I will repeat what I have said before. The most helpful instruction I have ever received was from the lessons over at. The Essential Fretboard series is great as are the Essential blues boxes stuff. Havent bought anything else yet.
Jan 21, 2018 - Una Bambina E Basta Lia Levi Pdf File; - Soul Nomad Pcsx2 Download Games. - Uni En Iso 13786 Pdf To Jpg. Una Bambina E Basta Lia Levi. PbAN-1Yo8/hqdefault.jpg' alt='Blind Willie Mctell Tab Pdf File' title='Blind Willie. Guitar Tab Books, Instructional DVDs, Solos, Arrangements, Transcriptions,.
Its not just for SRV style. Its the building blocks of the SRV, Hendrix, BB King, Albert King etc. Way of playing the blues.
Anthony is a real humble and nice guy too. There is also a series called 'Essential Theory' if you are starting from ground zero musically speaking. I agree with what others have said. Use your ears and play your guitar! It might sound a bit obscure, I can imagine.especially for someone starting out, but you can't learn an art-form through reading a book. You've got to immerse yourself in it. Use your ears just as a painter would use their eyes.
If you were talking about Jazz on the other hand, it would be slightly different due to most people benefiting from learning Jazz theory as a foundation. On the bright side, Its great that you're seeking resources.that's always a good first sign! Blues DVD's and books This is just my opinion and experiences. My first music experiences were classical and Jazz trombone from age about 12 up into my 3rd year of college. I don't know squat about jazz theory and I am having a heck of a time learning to read treble cleff, I prefer tab. I learned 5 string banjo from the Scruggs book and playing with folks on the back porch.
If you cannot get out to play with others, for whatever reason, I think the DVD's are a great tool. That's what I am using now. Playing with others is definetly best, but sometimes you just can't or you don't know where to go.
I found some stuff on after reading a small write in Guitar Techniques. He also teaches workshops. Visit the website for schedule. I would really like to try one of his workshops. He travelled with Rev.
Gary Davis in the 60's. He's got DVD's on Mance Lipscomb, Rev. Gary Davis, Lightnin Hopkins, Blind Willie McTell and others. Some blues and some ragtime guitar.
The 2 DVD set on lightnin' Hopkins early years is good, as is 'The Guitar of Lightnin' Hopkins'. It's acoustic, but it's the beginnings of the Texas blues shuffle and it works on electric. I think DVD's are nice 'cause it's like having someone to play with and you can stop/restart without disturbing who's playing. I don't use the small booklet or PDF files that come with the set, just rewind and play again until I get it right. I've got books on the theory and chord progressions, but they get stale quick and it's nice for a beginner like me to be able to work on some licks to break the monotony. Hope this helps, Ralph.
Blues DVD's and books This is just my opinion and experiences. My first music experiences were classical and Jazz trombone from age about 12 up into my 3rd year of college. I don't know squat about jazz theory and I am having a heck of a time learning to read treble cleff, I prefer tab. I learned 5 string banjo from the Scruggs book and playing with folks on the back porch. If you cannot get out to play with others, for whatever reason, I think the DVD's are a great tool. That's what I am using now.
Playing with others is definetly best, but sometimes you just can't or you don't know where to go. I found some stuff on after reading a small write in Guitar Techniques. He also teaches workshops. Visit the website for schedule. I would really like to try one of his workshops. He travelled with Rev.
Gary Davis in the 60's. He's got DVD's on Mance Lipscomb, Rev.
Gary Davis, Lightnin Hopkins, Blind Willie McTell and others. Some blues and some ragtime guitar. The 2 DVD set on lightnin' Hopkins early years is good, as is 'The Guitar of Lightnin' Hopkins'. It's acoustic, but it's the beginnings of the Texas blues shuffle and it works on electric. I think DVD's are nice 'cause it's like having someone to play with and you can stop/restart without disturbing who's playing. I don't use the small booklet or PDF files that come with the set, just rewind and play again until I get it right.
I've got books on the theory and chord progressions, but they get stale quick and it's nice for a beginner like me to be able to work on some licks to break the monotony. Hope this helps, Ralph. I say take it all in from many sources: books, playing with others, jamming with the CD, backing tracks, etc etc etc.
It's good to take information in from many sides because you don't know what learning technique or bit of knowledge is really going to break you open. And play, play, play. I've gotten books in the past but they've never done much for me. Youtube will be good if you can't find a good teacher in your area. Don't neglect ear training.
