JAM WITH

AC/DC, JAM WITH. TOTAL ACCURACY. CD TABLATURE

Basi per voce e per chitarra, con la Tablature delle 2 tremende colonne portanti dell'hard rock. 

Basi con preascolto:
 

-For those about to rock

-let there be rock

-highway to hell

-hell ain't a bad place to be 

-sin city

-whole lotta Rosie

-back in black

-Hells bells

ANGUS YOUNG OF AC/DC
If It Ain't Broke, Don't Fix It!
Interview by Nick Bowcott

LAST MONTH, ANGUS STRESSED THE IMPORTANCE
of being able to play rhythm well and discussed the various aspects of tone. This month, the tone talk continues.

ANGUS YOUNG: The heavier your string gauges are, the bigger your sound is gonna be. Not just on rhythm, but on solos as well. With thick strings you can really get a nice, round, bluesy lead sound happening without having to use any pedals to help fatten things up. Because I've got such small hands, though, .010 to .048 [high to low] is about the heaviest set I can deal with. Malc's a different story altogether, though his gauges just keep getting heavier and heavier. He really likes those big, thick, "tram track" things and he's actually at the point where they don't make those gauges anymore. I couldn't tell you his exact gauges, but if you find out what the heaviest set of strings available is right now then that's what he's probably using. [Our most recent report indicates that Malcolm is using a Gibson 900M set, which is .012 to .056 with a wound .025 G string-GW Ed.]
A lot of idiots think, "thick strings are just a macho statement or something," but they're not. When we were growing up we couldn't get those "slinky" strings. We learned how to play on heavy gauge strings, almost bass strings! [laughs] When they started selling those Iighter strings, Mal tried a set and said, "Fuck, these things wobble too much. I've got no tone on my guitar!"

GUITAR WORLD: Talking about gear, your rig is quite simple and direct. 
YOUNG: Yeah, I've always kept it fairly simple right from the get-go. I just plug my guitar straight into a stack or .four [laughs] and start banging away; That's all you need, y'know-have fingers, will play! I've always felt that if you're on stage playing rock and roll and you've got too many toys hooked up, there are just too many things that can go wrong. My SG and Marshall combination has always worked well for me, so I stick with it. As the old saying goes, "if it ain't broke, don't fix it!"

GW: I take it you're not a big fan of effects devices.
YOUNG: Nah, I'm my own effect! [laughs] To be honest, I've always looked at effects as being a bit like a video remote control you' re always trying to work out what the hell they are! I grew up at a time when effects gadgets were being used a lot and pretty much every guitar player had a pile of 'em in front of him. Every time you walked into a guitar shop you'd see all these people stepping on pedals and going "wah-wahwah." That got so common, it cured me pretty quick. My whole approach is to get the amp happening and then just plug in and play. Then, if I want to hear something different, I try and get it with my guitar. The trouble with these effects units is sometimes you can walk awayfrom your gear for a few minutes and people who don't know any better start plugging stuff in for you. I remember once we were playing the Donnington Festival in Britain and I went down the day before the show and they had this gadgetry up there-it looked like Space Station #9! Anyway, I think Van Halen were on the bill too and Eddie Van Halen came up and said, "Jeez, what's all this?" One of the guys who'd built the thing explained it to him and when he was done I said to Eddie, "Do you like it?" Eddie went, "Yeah, it's nice," so I said, "Do me a favor mate, take the fuckin' thing with ya! I'm sticking with me Marshalls-simple is better."

