPITOLO 4

Kansas City Jazz Swing

CAPITOLO 5

Blues lento

CAPITOLO 6

Mambo Feel

CAPITOLO 7

Blues minore

CAPITOLO 8

Blues/Rock (basato su ottavi “diritti”, non shuffle)

CAPITOLO 9

Blues in otto battute

Legenda notazione per chitarra

Publisher: Musicians Institute Press

Play rhythm guitar in the style of Stevie Ray Vaughan, B.B. King, Chuck Berry, T-Bone Walker, Albert King, Freddie Green, and many other blues greats! The CD includes 40 full-demo tracks and the instruction covers all styles of blues and the essential chords, patterns and riffs.

LEZIONI PRIVATE

BASIC BLUES GUITAR

I PRINCIPALI STILI, PATTERN A PROGRESSIONI
CD CON 40 TRACCE

Esegui parti di chitarra ritmica nello stile di Stevie Ray Vaughan, B. B. King, Chuck Berry, T-Bone Walker, Albert King, Freddie Green e molti altri!

- I principali accordi, pattern e riff
- La forma blues, le variazioni più comuni, i turnaround
- Il CD allegato comprende 40 tracce d'esempio complete
- Shuffle, swing, straight blues, mambo, blues minore e blues in 8 battute
- In notazione standard e tablatura

Prezzo: €18,99

€18,99

BLUES CHOPS FOR GUITAR CD LIBRO TABLATURE bending Blues trills CHITARRA LIBRO METODO TECNICA

BLUES CHOPS FOR GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA BLUES CON CD.

SPARTITI PER CHITARRA CON

ACCORDI, PENTAGRAMMA, TABLATURE.

TECNICA

Blues Chops for Guitar

Technique Exercises for the Aspiring Guitarist
By Buck Brown
Item: 07-1042
UPC: 630746710422
ISBN 10: 1929395418
ISBN 13: 9781929395415

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more. Develop your chops practicing exercises in the style of music you enjoy!

Introduction
About the Author

Chapter I-Blues Rhythm Guitar
Moveable Chords
The I-IV-V Progression-The Twelve Bar Blues
Open-Position Two-Note Shuffle Patterns
Closed-Position Two-Note Shuffle Patterns
Two-Note Shuffle Patterns with a b7
Closed-Position Two-Note Shuffle Patterns with a b7
Chord Shuffle Patterns .
New Blues 7 Chords
VOICING IN THE CYCLE OF 4THS
CHORD VOICING IN THE CYCLE OF 4THS - 3RD FINGER ANCHOR
7 CHORD VOICING IN THE CYCLE OF 4THS - 3RD FINGER ANCHOR
The 9 Chord
The 9-Chord Slide Blues
The 13 Chord
More Dominant 7 Chords
Turnarounds
More Shuffle Patterns

Chapter 2- Blues Lead Guitar
Alternate Picking
Finger Independence
Vibrato
The Minor Pentatonic Scale
Strengthening the 3rd and 4th Fingers
String Bending
The Major Pentatonic Scale
String Bending in the Major Pentatonic Scale
Pre- Bends
Pedal Steel-Style Bends
Step-and-a-Half Bends
Hammer-Ons
Pull-OFFs
Combinations with Hammer-ons, Pull-Offs and Bends
Double Stops

Chapter 3- Advanced Blues Techniques
Advanced Twelve-Bar Blues Harmony
Pick and Fingers Blues with a
Walking Bass Line
The Minor Blues
Sliding- The Ring-Finger Slide
More Sliding Exercises
Muted Sweeps
The Blues Trill
Harmonics
Downstroke Sweeps
Upstroke Sweeps
Cross Picking, String Skipping, Finger Rolls

Chapter 4-Slide Guitar
String Damping
Slide in Standard Tuning
Slide in G Tuning
Slide in D Tuning
Postscript

A compact disc is available with each book of this series. Using these discs will help make learning more enjoyable and the information more meaningful. The CD will help you to play the correct notes, rhythms and feel of each example. The track numbers below the symbols correspond directly to the example you want to hear. Track 1 will help you tune to this CD.

To become a better blues guitar player, you need to spend some serious time "learning the moves" -the techniques that blues guitarists employ and the little tricks of the trade that make them sound so good. This book is fJled with exercises that can help you with specific technical problems.
The exercises presented in this book cover all the important blues guitar techniques, such as string bending, pentatonic scales, hammer-ons and pull-offs, double stops, barre chords, advanced chords, pedal-steel tricks, blues changes, and there is even a chapter on slide guitar playing. There are also lots of exercises designed solely to train your fretting-hand fingers to act independently, which is not something they do naturally.
We also cover the picking hand in this book. Alternate picking exercises and pick-and-fingers techniques are examined in detail. Also, there is an extensive look at chords-the best ones to use, how to easily move from one to another, the most common sets of strings on which chords are played, how to recognize when to use anchor fingers and how to employ devices such as harmonics. Technical training is challenging, and may even seem somewhat daunting. But with application on your part, and a willingness to work at each exercise until it is mastered and understood, you will become a much better player. All the exercises follow the philosophical principle of "Occam's Razor," which says that the easiest, simplest way to do things is generally the best way. If you don't like the fingerings I've used, don't use them. But I think they are the easiest and if you give them a chance, you'll probably come to see why rchose them.
There may be some symbols you have not seen before:

I) = Extension 1. Extend (reach) your first finger out of position one fret, but do not move your hand out
of position.