I think the most I've learned is from the masters themselves jamming along to the track until I nailed it. This way, you always have a teacher available. This will also translate to playing with a band.
If you get use to following the CD with your ears this will benefit your live playing. You be able to anticipate the best moments and change according to the band. I neglected my ear training for years and last year decided that I'd never learn Blues from tab again. I've grown as a player and no I can tell what scale or part of the neck the parts are being played on because my ears no where they are. Once the ears know, the hands will follow. It's hard work, but it's worth it.
All the greats learned this way! And now, I finally understand the wisdom of learning by ear. Another important concept in blues playing is learning the 12 bar blues progression to the point you can feel the changes. Also, when you're playing blues lead guitar, the listener should be able to hear the 12 bar blues progression in your lead playing, that is, even without the rhythm tracks, the lead should follow the changes. Stevie Snacks is an excellent source to learn from, as he has a great teaching style.
To quote Jimi Hendrix: 'Blues is easy to play, but hard to feel.' You'll struggle playing it at first, but keep at it.
The more blues songs you get under your fingers, the better. Pay attention to how the greats follow the progression in their lead playing. Follow the chords, it's important! Oh, in saying that, you'll be able to choose from playing pentatonic scales or forming scales using the chord voicings. So many variations out there! Most of all, enjoy what you play! If you're enjoying it, the audience is too.
First, find an equally brimmed funny looking hat you can stick a feather from a dead bird in the rim of. Next take apart a real (not reissue) TS808 and make you own secret mods. Then tell everyone how only a Fender amp will ever get the right tone only to buy a used Mesa Express that 'blows you away' and a guy 'said he'd give me $800 for at the gig I played last night'. Watch the new Lone Ranger movie and take notes on everything Tonto does. Sell all of your other gear (outside of your strat, the Ts808 and your amp, along with needed cables strap and half a dozen near dead nine volts) for dirt cheap on the forum. Find a soup kitchen, become a wandering hobo, and live under a bridge.
Then once you rise to fame YOU can write your own book.OR- Buy this, actually learn ALL the exercises while listening to the CD that comes with and find some musicians as eager as yourself to play blues. Marty Schwartz (GuitarJamz.com) Beginner Blues DVD course will teach you more than a book ever will. He has a lot of free stuff that will get you started on Youtube, but if you're serious about learning his DVD series are more in-depth and take you on a natural progression of learning instead of just random things here and there on YouTube. He'll start you off from a very basic blues progression and build you up to learning the blues scales.
There are a ton of DVD series out there that will teach you blues stuff from the ground up. I just connected with Marty's teaching style and approach, but StevieSnacks, JustinSanderCoe and countless others are producing top notch learning materials. I'd highly recommend learning blues from a DVD or live teacher than a book. The learning process can be very frustrating and tiresome, but it's also very rewarding!
Blind Willie McTell is an absolute legend of the blues. One of the most accomplished of the Piedmont guitarists, his recorded works cover a wide range of styles and his 12 string playing has a delicacy that is unique among the early blues players.
William Samuel McTier was born in Thompson, Georgia, on May 5th in either 1898 or 1901. His unwed mother was 14 year old Minnie Watkins and his father, Eddie McTier was a moonshiner and gambler and left the family after a few months. William was born blind in one eye, and soon lost his sight in the other. Minnie took the McTier name for her blind son and for herself, and moved to the tiny village of Stapleton, a few miles to the south. Minnie worked in the cotton fields, the primary industry in Georgia, and the only work available for share croppers after the end of slavery.
When William was 9, they moved to the nearby large town of Statesboro which was rapidly growing due to the cotton trade. William started school in Stateboro, where due to the phonetic pronunciation of his regional Georgian accent, he was taught his last name was spelt “McTell”. Minnie was a competent guitar player, and started to teach William on a six string in Statesboro. He took to it like a duck to water, and by his early teens was good enough to play for money on the street. Despite his blindness, he took to the road as a teen, following travelling medicine shows.
His mother remarried and had another son, but she died in 1920 bringing William back to Statesboro. Due to the generosity of neighbours and local businesses, William attended schools for the blind in Macon, Georgia, Michigan and New York where he learnt to read and write braille.
