CHITARRA LAMPO

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BLUES GUITAR

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6131 GUITAR LICKS OF THE TEXAS BLUES ROCK HEROES, Jesse Gress. CD TAB.

Euro 21,00

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GUITAR LICKS OF THE TEXAS BLUES ROCK HEROES, Jesse Gress. CD TAB.

With enough hot licks to set the whole Lone Star state afire, this book details the solo styles of legendary guitarists, complete with essential stylistic details that make the music come alive. You get it all, from pioneers like T-Bone Walker, Freddie King, and Lightnin' Hopkins, through the next generation of innovators like Stevie Ray Vaughan, Billy Gibbons, and Johnny Winter, and on to latter-day explorers like Eric Johnson. You'll learn more than 100 licks in the authentic style of each player, each lick with its own mini-lesson, performed by the author at half and full tempo on the accompanying CD. Also features: a rundown of each player's guitars, amps and effects lists of must-have tracks, albums and videos revealing quotes from dozens of 6-string notables essential tips on tone and style insight-filled lessons. 120 pages

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4707 THE BLUES-ROCK GUITAR MASTERS. CD TAB.

Euro 19,00

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THE BLUES-ROCK GUITAR MASTERS. CD TAB.

The Way They Play
Series: Book
Publisher: Backbeat Books
Softcover with CD - TAB
Author: HP Newquist
Author: Rich Maloof
This book explores the secrets of nine players who have shaped the legacy of blues-rock guitar: Duane Allman, Roy Buchanan, Eric Clapton, Albert Collins, Buddy Guy, Jimi Hendrix, Jimmy Page, Kenny Wayne Shepherd and Stevie Ray Vaughan. It offers biographical portraits highlighting each guitarist's position and influence in blues-rock history; details on gear including setup and tone; descriptive analysis of playing techniques; and several annotated music examples. Helping readers emulate the stylings of the masters, the accompanying CD contains examples from the book, played with each artist's preferred equipment. 96 pages.

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6114 BLUES/ROCK GUITAR MASTERS. CD TAB.

Euro 21,95

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BLUES/ROCK GUITAR MASTERS. CD TAB.

A Step-by-Step Breakdown of Guitar Styles and Techniques
Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Andy Aledort

This book/CD pack offers detailed analysis and instruction on the playing of nine of the greatest blues/rock guitar heroes that have ever lived: Duane Allman, Jeff Beck, Ritchie Blackmore, Eric Clapton, Rick Derringer, Peter Green, Jimi Hendrix, Stevie Ray Vaughan, Leslie West and Johnny Winter. Learn to play like them by studying their signature licks in 17 songs:

Badge
Dreams Of Milk & Honey
Hey Joe
Killing Floor
Lazy
Let Me Love You
Mississippi Queen
Pride And Joy
Rock And Roll Hoochie Koo
Rock My Plimsoul
Smoke On The Water
Someday, After Awhile (You'll Be Sorry)
Statesboro Blues
Still Alive And Well
Strange Brew
The Stumble
Whipping Post

112 pages

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4782 THE 21st CENTURY PRO METHOD: BLUES GUITAR -RURAL, URBAN, AND MODERN STYLES. LATARSKY. CD

Euro 26,00

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THE 21st CENTURY PRO METHOD: BLUES GUITAR -RURAL, URBAN, AND MODERN STYLES. Latarsky. 127 Pages. CD TAB.

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0986 THE ROOTS OF ELECTRIC BLUES GUITAR. CD

Euro 19,00

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THE ROOTS OF ELECTRIC BLUES GUITAR. Cantare e suonare con Howlin' Wolf, e altri. Hide Away -I Can't Quit You Baby -Killing Floor -Mean Old World -The Things That I Used To Do -Why I Sing The Blues. CD TAB.

Series: Guitar Collection
Softcover with CD - TAB
Composer: Fred Sokolow

This survey of blues guitar, its pioneers and development includes instruction in the essential playing styles, biographies of important artists, and note-for-note transcriptions of six blues standards: Hideaway (Freddie King) - I Can't Quit You Baby (Otis Rush) - Killing Floor (Hubert Sumlin with Howlin' Wolf) - Mean Old World (T-Bone Walker) - The Things That I Used to Do (Guitar Slim) - Why I Sing the Blues (B.B. King). The CD features the songs, exercises and licks. 48 pages

Hide Away
I Can't Quit You Baby
Killing Floor
Mean Old World
The Things That I Used To Do
Why I Sing The Blues

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2313 THE SOUND AND FEEL OF BLUES GUITAR, John. TAPELLA. CD

Euro 17,00

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THE SOUND AND FEEL OF BLUES GUITAR, DI JOHN TAPELLA. CD TAB.

