Matériel : 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
SKU: MB.30779M
ISBN 9781513462691. 8.75 x 11.75 inches.
This book presents three of the greatest ragtime blues guitar players from the 1920s-1940s. They all possessed what Rev. Gary Davis called that sportinâ?? right hand. Each could sing the blues or play a dance instrumental. They favored first-position chords but produced incredible textures and rhythms from these easy left-hand fingerings. There are years of exciting fingerpicking challenges in these pages. But what fun it will be once you can play these tunes!
BIG BILL BROONZY Big Bill Blues â?¢ At the Break of Day â?¢ Friendless Blues â?¢ Shuffle Rag â?¢ Worrying You off My Mind Bull Cow Blues â?¢ Five Feet Five
BLIND BLAKE Georgia Bound â?¢ Back Biting Bee Blues â?¢ Cold Hearted Mama Blues â?¢ Ice Man Blues â?¢ Righteous Blues â?¢ Tootie Blues Rope Stretchinâ?? Blues â?¢ Sea Board Stomp â?¢ Walkinâ?? Across the Country â?¢ What a Lowdown Place the Jailhouse Is
BLIND BOY FULLER Baby, I Donâ??t Have to Worry â?¢ Careless Love â?¢ Georgia Ham Mama â?¢ Keep Away From My Woman Somebodyâ??s Been Playing With That Thing â?¢ Why Donâ??t My Baby Write To Me (I Got A Woman Crazy For Me) Sheâ??s Funny That Way â?¢ Jivinâ?? Woman Blues
HOW TO USE THIS BOOK 1) Listen over and over to the original recordings available via the download link for this collection. 2) Get a program that can control digital audio files. Use this with the transcriptions and the recordings. 3) Be patient!! Practice, practice and practice some more!!
SKU: MB.GW865
5.25x7.5 inches.
Looking to spice up your repertoire? Or maybe youâ??d just like to add to your toolbox of licks and turnarounds? The best way to do either is to turn to the greats!In this lesson Ben Gateno guides you through several jaw-dropping instrumentals originally performed and recorded by three of the most legendary acoustic blues and ragtime guitarists: Lonnie Johnson, Blind Blake, and Big Bill Broonzy. Combined, all tunes featured present wildly varying textures, rhythms, techniques, and harmonic language. By the end of the lesson no part of your fretboard will go unexplored. Along the way, Ben offers crucial insights and practice tips that will help you learn not only these numbers faster and better but are sure to ramp up everything you play.All tunes are performed by Ben at speed and slowed down, with clear, detailed views of both hands. A detailed tab/music PDF file is included on the DVD with note for note transcriptions of the tunes taught. The original recordings are included in the Bonus Audio section. DVD is region 0 playable worldwide.120-minute DVD.Titles include LONNIE JOHNSON Blues in G, BIG BILL BROONZY House Rent Stomp, and BLIND BLAKE breaks from Hometown Skiffle.
SKU: MB.99802M
ISBN 9781513466941. 8.75 x 11.75 inches.
In this series for the intermediate guitarist, John Fahey teaches a wide variety of instrumental solos. Critics have called Johns style American Primitive Guitar. The book includes tablature and notation with three compact discs featuring note-by-note, phrase-by-phrase instruction. LESSON ONE: A general discussion of pattern picking and the use of the alternate bass. In Christ There Is No East Or West, Take A Look At That Baby and Some Summer Day. LESSON TWO: One of Johns most requested multi-sectioned composition is Indian Pacific Railroad Blues, also known as Beverley. This tune demonstrates how John composes in the fingerpicking idiom. Also taught is another very requested and imitated instrumental, Johns The Last Steam Engine Train. LESSON THREE: When The Springtime Comes Again and The Approaching Of The Disco Void. A discussion of improvisational ideas in relationship to fingerstyle compositions concludes this lesson.
SKU: MB.31060M
ISBN 9781513468051. 8.75x11.75 inches.
As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. Titles include: Oh, You Beautiful Doll, I’ve Got The Blues, High Society, St. Louis Blues, Davenport Blues, Poor Butterfly, Dixie Jass Band One-Step, Memphis Blues, Big Foot Ham, Grandpa’s Spells, The Original Jelly Roll Blues, Midnight Mama, Milenberg Joys, Fizz Water, Back Home in Indiana, Sweet Georgia Brown, Red Wing (An Indian Intermezzo), There’ll Be Some Changes Made, Way Down Yonder In New Orleans, Charleston, Where The Morning Glories Grow, Limehouse Blues, Susie (of the Islands), I Need Some Pettin’, Weather Bird, Cornet Chop Suey, Kansas City Stomps, King Porter Stomp, Jubilee Stomp, Take It Easy, If I Had You, Moonlight Serenade