4) = Extension 4. Same as extension 1, except with your 4th finger
I hope this book helps you play cleaner, faster and with better articulation. The goal, as always, is no mistakes. See you at the gig.

Buck Brown knows that guitar playing is the "real job" his mom always told him to get. In the past 35 years, he has been fortunate to play with such great artists as Nils Lofgren, Tony Trischka, Stacy Phillips, Dave Hamburger, Robert Lee Castleman, Mark Egan and all ot the incredible teachers at the National Guitar Workshop (where he taught from 1984 to 1991). Buck has written ten National Guitar Workshop publications (under the name Robert Brown) including Chord ConnectwrlJ, his masterwork on guitar harmony.
As a composer, he has written music for innumerable episodes ofAmerua J MOJt Wanted, has won an Emmy Award in Cleveland, a Bronze Medal at the New York Film Festival and has been nominated twice tor Helen Hayes Awards in Musical Theatre. When he is not on the road, Buck plays and teaches in Washington, D.C., is married to the fabulous chanteuse Rebecca Davis, uves with three dogs, bats right, throws right and plays loud.

Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools.
Each book addresses skills needed for a specific style. For example, Jazz Chops covers the finger independence needed for smooth, rapid changes between complex jazz chords in the context of important progressions, such as ii-V-I. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more.
Rock Chops deals with all the important soloing techniques, such as speed picking, sweeping, tapping, harmonics, scale sequencing and so on.
Develop your chops practicing exercises in the style of music you enjoy~or if you are a multi-style guitarist, go through all three!

Prezzo: €21,99

€21,99

BIRTH OF THE GROOVE R&B SOUL FUNK GUITAR 1945-1965 DAVE RUBIN LIBRO CD TABLATURE Steve Cropper

BIRTH OF THE GROOVE, R&B SOUL AND FUNK GUITAR 1940-1965. DAVE RUBIN. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA R&B, SOUL, FUNK, CON CD

SPARTITI PER CHITARRA CON ACCORDI, PENTAGRAMMA E TABLATURE.

La musica di Steve Cropper, Curtis Mayfield, Ike Turner, Mickey Baker, Billy Butler, Cornell Dupree, Tiny Grimes, Jerry Jemmott, Johnny Moore, Jimmy Nolen, Clif White, Robert Ward, e tanti altri. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Arranger: Dave Rubin

The years 1945-1965 saw a radical and exciting shift in American popular music. Blues and swing jazz helped to produce a new musical form called rhythm and blues, which in turn set in motion the development of soul and funk, not to mention rock 'n' roll. What united these genres was an emphasis on the beat, or the groove, over the melody that would culminate in the syncopated monochord workouts of funk. Along the way, some of the greatest electric guitarists of the postwar years explored the boundaries of the new instrument with a rich array of hot licks. This book/CD pack explores everything from the swinging boogie of Tiny Grimes, to the sweaty primal funk of Jimmy Nolen, to the styles of Mickey Baker, Billy Butler, Steve Cropper, Cornell Dupree, Jerry Jemmott, Curtis Mayfield, Ike Turner and everyone in between. Includes in-depth lessons, historical analysis, rare photos, and a CD with 33 full-band tracks. 88 pages.

PREFACE
Thehistory of R&B, soul, and funk guitarists has been largely ignored when compared with that of blues guitarists. However, though they have tended to labor in obscurity in the shadow of vocalists, these unsung heroes have contributed significantly to the legacy of postwar electric guitar.
Inasmuch as the three genres have a far more varied selection of rhythmic and harmonic accompaniments than blues, the innovation and creativity has naturally occurred in the realm of backup, rather than soloing. Exceptions to this statement are to be found in the cerebral and emotional soloing of Billy Butler and Cornell Dupree, to name only the most obvious. It should be of interest to guitarists whose ears are mostly attuned to the sound of single-note lines, though, to understand the art form that Curtis Mayfield, Steve Cropper, and Robert Ward have made from the well-placed fill and chordal pattern.
The years 1945-1965 were chosen because it was the era where the most original advances were
made. That is not to say that great guitar music was not made after that date, only that the initial root source of the blues started to diminish in favor of more commercial influences. Perhaps a Volume II will be in order, particularly in the area of seventies funk.
I hope you will enjoy playing this remarkable music as much as I have, and that the history and biographies provide some sense of acknowledgement for the exceptional artists covered.
Dave Rubin New York City, 1999

DEDICATION
Iwould like to dedicate this book to my daughter, Michelle ("Cookie") and my wife, Cheryl.
Without their love and encouragement, I would "have the blues" more than playing and studying them.

