EAGLES, JAM WITH. Basi. CD GUITAR TABLATURE
LIBRO DI MUSICA ROCK, CON CD DI BASI PER VOCE E VOCE E CHITARRA.
SPARTITI PER CHITARRA E VOCE
ACCORDI, PENTAGRAMMA E TABLATURE.
These guitar workshops are powerful learning tools that will help extend your stockpile of licks and fills and help develop your improvisational skills. Features play-along songs in standard notation and tab, and on the CD with and without guitar parts.
Learn to play like Frey, Walsh and Felder with these eight classic Eagles tunes, and jam along with a professional session band. The Jam With... guitar workshop is a powerful learning tool that will help you extend your stockpile of licks and fills and develop your improvisational skills.
TITLES ARE:
HOTEL CALIFORNIA
LIFE IN THE FAST LANE
ONE OF THESE NIGHTS
TEQUILA SUNRISE
NEW KID IN TOWN
LYIN' EYES
TAKE IT EASY
BEST OF MY LOVE
HOTEL CALIFORNIA - Words and Music: DON FELDER, DON HENLEY, GLENN FREY - 1977
LIFE IN THE FAST LANE - Words and Music: JOE WALSH, DON HENLEY, GLENN FREY - 1977
ONE OF THESE NIGHTS - Words and Music: DON HENLEY, GLENN FREY - 1975
TEQUILA SUNRISE - Words and Music: DON HENLEY, GLENN FREY - 1973
NEW KID IN TOWN - Words and Music: DAVID JOHN SOUTHER, DON HENLEY, GLENN FREY - 1976
LYIN' EYES - Words and Music: DON HENLEY, GLENN FREY - 1975
TAKE IT EASY - Words and Music: JACKSON BROWNE, GLENN FREY - 1972
BEST OF MY LOVE - Words and Music: DAVID JOHN SOUTHER, DON HENLEY, GLENN FREY - 1975
Introduction
The 'JAM WITH ...' series, is a powerful learning tool that will help you
extend your stockpile of licks and fills and develop your improvisational skills. The combination
of musical notation and guitar tablature in the book together with backing tracks on the CD gives
you the opportunity to learn each track note for note and then jam with a professional session
band. The track listing reflects some of The Eagles' most popular recordings, providing
something for guitarists to have fun with and improvise with, as well as something to aspire to.
The first eight tracks on the CD are full length backing tracks recorded minus lead guitar. The
remaining tracks feature the backing tracks with the lead guitar parts added. Although many of
you will have all the original tracks in your own collection, we have provided them in the package
for your reference. The 'JAM WITH ...' series allows you to accurately recreate the original, or to
use the transcriptions in this book in conjunction with the backing tracks as a basis for your own
improvisation. For your benefit we have put definite endings on the backing tracks, rather than
fading these out as is the case on some of the original recordings. The accompanying
transcriptions correspond to our versions. Remember, experimenting with your own ideas is
equally important for developing your own style; most important of all however is that you enjoy
JAM with THE EAGLES and HAVE FUN!
From the Mid-1970s to the start of the 1980s The Eagles held sway as one of the great rock
bands of the decade. But while rock was the group's forte, they blended elements of folk and
country into many of their songs. The Eagles evolved from the folk and countryrock
movement that sprang up in Southern California in the late '60s and early '70s. None of the
four founding members were native Californians, but all eventually settled in Los Angeles
because of the musical environment.
Bernie Leadon had a huge interest in folk music which caused him to learn guitar and banjo
before he reached his teens. Leadon played with local groups in Florida in the mid-1960s
before heading to Los Angeles in 1967, where he worked with a series of groups in the late
'60s. Rand Meisner's career began in his teens with local groups in the Midwest. Later, in
Los Angeles, he was a founding member of Poco with Richie Furay and Jim Messina.
Glenn Frey grew up in the more frenetic pace of urban Detroit and after dropping out of
college, he moved to Los Angeles. Hanging out at the Troubadour club, he became
acquainted with Don Henley. Henley liked to play drums, but wasn't sure of his career
direction. He finally heeded the advice of an English teacher that music suited him best and
he headed for the 'big time' in Los Angeles. Frey meanwhile was trying to use some of his
songs as a wedge for a solo career and got the chance to play some to David Geffen, then
manager of Joni Mitchell and Crosby, Stills, Nash & Young. Geffen discouraged the solo
approach and told Frey to join a band. Heeding this, Frey accepted a job with Linda
Ronstadt, and as the band needed a drummer he looked up Henley. The two proved highly
compatible, and on the first night of the Ronstadt tour they agreed to start their own band.