GW: Marshalls have pretty much always been your amp of choice.
YOUNG: Yeah. I've experimented with different makes of amp, but I eventually came to the conclusion that the Marshall 100-watt stack was the best way to go. I love 'em because they're great rock and roll ampsthey' re road-worthy and they're noisy, too (in a good way)! I think if you're into rock music, that's the amp you should be using. Live I
normally use four stacks hooked up in a series via splitter boxes. [On the Ballbreaker tour Angus used four Marshall reissue 1959SLP Plexi heads driving eight Marshall straight-fronted 4x12 cabs loaded with 25W Celestion Greenback speakers: "the noisy ones! ']

GW: And is everything turned up to 11?
YOUNG: Nah! [laughs] A lot of people think that with Marshalls you've gotta run everything full up and drive the buggers to death. I don't do that; I pretty much have everything on around half. To my ears, if you go over half it starts to get a little bit mushy. I like to get a natural sustain that cuts; I don't like playing lead with that false, Tonebender
[fuzz] type sound. It's funny, people hear us and automatically think we play really loud. Well, we don't-mind you, we're not exactly quiet either!

GW: Although you use 100-watt stacks on stage, I believe you have an old Marshall JTM45 miked up under the stage and also use JTM45s in the studio.
YOUNG: You're right, my main amp for recording is an old JTM45 head and I also use it live-I have it underneath the stage with a single 4x12 cabinet and an isolation box. I use a 100-watt head in the studio every now and then, too. It just depends on what I'm after. The 100s are thicker-sounding, have more bottom end and are cleaner and louder. The JTM45 (a 45-watt amp) has a smoother sound and is much easier to overdrive.

GW: And your primary guitar has always been a Gibson SG, right?
YOUNG: Yeah. When I was in school in Sydney, Australia, a friend of mine had a Gibson guitar catalog, and as soon as I saw the SG I went, "Jeez, that looks great, I want one." I always liked the shape of it and the double cutaway is great because if I'm playing high up the neck I don't have to reach around anything like you have to do on aLes Paul. I also like the weight and the size because I'm a little guy, On most people an SG looks pretty small-like a violin. On me, though, it looks like a pretty big guitar and it balances well, too. Oh, Ilike the sound of 'em too!

GW: Have you ever played Strats or Les Pauls? .
YOUNG: I tried Fenders but they were too heavy and they just didn't have the ballsy sound I was looking for. I tried a Les Paul when I was younger and nearly dislocated my hip because the fucking thing was so heavy! You've gotta have muscles to playa Les Paul and if you've ever seen me with my shirt off you'd know that I'm not exactly Arnold Schwarzenegger! 

BEATLES, JAM WITH vol. 2. Basi per voce e per chitarra, con preascolto. We can work it out -ticket to ride -and I love her -norwegian wood -a hard day's night -yesterday -you've got to hide your love away -here come the sun. CD TAB.

Description:
The Beatles were undoubtedly one of the most influential bands ever, with clear similarities still noticeable in many hits of the nineties. Almost anyone who has picked up a guitar has probably learned to play something from the enormous repertoire of songs written by the legendary Lennon and McCartney combination.
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 Beatles' tracks note for note and then jam with a professional session band. The track listing reflects some of the Beatles' most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to.
The CD is split into two sections; section 1 is the backing tracks minus lead guitar & vocals, while section 2 is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fills and solos as they should be played! The Jam With.. series allows you to accurately recreate the original songs, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation.

BON JOVI, JAM. Basi per voce e per chitarra: living on a prayer -wanted dead or alive -you give love a bad name -dry country -in these arms tonight -blaze of glory -keep the faith -bad medicine. CD TAB.

DIRE STRAITS, JAM WITH. Contiene basi per voce e per chitarra: brothers in arms - sultans of swing - Romeo and Juliet - private investigations - telegraph road - money for nothing - walk of life - tunnel of love. 144 pages. 2 CD TABLATURE

Series: Guitar Educational
BOOK W/CD - TAB
Brothers in Arms sold over 26 million copies, and guitarist Mark Knopfler is renowned for his wide range of playing styles. Now guitarists can jam along with eight great Dire Straits favorites using this book/2-CD pack featuring note-for-note transcriptions, one CD with backing tracks minus lead guitar & vocals, and another CD of backing tracks with all guitar parts added. A powerful learning tool to help players extend their stockpile of licks & fills!

