Thursday, November 10, 2011
Wednesday, November 9, 2011
Thursday, October 27, 2011
Wednesday, October 26, 2011
Wednesday, October 5, 2011
Friday, June 3, 2011
All My Loving
-5 5 -4 5 -5 6 -6
close your eyes and i'll kiss you
-7 7 7 -7 -6 5
to-mor-row i'll miss you
-6 -6 -6 6 -5 5 4 -4
re-mem-ber i'll al-ways be true
-5 5 -4 5 -5 6
and then while i'm a-way
-6 -7 7 7 -7 -6 5
i'll write home ev-'ry da-y
-6 -6 -6 -6 6 -5 5 -4 4
and i'll send all my lov-ing to you
chorus
7 -7 -6 5 5 -4 4 -4 5
all my lov-ing,i will send to you
7 -7 -6 5 5 -4 4 -4 4
all my lov-ing,dar-ling i'll be true
Wednesday, June 1, 2011
Across The Universe
7 7 7 7 -7 -6 6 -6
Words are fly-ing out like end-less
6 -6 6 -6 6 -6 6
rain in-to a pa-per cup,
-6 -5 6 -5 6 -5
They slith-er while they pass,
6 -6 6 6 -6 6 -6 6-6 -7
they slip a-way a-cross the un-i-verse
7 7 7 7 -7 -6 6
Pools of sor-row, waves of joy
-6 6 -6 6 -6 6 -6 6
are drift-ing through my o-pen mind,
-6 -5 6 -5 6 -5 5 -4 4
Pos-ses-sing and ca-ress-ing me -.
6 5 6 7 -7 -8 7 7 6
Jai- gu-ru - de - va, om
-8 -8 -8 -8 7 -8 -5
Noth-ing's gon-na change my world,
7 7 7 7 -7 7 5
Noth-ing's gon-na change my world.
Tuesday, February 8, 2011
Traditional American folk songs from the Anne & Frank Warner collection By Anne Warner
Friday, December 24, 2010
A Hard Days Night
5 -5 5 6 6 6
It's been a hard day's night,
6 6 -5 6 -7 6 -5 6 -5 5
and I been work-ing like a dog---
5 -5 5 6 6 6
It's been a hard day's night,
6 6 -5 6 -7 6 -5 6 -5 5
I should be sleep-ing like a log---
7 7 7 7 -7 -7 -6
But when I get home to you
7 7 7 -8 -8 7 -7
I find the things that you do
5 -5 5 6 5 -5 6
Will make me feel al-l-right
5 -5 5 6 6 6
You know I work all day
6 6 -5 6 -7
to get you mon-ey
6 6 -5 6 -5 5
to buy you things---
-5 5 6 6 6 6 6 6 6
And it's worth it just to hear you say
6 6 6 6 -7 -7
you're gon-na to give me
6 -5 6 -5 5
ev-'ry-thing---
7 7 7 7 7 -7 -7
So why on earth should I moan,
7 7 7 -8 -8 7 -7
'cause when I get you a-lone
5 -5 5 6 5 -5 5
You know I feel al-l-right
6 -7 7
When I'm home
7 -7 -6 -6 -7 7 -8
feel-ing you hold-ing me tight,
-8 -8
tight,yeah
5 -5 5 6 5 -5 5
You know I feel al-l-right
5 -5 5 6 5 -5 5
You know I feel al-l-right
Saturday, November 20, 2010
Belafonte Folk Song Book
 | The Belafonte Folk Song Book, Songs of the People with Commentary |
Here are 22 folk songs arranged for voice, piano, & guitar with lyrics. In addition to the music, Harry Belafonte has provided commentary about each of the songs. Titles: Angelique-o Bald-headed woman Bamotsweri Brown-skin gal Cu cu ru cu cu paloma Day-O Dont ever love me Go down, Ol Hannah Im goin away In the evenin Mama Its the same the whole world over Jamaica farewell John Henry Judy Drownded Jump down, spin around Kingston market The marching saints Matilda Michael row the boat ashore My Lord, what a morning Scarlet ribbons Scratch, scratch
Tuesday, July 13, 2010
Key To The Highway
E-Chords offers access to the Tabs free for viewing. However, in order to be able to download a pdf of the tab sheet, you will need to register on their site.
Monday, July 12, 2010
God & Man
E-Chords offers access to the Tabs free for viewing. However, in order to be able to download a pdf of the tab sheet, you will need to register on their site.
God & Man Tabs
Sunday, July 11, 2010
Bring It On Home To Me
E-Chords offers access to the Tabs free for viewing. However, in order to be able to download a pdf of the tab sheet, you will need to register on their site.
