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

5th Step-A practical course of the element of music by Mrs J Spencer Curwen. With Illustrative duets for teacher and pupil by John Kinross.

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

Piano / Les titres de ce recueil sont issus du grand répertoire des Standards de Blues. Chaque titre est présenté sous deux formes. La première version est un arrangement pour piano entièrement doigté et chiffré de l'?uvre. La seconde version représente le thème simple accompagné de son chiffrage harmonique d'origine, en quelque sorte 'la matière première' à partir de laquelle toute forme d'arrangement peut être élaboré. / Monk, Theolonius : Blue Monk Williams, Spencer : Blue Train Blues Morton, Jelly Roll : Buddy Bolden's Blues Oliver, King : Canal Street Blues Frankie And Johnny Williams, Hank : Low Down Blues Handy, W. C. : Menphis Blues Harvey, Alex : Shake That Thing Crudup, Arthur : She Ain't Nothing But Trouble Handy, W. C. : St. Louis Blues Williams, Clarence : Sugar Blues Koffman, Moe : Swingin' Shepherd Blues Rollins, Sonny : Tenor Madness Coltrane, John : Trane's Blues Weary Blues

Just for Fun Series-Easy Rock Ukulele is designed for your total enjoyment. Each featured song is inherently simple with just a few chords. All the tunes are arranged for ukulele from the actual guitar parts simplified just enough to keep them fun and musically satisfying. Titles: As Tears Go By (The Rolling Stones) · Big Yellow Taxi (Joni Mitchell) · Casey Jones (Grateful Dead) · Gimme Some Lovin' (The Spencer Davis Group) · Gloria (Them) · Good Riddance (Time of Your Life) (Green Day) · A Horse with No Name (America) · Margaritaville (Jimmy Buffett) · Moondance (Van Morrison) · Peaceful Easy Feeling (Eagles) · Take It Easy (Eagles) · Take Me Home Country Roads (John Denver).

Series: Just for Fun Category: Other Instrument - Ukulele Format: Book Instrument: Ukulele Easy Rock Ukulele is designed for your total enjoyment. Each featured song is inherently simple, with just a few chords. All the tunes are arranged for ukulele from the actual guitar parts, simplified just enough to keep them fun and musically satisfying. Titles: As Tears Go By (The Rolling Stones) * Big Yellow Taxi (Joni Mitchell) * Casey Jones (Grateful Dead) * Gimme Some Lovin' (The Spencer Davis Group) * Gloria (Them) * Good Riddance (Time of Your Life) (Green Day) * A Horse with No Name (America) * Margaritaville (Jimmy Buffett) * Moondance (Van Morrison) * Peaceful Easy Feeling (Eagles) * Take It Easy (Eagles) * Take Me Home, Country Roads (John Denver).

Le livre Vocal réelle est la réponse à l'ouvrage de faux. C'est une alternative à la pléthore de volumes mal conçues, illisibles, inexacts, mal edited qui abondent sur le marché aujourd'hui. Le livre Vocal réelle est extrêmement précis, soignée et vise, avant tout, pour un usage pratique. Tous les efforts réalisés pour le rendre agréable à effectuer. La sélection de musiques pour ce volume met en évidence les principaux compositeurs jazz du passé des années 60, avec une attention particulière pour les années 1960 et 1970. Un certain nombre de chansons par Rogers

50 Thèmes de musique de films, transposés pour Piano Solo réunis dans ce recueil. / [Film Themes For Solo Piano] / Musiques de films

un livre contenant cinquante chansons cultes de ces cinquante dernières années. Avec des titres comme 'Memories are made of this', 'Whatever will be will be', 'Eloise', 'Mull of Kintyre' et bien d'autres encore. Edition allemande / Niveau : Elémentaire / Rép International / Recueil / Piano, Chant et Guitare

Livre de poche qui regroupe tous les plus grands tubes des années 60 de `Good Vibrations` des Beach Boys en passant par `Respect` d'Aretha Franklin et `Hit the Road Jack` de Ray Charles. Partitions pour guitare (symboles et grilles d'accords) avec les paroles complètes. / Variétés Internationales / Partition /

La série de livres de Budget continue, cette fois, offrant plus de 60 classic rock et pop hits arrangés pour Piano facile et à un prix incroyable ! Profitez de la smash frappé les chansons que vous connaissez et de l'amour à travers le monde de la pop, depuis les années soixante favoris par les Beach Boys et Otis Redding, jusqu'à des chansons de Shania Twain et Mariah Carey. Emballé avec certaines des chansons plus grands et le plus durables de tous les temps, cette édition de la série de livres de Budget représente valeur superbe. / Piano/Vocal/Guitare (PVG) / 304 pages / Partition