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover with CD
Author: John Tapella

This comprehensive blues book features information on rhythm patterns, fingerpicking patterns, double stops, licks in A, D, E, and G, and more. The accompanying CD features several compositions and all the examples in the book. 64 pages

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5914 THE TOTAL BLUES GUITARIST. CD TAB.

Euro 27,99

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THE TOTAL BLUES GUITARIST. CD TAB.

Contents:

About the Author
Introduction

Chapter I: Reviewing the Basics
Tuning the Guitar
Standard Music Notation
Reading Tablature
Chord Diagrams
Scale Diagrams
Chord Charts

Chapter 2: Blues Theory
The Chromatic Scale
Major Scale Theory
Keys and Key Signatures
The Circle of 5ths
Minor Scale
Relative Minor
Intervals

Chapter 3: Chord Theory I
Chords
Roman Numerals
Diatonic Chord Theory

Chapter 4: 12-Bar Blues Forms
The Most Basic Form
12-Bar Blues in A-Most Basic Form
Qu ick Fou r
Quick Four Blues
Quick Four with a I-IV-I-V Turnaround
Palm Muti ng
Shuffle Pattern
Shuffle in E Blues
Boogie-Woogie
Boogie-Woogie in A
Honky- Tonk
Honky- Tonk in E

Chapter 5: The Minor Pentatonic Scale
Constructing the Minor Pentatonic Scale
from the Major Scale
Fingering for the First Box Pattern
Left-Hand Techniques
Minor Pentatonic Scale Fingerings
Licks in the Style of Buddy Guy

Chapter 6: Bending Techniques
Types of Bends
Finger Strength
T raining the Ears
Licks in the Style of Albert and B. B. King .

Chapter 7: The Blues Scale
Construction from the Major Scale
Blues Scale Fingerings
Licks in the Style of Hubert Sumlin

Chapter 8: Major Pentatonic Scale
Construction from the Major Scale -
Major Pentatonic Scale Fingerings
Relative Minor Pentatonic Scales
Uses of the Major Pentatonic Scale

Chapter 9: Chord Theory II
Creating Barre Chords
from Open Chords
Building All the Chord Forms
from C, A, G, E and D
Chord Ornamentation
7th Chord Theory
Diatonic 7th Chords

Chapter 10: Blues Double Stops .
Hybrid Picking
Using Double Stops to
Enhance Rhythm Playing ..
Using Double Stops to Enhance Soloing ..

Chapter 11: Phrasing in the Blues ..
Singing While You Play A
Practice Ideas for Better Blues Phrasing ..
Practice Ideas to Help Your Singing ..
Making the Connection
Between Mind and Fingers ..

Chapter 12: Blues Soloing
Minor Pentatonic Soloing
Major Pentatonic Soloing
Combining Minor and
Major Pentatonic Scales
Blues Jam Track-Rhythm
Blues Jam Track-Solo

Chapter 13: Minor Blues
Diatonic Harmony in Minor Keys
Extended Chords
Chord Forms
Minor Blues Progressions
Altered Chord Forms and
Uses in the Minor Blues
Augmented Chord Forms and
Uses in the Minor Blues

Chapter 14: Minor Blues Soloing
Natural Minor Scale
and Minor Blues Chords
Natural Minor and
Minor Pentatonic Scales
Soloing with the Harmonic Minor Scale
Whole Tone Scale
Minor Blues jam Track-Rhythm
Minor Blues jam Track-Solo

Chapter 15: More Blues Progressions
8-Bar Blues
16-Bar Blues
Diminished 7th Chords
Soloing Over Diminished Chords

Chapter 16: 12/8 Slow Blues
12/8 Progressions
Chord Forms
Slow Blues jam Track-Rhythm
Slow Blues jam Track-Solo