Dire Straits are one of the great success stories of the last two decades. Their album Brothers In Arms sold over twenty-six million copies, and classic tracks such as Sultans Of Swing, Money For Nothing and Private Investigations showcase the trademark laid back vocal style and wide range of guitar styles embraced by Mark Knopfler. 



This guitar workshop is a powerful learning tool that will help you extend your stockpile of licks and fills whilst you 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 Dire Straits' tracks note for note and then jam with a professional session band. The track listing reflects some of Dire Straits' most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to. 



The audio content is split across two CDs and separated into two sections; section 1 is the backing tracks minus lead guitar and vocals, while section 2 is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fills and solos as they should be played! The Jam With series allows you to accurately recreate the original songs, or to use the transcriptions in the book in conjunction with the backing tracks as a basis for your own improvisation.

THE TOTAL ACCURACY '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 Dire Straits' most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to. The eight tracks on CD1 are full length backing tracks recorded minus lead guitar. The eight tracks on C02 feature the backing tracks with the lead guitar parts added. Although many of you will have all the original tracks in your own collections, 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 them 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 DIRE STRAITS and HAVE FUN! Glasgow born Mark Knopfler was raised on Tyneside. He began his musical career, like many great guitarists before him, on the pub and club circuit, in his case in Leeds where he worked as a newspaper reporter. Mark moved to London, and formed a new band with his brother David, guitar, John IIsley, bass, and Pick Withers, drums. They called themselves Dire Straits, after their financial status. The band honed their style and were befriended by London radio OJ Charlie Gillett who played a demo C'f their song Sultans Of Swing on the air. This led to them signing a deal with Phonogram, and in 1978 they released their first album, Dire Straits. Despite the then current trends of punk and disco, the album sold well in both England, and America. The album boasted well written songs, and Mark's clean fingerstyle guitar work, earning him the title of best British guitarist since Eric Clapton. One of the highlights of this album was Sultans of Swing, a top ten hit that told the story of a London jazz band. The song featured Mark's now trademark laid back vocal style, and one of the best guitar solos in rock history. The follow-up album in 1979, Communique was not as commercially popular, and saw the departure of Mark's brother. The band's sound and style broadened, with the addition of keyboard player Alan Clark, who played on the 1980 release, Making Movies, and the 1982 release Love Over Gold. The new direction saw longer, atmospheric songs like Private Investigations, Tunnel Of Love, and Telegraph Road. These songs acted as a vehicle for Mark's lengthy guitar solos, and are captured on the 1984 live release Alchemy. In 1985 they released the Brothers In Arms album, a global smash that sold over fifteen million copies, with an estimated one in ten British households owning a copy of the album. The band took advantage of new technology, with immaculate production that was ideal for the newly introduced CD format. They also led the pop video revolution, with the release of the massive selling single Money For Nothing. The video incorporated hi-tech computer graphics, with redrawn footage of the band. The album also included the radio friendly Walk Of Life, and the haunting title track, with an excellent animated video, Brothers In Arms. The band embarked on a two hundred date world tour.

the E blues scale; E, G, A, Bb, B, 0, E.
During the outro section, the acoustic guitar performs a bluesy sounding progression, using the chords of Em?, and Em6. During this section the electric guitar enters with some distorted stabbing chords, and unison bends. There are some more lead ideas with long delay, as heard in the intro. There are also some atmospheric sound effects, created with whammy bar, and a volume pedal, plus a long pick scrape. This track was probably performed on a Gibson "Chet Atkins" nylon strung acoustic, while the electric was most probably a Fender Strat through a Marshall amp.

