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Download 100 Ultimate Blues Riffs by Andrew D. Gordon PDF

By Andrew D. Gordon

This most sensible promoting e-book, a hundred final Blues Riffs by means of Andrew Gordon is an exhaustive advisor to a few of the simplest musical words that make up blues piano/keyboard taking part in. There are 5 sections damaged down into:

* simple Blues riffs

* R&B stimulated Blues riffs

* Boogie Woogie

* Rock encouraged Blues riffs

* Gospel inspired Blues riffs The 12 bar Blues development and the Blues scale are defined. There are accomplished songs behind the e-book that exhibits find out how to mix the various riffs to shape a music. many folks have commented that this is often the easiest Blues keyboard product that they've ever used. A needs to for all degrees of keyboardists that are looking to learn the blues. All a hundred "riffs" are recorded with the piano correct hand at the correct channel and the piano left hand at the left channel besides a drum tune. learn the way your favourite Blues keyboardists play together with Dr. John, Leon Russell, Chuck Leavell, Jimmy Yancey, Meade Lux Lewis, Otis Spann, Nicky Hopkins and lots of extra!

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Extra info for 100 Ultimate Blues Riffs

Example text

B23 describes Krishna playing his flute in Braj, thereby attracting gods and men, whereas his beautiful form causes the sakhīs to forget home and hearth: B23 1 2 3 4 He played his flute in the middle of Brindaban; Shy am beguiled gods and men. The friends, seeing his beautiful shape, forgot all about their homes. Like A21 discussed above, this text is characterised by an absence of personal involvement on the part of the speaker, who appears as a somewhat distant observer. In bandiś as well as bol banāv we find that when the narrative is in the third ‘I get no peace’ 29 person it is usually unclear whether the narrator is male or female, and engaged in the narrative or not.

This newspaper collection provides a striking glimpse into the world of Hindustani music as it lives in the perceptions of journalists and, by extension, audiences; as the dates of the articles range from the 1950s to the 1990s, the collection also documents how music reviews and reviewers’ attitudes have changed over the years. Although attendant observations are not relevant to the present study, it is worth noting that there has been a general movement towards a more ‘scientific’ approach to music, in which the exact specifications of a rāg are analysed and the performer’s rendition is commented upon.

The texts are organised alphabetically following the Devanagari order. The rationale behind the inclusion of certain texts has been based on currency: all the texts that are included in the ‘Main corpus’ were (in at least one version) sung or recited for me during fieldwork in India in the year 1996–7, or have been heard on either private or commercial recordings; there are therefore no texts in the ‘Main corpus’ which are not, or no longer, part of a performance tradition. Where variant versions of the texts thus accumulated are known to exist (either through fieldwork, recordings or anthologies) they have also been included.

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