Chapter 17: Turnarounds, Intros and Endings
Single-Note Turnarounds
Harmonic Turnarounds
Chord Substitutions
Using Turnarounds to Create Intros
Using Turnarounds to Create Endings

Chapter 18: Slide Blues
Rhythm Slide Playing
SIide Soloi ng
Open Tunings
Open G Blues
Blues in Open D
Open D Blues
Slide Licks in the Style of Muddy Waters
and Bonnie Raitt
Slide Blues jam Track-Rhythm
Slide Blues jam Track-Solo

Chapter 19: Funky Blues .
9th Chords
Right-Hand Technique
and the Sixteenth-Note Rhythm
Locking In with the Drums
Creating New Sounds with
the Same Old Chords
Funk Licks in the Style of Freddie King
and Albert Collins
Funky Blues jam Track-Rhythm
Funky Blues jam Track-Solo ,

Chapter 20: jazz Blues
Progressions and Chord Substitutions
Basic jazz Blues
jazz Blues Variations 1
jazz Blues Variations 2
Chord Inversions
Walking Bass Lines
Walking Bass Blues
Melodic Minor Scale
jazz Blues Licks in the
Style of Kenny Burrell
jazz Blues Licks in the
Style of Wes Montgomery
jazz Blues jam Track-Rhythm
jazz Blues jam Track-Solo

Chapter 21: Modal Blues
Theory of the Modes and
Their Relationships to the Chords
Modal Fingerings I
Modal Blues Licks in the
Style of Robben Ford
Modal Blues jam Track-Rhythm
Modal Blues jam Track-Solo

Appendix A: Thoughts on
Practice and Playing
Managing Your Practice Time :
Different Playing Situations :
Creativity :
Appendix B: Suggested Listening 1:

Congratulations :

The Total Blues Guitarist

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2317 WATERS MUDDY, DEEP BLUES.

Euro 25,00

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WATERS MUDDY, DEEP BLUES. Contiene: baby, please don't go -blow wind blow -the blues had a baby and they named it rock and roll -champagne and reefer -close to you -deep down in Florida -evil -good news -got my mojo working -honey bee -I can't be satisfield -I feel like going home -I just want to make love to you -I want to be loved -I'm Ready -I'm your hoochie coochie man -long distance call -Luisiana Blues -mannish boy -my home is on the Delta -my love strikes like lightning -rollin' and tumblin' -rollin' stone -sad, sad day -the same thing -screamin' and cryin' -she's nineteen years old -still a fool -streamline woman -you can't lose what you ain't never had -you schook me. TAB.

MUDDY WATERS - DEEP BLUES
Series: Guitar Recorded Version TAB
Artist: Muddy Waters

30 tunes
184 pages
Table of contents :

Baby, Please Don't Go
Blow, Wind, Blow
The Blues Had A Baby And They Named It Rock And Roll
Champagne And Reefer
Close To You (I Wanna Get)
Deep Down In Florida
Evil
Good News
Got My Mo Jo Working
Honey Bee
I Can't Be Satisfied
I Feel Like Going Home
I Just Want To Make Love To You
I Want To Be Loved
I'm Ready
I'm Your Hoochie Coochie Man
Long Distance Call
Louisiana Blues
Mannish Boy
My Home Is On The Delta
My Love Strikes Like Lightning
Rollin' Stone (Catfish Blues)
Rollin' And Tumblin'
Sad, Sad Day
The Same Thing
Screamin' And Cryin'
She's Nineteen Years Old
Still A Fool
Streamline Woman
You Can't Lose What You Ain't Never Had

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0532 WHITE BLUES, BEST. BAND TAB.

Euro 80,00

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WHITE BLUES, BEST. Crossroads, Cream -ramblin' on my mind, Eric Clapton and John Mayall -texas flood, SRV -pride and joy, SRV -black magic woman, fleetwood mac -good morning little school girl, Winter -the messiah will come again, Roy Buchanan -follow me, Rory Gallagher -love in vain, the Rolling stones -I woke up this morning, ten years after. BAND TAB.