The band, in effect, took shape around them. Ronstadt's manager, John Boylan, brought in
Randy Meisner on bass guitar and also recruited Bernie Leadon on lead guitar.
Helped by strong recommendation from Jackson Browne, the group got Geffen as their first
manager and he financed the band so they could move to Aspen, Colorado, to rehearse, write
songs, and polish their act in local clubs. Meanwhile, Geffen managed to get Freya release
from Amos Records and lined up a recording contract with Asylum. In early 1972, he
arranged for the band to go to England to work on their debut LP under the direction of ...
Like many seventies records, some of the solo work here is played through a phase-shifter
giving some of the playing a very liquid sound.
The solo work is all based around the B minor pentatonic scale (B,D,E,F#,A) incorporating
occasional notes to fit with certain chords; eg when the F# major chord comes in for the first
time the solo guitar plays a Bb to fit perfectly over the chord which contains a Bb. This
approach is known as 'playing over the changes' and involves thinking not so much what key
you are in, but what chord you are in, using the overall context of the B minor pentatonic. The
famous harm'onies follow the harmony of the backing chords very closely, but great care
should be taken to keep the phrasing 'tight' between the two harmony guitars.
Life In The Fast Lane
This song is played with an overdrive sound - though not too over driven - and was probably
played on a Gibson Les Paul through one of Joe Walsh's hot-rodded Fender Twin Reverb
amplifiers. The main theme is introduced, then doubled an octave higher. As with all
harmony or doubling work it is important to keep the phrasing identical on the two guitars.
During the verse a multitude of guitars play different parts. The key to using this approach is
not to allow anyone part to be too loud in the nix, but to link with the others equally in the
listener's mind. Later in the song some heavy riffing happens, based around an Echard -
accented by the drums and the rest of the band. The solo is played using a slide or
bottleneck - remember when using a slide to play directly above the fret required and always
mute behind the slide, to stop the sound from becoming messy. The solo work is based
around the B major pentatonic scale, but uses several 'chromatic passing tones' - notes which
fit in a faster context to join ideas but not when sustained individually.
One Of These Nights
An atmospheric introduction on bass and guitar, layering up different parts leads to a sudden
harmony part played on another pair of guitars (this part could be played on one guitar). The
general feel of the track is very funky, with minimalistic work from a clean rhythm guitar. The
harmony guitars join in occasionally for an embellishment.
The solo is played with an overdriven sound and a funky style again. It may take some
practice to execute some of these phrases perfectly at first, especially in succession, or even
two bent notes as happens quite early in the solo which uses the E minor pentatonic scale
(E,G,A,B,D), however to follow a more melodic path some notes are added especially to fit
with certain chords; eg a e is used over the A minor chord which contains A,e and E. It
would be possible to solo over the chords without adding these extra notes, but would not
sound as interesting. Overall, it's important to keep short notes and chords in this track
percussive - maybe even exaggerating this until it comes naturally.
Tequila Sunrise
Beginning with acoustic guitar - soon joined by a clean electric playing bent notes and double
stops through a slight tremelo effect - this part is quite inventive in it's use of string bends and
though it requires practice to play this kind of part smoothly, it is very rewarding. The solo
section is played on acoustic guitar using double stops over open strings making this a solo
that could possibly stand on its own with no backing! It is based around the G major scale
(G,A,B,e,D,E,F#,G) with some chromatic movement (movement by steps) between the notes
of the scale.
ISBN 1-84328-677-7
in USA in Canada
The Eagles were undoubtedly one of the greatest rock bands of all time. Their blend of rock, folk and country
music has been an inspiration to guitarists worldwide, with all time classics such as Hotel California and New
Kid In Town. This guitar workshop is a powerful learning tool that will help you extend your stockpile of
licks and fills and develop your improvisational skills. The combination of musical notation and guitar
tablature in this book together with backing tracks on the CD gives you the opportunity to learn eight of The
Eagles' tracks note for note and then jam with a professional session band. The track listing reflects
some of The Eagles' most popular recordings, providing something for guitarists to have fun with and
improvise with, as well as something to aspire to. The first eight tracks on the CD are full length backing tracks recorded minus lead guitar. The remaining tracks feature the backing tracks with the lead guitar parts added. Although many of you will have all the original tracks in your own collection, we have provided them in the
package for your reference. The 'JAM WITH ...' series allows you to accurately recreate the original, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation .
International Music Publications Limited
London
Professional Guifar Workshops
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