ACKNOWLEDGMENTS
Iam indebted to, Edward Komara, Nick Koukotas, Darrell Bridges, Ira Bolterman, Steve Kirkman,
and all at Hal Leonard Corporation for their invaluable help and suggestions.

TABLE OF CONTENTS

Preface .
Dedication and Acknowledgments .
Introduction .
Scales and Chords for R&B, Soul, and Funk Guitar .
Tiny Grillles .
Johnny Moore .
Mickey Baker .
Ike Turner .
Billy Butler .
Clif White .
Curtis Mayfield .
Cornell Dupree .
Jerry Jemmott .
Steve Cropper .
Robert Ward .
Jimmy Nolen .
About the Author .
Guitar Notation Legend .

Prezzo: €34,99

€34,99

101 MUST-KNOW BLUES LICKS MARSHALL CD guitar TABLATURE Delta-Memphis-Texas-Chicago-BRITISH

101 Must-Know Blues Licks. LIBRO CON CD E TABLATURE

LIBRO METODO DI MUSICA BLUES, CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

Series: Guitar Educational

Publisher: Hal Leonard Corporation
Format: Softcover with CD - TAB
Arranger: Wolf Marshall

Now you can add authentic blues feel and flavor to your playing! Here are 101 definitive licks – plus a demonstration CD – from every major blues guitar style, neatly organized into easy-to-use categories. They're all here, including Delta blues, jump blues, country blues, Memphis blues, Texas blues, West Coast blues, Chicago blues, and British blues. 48 pages

Prezzo: €24,99

€24,99

12-BAR BLUES complete guide for guitar-Dave Rubin BOOK CD TABLATURE SPARTITI CHITARRA METODO

12-BAR BLUES. Inside the blues. The complete guide for guitar. La chitarra ritmica blues, all'interno delle 12 battute. Esempi di Boogie woogie, shuffle, swing, riff, jazzy blues, Chicago blues, bebop blues, turnarounds, intros, 1 soloing, tutto sotto una luce "blues". Con 24 jam pronte di D. Rubin. CD TABLATURE

LIBRO METODO DI MUSICA BLUES CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE.

Series: Guitar Educational
Softcover with CD - TABLATURE
Author: Dave Rubin

The term "12-bar blues" has become synonymous with blues music and is the basis for an incredible body of jazz, rock 'n' roll, and other forms of popular music. This book/CD pack is solely devoted to providing guitarists with all the technical tools necessary for playing 12-bar blues with authority. The CD includes 24 full-band tracks. Covers: boogie, shuffle, swing, riff, and jazzy blues progressions; Chicago, minor, slow, bebop, and other blues styles; soloing, intros, turnarounds, accompanying keyboards and more. In standard notation and tablature. 64 pages.

nel CD comprese 24 basi complete

Slow 12/8, swinging shuffle, moderate boogie shuffle, chicago riffs blues, slow minor blues, jazzy minor blues, riff blues, boogie woogie blues, jazzy blues, jazzer blues, bebop blues, accompanying kayboards, Turnarounds, intros, soloing over a 12 bar blues.

INTRODUCTION

The Origin of 12-Bar Blues By Dave Rubin and Edward Komara

The 12-bar blues is a musical building block that can be used to provide moving and exhaustive performances. With an elegant logic unique to the blues genre, the I, IV, and V changes guide the feet and arms from one dance step to another. When words are added and sung, they can acquire from these changes an ironic inflection that can be humorous or sarcastic. With a shuffle beat mimicking the beating of the human heart on adrenaline, the 12-bar progression can become the basis of a self-perpetuating cycle well-suited for vivid narratives or exuberant frolics. The I chord (meas. 1-4) presents the initial melody, and the IV chord (meas. 5-6) resets it with some degree of harmonic tension before the I chord reappears with sweet relief (meas. 7-8). The V chord (meas. 9) breathtakingly caps the momentum and then the turnaround (meas. 11-12) closes the chorus while at the same time preparing for the next installment of twelve bars.

The 12-bar blues as we know it, with three melodic phrases of four measures each and the second phrase starting on the IV chord, has its roots back in England during the time of Henry VIII. There, in the mid 1500s, twelve-measure modal folk tunes with three phrases were reported for the first time. It would be another 150 years or so before this "note per syllable" singing would give

way to figured bass and eventually tonality (chord changes) by way of opera. Example

1, "I Have Been a Foster," is a modal composition typical of the period. Note, however, that though it mostly centers on F, it ends (presciently?) on C, the V chord. If we strictly adhere to the notated key of C, it could also be seen as IV (F) resolving to I (C). Admittedly, this is looking at this example from modal antiquity through the high-resolution tonal lens of the late twentieth century, but the implied motion of either I-V or IV-I is there.

Just across the Irish Sea, from England, Irish fiddlers were developing twelve-measure ditties, also sans harmonic changes, as early as 1620