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6623 WINTER JOHNNY, Guitar Styles and Techniques of a Blues Legend, Signature Licks. CD TABLATURE

Euro 23,99

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WINTER JOHNNY, Guitar Styles and Techniques of a Blues Legend, Signature Licks. CD TABLATURE

Johnny Winter
A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Blues Legend
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Author: Dave Rubin
Artist: Johnny Winter

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including: Bad Luck Situation - Be Careful with a Fool - Bladie Mae - Highway 61 Revisited - It Was Raining - Leland Mississippi - Mean Town Blues - Rock and Roll Hoochie Koo - Rock Me Baby - Still Alive and Well - Sweet Love & Evil Women - TV Mama. 96 pages

Inventory #HL 00695951
ISBN: 9781423416418
UPC: 884088096311
Width: 9.0"
Length: 12.0"
96 pages

JOHNNY WINTER: WHITE LIGHT

As if to mock the very notion of whether or not a "white man can play the blues,"
Johnny Winter, with his nearly translucent albino skin and blindingly white hair, blasted
down the doors starting in the late 1960s for everyone who loved the music. He once said,
perhaps ironically, "In my own mind, I was the best white blues player around," but clearly
that qualification no longer applies. The legendary Lonnie Mack and the British contingent
of Eric Clapton, Peter Green, Mick Taylor, and Jimmy Page before him had shown
the possibilities of rocking the blues, but no one was adequately prepared for Winter.
Notes flew from his fingers like blazing blue diamonds, creating shock and awe for everyone
within sight and earshot. It was the perfect culmination to the blues revival with Winter
carrying the torch while throwing gasoline on the fire. He would go on to not only influence
fellow Texans like Billy Gibbons and Stevie Ray Vaughan, but also the stone
Chicago blues cat Bernard Allison. Most significantly, for more than forty years he has
played and contributed to the musical language of the blues in ways that were only
strengthened by his numerous forays into rock.
John Dawson Winter III was born in Leland, Mississippi on February 23, 1944 to John
and Edwina, but was raised in Beaumont, Texas. The senior Winter, a career Army officer
who sang, played saxophone and banjo, and was a fan of the big bands, encouraged
Johnny and his younger brother Edgar to pursue music. John's father had been a cotton
broker in Leland and after WWII attempted to take over the business, becoming the boss
at the storied Stovall Plantation, an important figure in early blues history.
Johnny was singing and playing the clarinet by five, but eventually quit clarinet when
an orthodontist advised against it due to his overbite. Three years later he added the
ukulele to his repertoire and then was given the baritone variety by his grandfather. By
1954 he and Edgar were appearing as a duo, singing barbershop quartet songs like "Ain't
She Sweet" and "Bye Bye Blackbird," and even auditioning for the nationally broadcasted
Ted Mack's Original Amateur Hour. It was about this time that Winter's father offered
the opinion that there were only two people, Ukulele Ike and Arthur Godfrey, who had ever
amounted to anything on the diminutive stringed instrument, and that the guitar might
prove to be a better choice. The advice was heeded, especially after Winter realized that
the emerging rock 'n' roll music at the time was played on the guitar. Within the year, he
was learning note-for-note guitar solos off the records he bought by mowing lawns, hauling
garbage, and saving his lunch money. T-Bone Walker, Howlin' Wolf, Muddy Waters,
Chuck Berry, and Carl Perkins were favorites with The Best of Muddy Waters being an
early purchase and the records of Robert Johnson inspiring him to play slide guitar. He
recalls shopping regularly at a record shop owned by Keith Ferguson's father years
before Ferguson became the bassist for the Fabulous Thunderbirds. Winter's first guitar
was his great-grandmother's "hundred-year old classical guitar." Later, his great-grandfather
bought him his first electric guitar, a Gibson ES-125, non-cutaway, with a single P-90 pickup.
There were not many white people in Beaumont in the 1950s as seriously into playing
and listening to the blues as Winter. One of the few was Joey Long (nee Longoria)
who was a little older, and the first white man Winter heard play the music. Like almost
all electric blues guitarists from Texas, he was profoundly influenced by T-Bone Walker.
Winter, on the other hand, while acknowledging his debt to the legendary electric blues
pioneer, also had a strong love for Chicago blues not always shared by his fellow musicians.
When Winter would hear blues guitar idols like Otis Rush push and vibrato their
strings, he would marvel at how it was done, not realizing at the time that it was as much
an expression of their inner soulfulness as the lighter gauge strings they were using. For