Bring It On Home Tabs
Monday, May 24, 2010
How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom (Ashgate Popular and Folk Music Series) by Roberta Freund Schwartz
 | How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom (Ashgate Popular and Folk Music Series) |
This book explores how, and why, the blues became a central component of English popular music in the 1960s. It is commonly known that many 'British invasion' rock bands were heavily influenced by Chicago and Delta blues styles. But how, exactly, did Britain get the blues? Blues records by African American artists were released in the United States in substantial numbers between 1920 and the late 1930s, but were sold primarily to black consumers in large urban centres and the rural south. How, then, in an era before globalization, when multinational record releases were rare, did English teenagers in the early 1960s encounter the music of Robert Johnson, Blind Boy Fuller, Memphis Minnie, and Barbecue Bob? Roberta Schwartz analyses the transmission of blues records to England, from the first recordings to hit English shores to the end of the sixties. How did the blues, largely banned from the BBC until the mid 1960s, become popular enough to create a demand for re-released material by American artists? When did the British blues subculture begin, and how did it develop? Most significantly, how did the music became a part of the popular consciousness, and how did it change music and expectations? The way that the blues, and various blues styles, were received by critics is a central concern of the book, as their writings greatly affected which artists and recordings were distributed and reified, particularly in the early years of the revival. 'Hot' cultural issues such as authenticity, assimilation, appropriation, and cultural transgression were also part of the revival; these topics and more were interrogated in music periodicals by critics and fans alike, even as English musicians began incorporating elements of the blues into their common musical language. The vinyl record itself, under-represented in previous studies, plays a major part in the story of the blues in Britain. Not only did recordings shape perceptions and listening habits, but which artists were available at any given time also had an enormous impact on the British blues. Schwartz maps the influences on British blues and blues-rock performers and thereby illuminates the stylistic evolution of many genres of British popular music.
About the Author
Roberta Freund Schwartz is Associate Professor of Historical Musicology, and advising director of the University's Archive of Recorded Sound, University of Kansas, USA. She specializes in Spanish music, the music of the Renaissance, patronage, and African American influenced popular music.
Thursday, May 6, 2010
Acoustic Guitar Method 1
By David Hamburger
We're proud to present the first in a series of beginning method books that uses traditional American music to teach authentic techniques and songs. From the folk, blues and old-time music of yesterday have come the rock, country and jazz of today. Now you can begin understanding, playing and enjoying these essential traditions and styles on the instrument that truly represents American music: the acoustic guitar. Working in both tablature and standard notation, you'll learn how to find notes on the fingerboard, a variety of basic chords and strums, country backup basics, waltz time, and melodies with half notes and rests. When you're done with this method series, you'll know dozens of the tunes that form the backbone of American music and be able to play them using a variety of flatpicking and fingerpicking techniques. Songs: Man of Constant Sorrow * Columbus Stockade Blues * Careless Love * Get Along Home, Cindy * Sally Goodin * Ida Red * Darling Corey * Hot Corn, Cold Corn * East Virginia Blues * In the Pines * Banks of the Ohio * Scarborough Fair * Shady Grove.
Monday, May 3, 2010
Thursday, April 29, 2010
Wednesday, April 28, 2010
Sail Away - Tabs
Sail Away-Sonny and Brownie This is off an album Sonny Terry and Brownie McGhee did together appropriately called and Brownie." It's a cover of a Randy Newman song and sounds good on solo acoustic.
Monday, April 26, 2010
Blues Guitar - Treble Shuffle - Brownie McGhee
This is another variation of the shuffle. Now the movement E - E6 - E7 is played on the treble strings. I think of it as typical for the playing of Brownie McGhee, but he fingerpicks with a monotone bass.
A - A6 – A7 E - E6 - E7
We start with an E-chord, fingered The 12 bar blues in E, a fingering that leaves your 4th finger free. To get E6, you fret 2nd string 2nd fret, and to get E7, you fret 2nd string 3rd fret. Note that this gives you another voicing of the E7 chord than the one shown in the first lesson. Personally I like this new voicing better, but it is a matter of context and of taste. You should know both.
I often start with open 3rd string as a pick-up note, hammering on to 1st fret. Look in the tabulature for this. It gives you a change from Em to E
Over the A-chord we have the same movement, once again with the 4th finger doing all the work on 1st string. You can have the same kind of minor - major change, but the fingering is more difficult. So it is better to slide the whole chord up from 1st to 2nd fret. B7 is difficult, so we do not care about this chord no.
12 bar blues - Treble shuffle in E