Between schoolings he stayed on the road working for minstrel and medicine shows, and playing on the street in the towns he visited. He would return to Statesboro often, but the town was in decline. The bo weevil is a major pest of cotton crops and in the early 20s it had hit the primary industry of rural Georgia hard. From 1915 to 1923 the weevil had reduced Georgia’s cotton production by half, forcing the residents of towns like Statesboro to look for work in urban centres. Most headed to Atlanta and Augusta and Willie followed them in 1924. Atlanta had a bustling music scene centred around the infamous Decatur Street in the segregated part of town. Willie found a talented group of bluesmen to play with including Peg Leg Howell, Buddy Moss, Curley Weaver, Charley Lincoln and his brother Barbecue Bob.
In Atlanta Willie switched from the six string to the louder twelve string guitar and performed on street corners, fish fries, blacks-only clubs and at his local church every Sunday. Willie’s growing reputation attracted the notice of Victor Records, and he entered their studio in Atlanta to record 4 tracks on October 21, 1927. They were realesed on two 78’s, and were moderately popular which resulted in another 4 track session on October 17, 1928, where Statesboro Blues was recorded. The records were all successful, and were the start of a 30 year recording career. From 1929 to 1935, Willie recorded a number of records, under his own name and using pseudonyms such as “Blind Sammie”, “Blind Willie” and “Georgia Bill” to record for different labels; as a guitarist for Curley Weaver, Ruth Day aka.
Mary Willis and Alfoncy and Bethenea Harris. In 1931 he met Ruthy Kate Wiliams while attending a Christmas concert at a high school in Atlanta. Origininaly from Savannah, Ruthy Williams was a singer and McTell invited her to record with him. They recorded under the name “Ruth Glaze” in 1932.
The two were married in 1934, and preformed and recorded under the name Blind WillieMcTell and Katie McTell. As the Great Depression hit and money for musicians became scarce, Willie’s recordings became less frequent.
He recorded unissued tracks with Vurley Weaver and William “Piano Red” Perryman in 1936,but these are lost. In 1940 John Lomax recorded him in a hotel room for the Library of Congress. After the Second World War, Willie continued recording under his own name (including two unreleased full albums for different labels), as a duet with Curley Weaver under their own names and “Pig and Whistle Band” and under the pseduonym “Barrelhouse Sammy”. In 1957 he was a Baptist Minister, and Blind Willie McTell died of a stroke on August 19, 1959. He left behind a massive influence on Piedmont players, folk musicians and the blues as a whole. Bob Dylan was greatly influenced by McTell’s songwriting, guitar technique and singing and covered a number of his songs.
In 1983 he honoured McTell’s legacy with the song “Blind Willie McTell” which contains the refrain “No body sings the blues like Blind Willie McTell” – Dylan played piano and was accompanied by Mark Knopfleron 12 string. Taj Mahall covered Statesboro Blues in 1968, as did the Allman Brothers in 1971 – a version which is generally regarded as one of the best slide blues songs of all time. Blind Willie was inducted into the Blues Hall of Fame as a foundation member in 1981. Statesboro Blues is a masterpiece in every aspect.
The guitar is a prefect example of Piedmont playing, the singing is mournful and lonesome, and the songwriting is absolutely first class. It has become one of the most influential blues songs ever recorded, nearly every line has been popularised by other artists either singularly, or as the inspiration for entire songs: “Going up the Country” by Canned Heat (though McTell borrowed the line from Sippie Wallace); snippets like “I Once loved a Woman”, “travelling shoes”, “you know by that” have become blues staples. The song is played in drop D tuning, but the entire guitar is lower than standard – C# or there abouts. It’s a 12 bar but somewhat unusally doesn’t use the 5th chord in bar 9, instead using a higher voicing of the 1st chord. Willie adds bars when ever he wants to, which adds to the atmosphere created by the non-chronological narrative of the lyrics.
Willie was a master of Piedmont playing, so the song requires a strong right hand technique. It features an alternating bass line all throughout, with melodies improvised over the top. Willie’s genius is that in the 4 bar open “D” sections of each verse he employs different voicings of the D chord – from open, to open with an added major 3rd, to 5th fret to 7th fret. The other sections are fairly consistent – G section, back to D, then the turnaround of 5th fret D voicing and a descending on the beat bass run in G. The song starts of nice and gentle and is hammering along by the end.
The entire time the melody lines are played with an almost restrained feel to them. This song is quite difficult, so take your time, get it working at a slow speed then work up to Willies pace.