a while he accomplished the technique with a whammy bar. Ever open to whatever blues
caught his fancy, it was the expert string articulation of Clapton that would eventually
convince Winter around 1967 to become an acknowledged master of finger vibrato and bending.
In 1959, with Johnny on guitar and Edgar accompanying on piano, Johnny & The
Jammers promptly won a local talent contest sponsored by radio station KTRM. Their
prize consisted of a recording session, and they cut the single "School Day Blues" b/w
"You Know I Love You," ultimately released by Dart Records. It became a regional hit,
resulting in Winter being called to provide guitar on record dates supervised by local promoters
and producers. As was the custom in those days, the music he was playing was
what people wanted to hear-rock 'n' roll, R&B, and then soul music-not blues. All the
while he was compulsively woodshedding his chops and voraciously listening to all the
blues recordings he could find. A treasure trove resided at radio station KJET where DJ
and bluesman Clarence Garlow of the Bon Ton show befriended him, took his requests
on air, and let him hang at the station while also showing him guitar techniques. "I first
saw him at Jefferson Music Company where I worked as a guitar teacher," Winter
explains. "He walked in and I recognized his voice. His style was similar to T-Bone Walker.
On his show he also played a lot of his own records" laughs Winter. "I was about twelve
years old, and he was one of the first guitar players to use light gauge strings, and he
taught me how to use an unwound third. We jammed together a few times, too, including
once at my house that was great."
Winter cites Chet Atkins and Merle Travis as guitarists who really made him want to
play (and his impetus for using a thumbpick). He learned the rudiments of country fingerstyle
from Jefferson Music coworker Luther Naley and some jazz from Seymour Drugan,
the father of Dennis Drugan (the bass player for the Jammers). He briefly attended Lamar
University in Beaumont after high school, sneaking down to Louisiana on the weekends
to jam in the blues clubs. There and in Texas he was often the only white person in the
club, but felt welcome for the most part due to his obvious and sincere love for the music.
His perseverance and total immersion in the blues gained him access to the local
scene by 1963 where he got to jam with B.B. King in a momentous occasion. The following
year he took a pilgrimage to Chicago to join Dennis Drugan in the Gents where he
hoped to play blues, but instead ended up once again performing the popular music of
the day. While in the Windy City he met Michael Bloomfield at his club, the Fickle Pickle,
for what would become a solid friendship based on mutual admiration. Winter was back
in Texas a year later, however, and cut "Eternally" for the KRCO label, which leased it to
Atlantic Records, scoring a regional hit that allowed him to advance to the next leveltouring
and opening for rock acts like Jerry Lee Lewis and the Everly Brothers. In 1967
he made a fortuitous move to Houston, a hot bed for blues in the Lone Star State, and
convened a trio with bassist Tommy Shannon and drummer Uncle John "Red" Turner,
who in turn encouraged Winter to concentrate on performing the blues, knowing he was
mastering the style at a rapid pace. The band became a fixture at the Vulcan Gas
Company ballroom, later dubbed Armadillo World Headquarters, and Winter's reputation
soared on the wings of his impossibly fast, furious, and fluid solos. While in residency he
got to play with Freddie King and met Muddy Waters for the first time, with whom he would
form a lifelong friendship. In addition, responding to the creative rock experimentation
going on in the late 1960s, he also tried his hand at the psychedelic experience musically
and sartorially.

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including:

TITLE - AUTHOR - ALBUM - YEAR

Bad Luck Situation - Johnny Winter - SAINTS & SINNERS - 1974
Be Careful With A Fool - Words & Music: B.B. King, Joe Bihari - 1957 - JOHNNY WINTER - 1969
Bladie Mae - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Highway 61 Revisited - Words and Music: Bob Dylan - 1965 - SECOND WINTER - 1969
It Was Raining - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Leland Mississippi - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Mean Town Blues - Words and Music: Johnny Winter - THE PROGRESSIVE BLUES EXPERIMENT - 1969
Rock And Roll Hoochie Koo - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Rock Me Baby - Words and Music: B.B. King, Joe Bihan - 1964 - STILL ALIVE AND WELL - 1973
Still Alive And Well - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Sweet Love & Evil Women - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
TV Mama - Johnny Winter - NOTHIN' BUT THE BLUES - 1977

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CHITARRA LAMPO