A Little Mischief Music

The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

Par . The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio. / Date parution : 2021-11-03/ Recueil / Guitare

Voici une occasion unique de prendre une leçon intime avec un vrai blues grand et long time comme sideman à la légendaire Wolf Howline, Hubert Sumlin. Solos de sharp à bords de Sumlin et qui cris riffs ont honoré des enregistrements par certains des meilleurs étoiles blues dont Eric Clapton, Willie Dixon et Sunnyland Slim, et la longévité de sa carrière avec Wolf Howline signifie que son ton distinctif est maintenant comme partie intégrante de son loup comme la voix de la formidable bluesman lui-même. Il a longtemps été reconnu comme une influence vitale par ces pionniers de guitare révolutionnaire que Jimmy Page et Keith Richards, ainsi que par les mavericks comme Zappa et Hendrix. Introduit par Jimmy Vivino et soutenu par une section rythmique stellaire featuring The Band Levon Helm avec David Johnson et Michael Merritt, Hubert met en lumière son style blues fingerpicking traditionnelle, axée sur le Mississippi. Découvrez les licks qui a permis de définir une ère musicale, a ralentissent et démontrent en détail par l'homme lui-même. Faire des pauses Sumlin... / Guitare / Dvd

The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

This charming children's story will delight music lovers of all ages. Little Martin the Guitar lives in Mr. Beninato's Music Store in New York City. He wants so much to be adopted and taken home by a fine musician but the otherlarger instruments in the shop are always picked before him. Every night after Mr. Beninato goes home all the instruments play for each other and compete for a place of honor in the shop. The large and loud guitar known as Big Dalways wins the contest. One night Strada the Violin decides to step out of her special case and help Martin win the contest and the two perform a duet that leaves the other instruments looking on with awe and admiration. JoinMartin and all his friends for a CD of music from Mr. Beninato's Music Store! Performed on guitars mandolins banjos and more hear songs from the book entitled ?Strada's Waltz ? ?Mr. Beninato's MusicShop ? ?Martin's Lullaby ? and six more tunes made to bring a smile to your face and to set your toes tapping!

The key of E shouts out: 'Play the blues.' It is the most popular setting for playing in the style of Lightnin' Hopkins. Chicago bluesmen love playing in E. But there are other approaches of fingerpicking blues in the key of E. In this lesson we will explore styles and techniques as played by some of the legendary bluesmen. Charley Jordan's unique approach will be taught with note-by-note transcriptions of his 1930's recordings of 'Keep It Clean' and 'Hunkie Tunkie Blues'. Big Joe Williams' classic 'Baby Please Don't Go' will combine a little of the old (with a Mance Lipscomb right hand technique) with a taste of the new (licks from Booker T. & the MGs).The perennial 'Careless Love' and 'I Shall Not Be Moved' have touches of Mississippi John Hurt while 'Crow Jane' takes its cues from the playing of Big Bill Broonzy and Brownie McGhee. 'Pigmeat Shuffle' combines the bass and licks of Rev. Gary Davis. And of course Lightnin' Hopkins' playing is included with an arrangement combining many of his trademark licks. A detailed tab/music booklet is included as a PDF file on the DVD. Each tune is taught phrase by phrase and played slowly on a split-screen. The Bonus Audio section presents a wide assortment of bluesmen playing the tunes taught in various settings.  Titles include: 'Baby Please Don't Go' 'Pigmeat Shuffle' 'Crow Jane' 'I Shall Not Be Moved' 'Careless Love' 'Hunkie Tunkie Blues' 'Keep It Clean' and 'Texas Lightnin' Blues'. 107 minutes - Level 2/3 - Detailed tab/music PDF file on the DVD.

Fingerpicking Blues Guitar is a never ending study full of surprises and discoveries. Each key of the Guitar offers new sounds and textures. A blues played in the key of C sounds world's apart from a blues played in the keys of A G D or E. This series focuses on a single key for each lesson. The key of G offers specific advantages. It is ideal for the alternating bass technique i.e. Mississippi John Hurt's style of playing. In this lesson we start by learning an arrangement of Marshall Owens' 1930s recording of Try Me One More Time. This was originally played in an Open G tuning but is here arranged in standard tuning using a JohnHurt approach. Not all blues from the 1920s and 1930s were fingerpicked. Jim Jackson was a popular Memphis songster who basically strummed his Guitar. But his repertoire was full of wonderful songs. Stefan Grossman has taken his Wild About My Loving and has tried to keep the original feel by combining a strum approach intermingled with fingerpicking the melody. Little Hat Jones was an amazing fingerstyle bluesman. His Bye Bye Baby Blues was played in the key of G. Here his version is fully transcribed note for note. Blind Boy Fuller recorded many blues in the key of G. In this lesson we'll tackle three of his arrangements: Baby Let Me Lay It On You Baby Quit Your Low Down Ways and I Crave My Pigmeat. We study his playing note for note but also explore variations. By the end of this lesson you will know six great tunes and have an insight in to fingerpicking blues in the key of G. A detailed tab/music booklet is included as a PDF file on the DVD. Each tune is taught phrase by phrase and played slowly on a split-screen. As well the original old recordings are included in the Bonus Audio section. Titles include: Try Me One More Time Wild About My Loving Bye Bye Baby Blues Baby Let Me Lay It On You Baby Quit Your Low Down Ways and I Crave My Pigmeat. 100 minutes

Séquences rares des légendes du vieux temps musique mettant en vedette Tommy Jarrell, Clarence Ashley, Roscoe Holcomb, Doc Watson, Sam McGee, Pete Steele, Jean Ritchie et autres. Une brochure complète de 22 pages mettant en vedette materail biographique, photographies rares et des détails sur les airs effectués est également disponible au téléchargement avec ce produit. / Guitare / Dvd

150 des plus célébres standards de jazz, speciallement arrangés pour piano, chant et guitare (accords) / Variétés Internationale / Partition /