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
Italiano
English