Telegraph Road
This track can also be found on the Love Over Gold album, and clocks in at over fourteen minutes long. The intro features a chord arpeggio progression, that uses an altered tuned National steel guitar, tuned to open G, with a capo at the third fret, (see Romeo and Juliet text). The tempo picks up when the band kicks in, and a short intro solo is performed using double stops, and licks based around 0 mixolydian; 0, E, F#, G, A, B, C, 0 and 0 Aeolian: 0, E, F, G, A, Bb, C, D.
The verse progression includes the altered tuned acoustic guitar, plus an electric guitar following the progression, with chord arpeggios, and lead fill ideas. After the first verse there is a short instrumental section, with more lead ideas, plus some volume swells. The first solo section is performed over the verse progression, and uses notes from the F major scale; F, G, A, Bb, C, 0, E, F, over chords from the same key. The solo makes uses of chord tones, plus Mark's percussive fingerstyle sound. After some more atmospheric volume swells, the tempo slows and Mark delivers a melodic solo that uses the 0 Aeolian mode, plus A phrygian dominant, the fifth mode of 0 harmonic minor, A, Bb, C#, 0, E, F, G, A. A second electric guitar performs chord arpeggios, and a third electric guitar adds a harmony line at the end of this section. There are some more verses, plus a lead solo similar to the intro, giving a familiar feel. This lead idea is repeated again at the beginning of the final solo section, but once again it includes variations on the licks. This final solo includes more ideas based around 0 mixolydian, 0 Aeolian, 0 minor pentatonic; 0, F, G, A, C, 0, and the 0 blues scale; 0, F, G, Ab, A, C, D. Mark also employs some pretty fast muted chicken picking runs, and bluesy unison bends. This track was pro.bably recorded using a Fender, or Schecter Strat, through a Fender amp.

Money For Nothing
This massive selling hit single taken from the Brothers In Arms album, includes a riff that is as well known as Smoke On The Water, and uses a similar idea. It also featured the multi-talented Sting on backing vocals, and a shared writing credit. The main riff is based around the G minor pentatonic scale; G, Bb, C, 0, F, G, performed as double stop intervals, (either perfect fourths, or fifths). Mark relies on percussive mutes, and the accastional natural harmonic, to fill in the gaps, and keep the riff moving. At the end of the cycle, the riff is concluded by either the Bb5, and C5 chords, or the F5, and G5 chords. The chorus uses the chords of Eb5, Bb5and F5, and after the riff is performed the chords of C5, 05 and E5 are used.

1985 - Brothers In Arms - Words and Music by: Mark Knopfler
1985 - Money For Nothing - Words and Music by: Mark Knopfler, Sting
1982 - Private Investigations - Words and Music by: Mark Knopfler
1980 - Romeo And Juliet - Words and Music by: Mark Knopfler
1978 - Sultans Of Swing - Words and Music by: Mark Knopfler
1982 - Telegraph Road - Words and Music by: Mark Knopfler
1980 - Tunnel Of Love - Words and Music by: Mark Knopfler
1985 - Walk Of Life - Words and Music by: Mark Knopfler

144 pages

ISBN 0-7119-7296-6
WISE PUBLICATIONS
DG70818

TOTAL ACCURACY
Professional Guitar Workshops
"...excellent" ... Guitar World USA
"invaluable, they can practically guarantee progress" ... Guitarist Magazine
"superb, ideal for beginners or advanced players" The Guitar Magazine
"these backing tracks are the best on the market" Total Guitar Magazine

THE KINKS, JAM WITH. CD TABLATURE

TOTAL ACCURACY
PROFESSIONAL GUITAR WORKSHOP

8 Titoli

The Kinks are one of Britain's most enduring and influencial groups, combining the lyrical genius of Ray Davies with hook-laden guitar lines of brother Dave to create some of rock's best-loved anthems. Classic numbers such as You really got me marked The Kinks as true originals, pineering the heavy metal and garage band sound.
The 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 Kinks' tracks note-for-note and then jam with a professional session band. The track listing reflects some of The Kinks' 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 lengh backing tracks recorded minus lead guitar. The remaining tracks featue the backing tracks with the lead guitar parts added. Although many of you will have all the original tracks in your own collection, weh have provided them in the package for your reference.

All Day And All Of The Night
Come Dancing
Dedicated Follower Of Fashion [Davies, Raymond]
Lola
Sunny Afternoon
Waterloo Sunset
Where Haver All The Good Times Gone
You Really Got Me