Grossman Stefan Ten Original Compositions Guitar Book/cd

'The material is a mix of traditional and original the playing superb. Grossman and Renbourn combine their talents and mix of styles here to produce appealing instrumental music of rare beauty and taste.' AllMusic.comOn their duet records John Renbourn and Stefan Grossman meet on the common turf of American blues and Celtic fiddle tunes and airs. Under The Volcano is a collection of seven duets. Including an extended four-part work for which the album is named and one solo by each of the players the album has what has come to be the characteristic sound of the duo. Reflecting what Stefan quite accurately describes as 'aninterweaving of styles ' it is quite difficult and somewhat pointless to tell which of the two is playing the lead in most parts of the album. The original compositions are at once down-home and high-flown brimming with contrapuntal funkiness and the music manages to sound both loose and precise. Grossman and Renbourn contribute equally to the composition and arrangement of the traditional material. They aren't uptight about overdubbing or using the occasional electric guitar texture. But the lingering impression is one of crisp snapping strings and air being moved by wooden-boxed guitars.Track Listing:1. Idaho Potato2. Medley: Sheebeg An Sheemore & Drunken Wagoner3. Under The Volcanoa) Resurrection of Blind Joe Deathb) Four for the Rosesc) Montagu's Pactd) Rights of Man4. Medley: Bonaparte's Retreat & Billy In The Lowgrounds5. Swedish Jig6. Water Gypsy7. All Things Parallel Must Converge8. The Blarney Pilgrim9. Mississippi Blues No. 3(All tunes except for 'Bonaparte's Retreat' have been transcribed and included in a pdf tab/music booklet on the CD)

Contient des solos qui mettront au défi les guitaristes fingerstyle intermédiaire et avancé. Ces arrangements montrent les textures musicales larges, fingerstyle techniques et styles disponibles aux guitaristes fingerstyle. Main droite rythmiques, lignes de contrepoint, single-chaîne s'exécute et alternance techniques bass sont utilisées dans les arrangements. Bon nombre des airs compositions originales de Stefan, toutefois, les arrangements de musique par Big Bill Broonzy, Reverend Gary Davis et autres gourous de guitare fingerstyle sont présentés. Tous ces arrangements sont présentés dans l'onglet et notation standard. Une explication approfondie sur la façon de lire l'onglet est incluse dans ce texte. Un essai de Dale Miller en rôle colossal de Stefan Grossman dans le monde de la guitare fingerstyle est inclus dans ce texte. Cet ouvrage est livré avec trois CD qui contiennent des représentations de ces arrangements. Les guitaristes fingerstyle profiteront jouer et écouter ces difficiles, mais réalisables, arrangements. / Guitare (Fingerpick) / 72 pages / niveau : Débutant/Intermédiaire / Partition/3-Cd Set - Format: 11,75 X 8,75

Four original instrumentals all in standard tuning and in different keys are taught in this lesson. These are multipart compositions that should challenge the intermediate to advanced fingerstyle guitarists. Stefan has brought together blues country and jazz ideas and themes to these solos.Bermuda Triangle Exit has three parts. It begins with a counterpoint section that then leads in to an alternating bass theme and resolves with an RandB fashioned third part. Beyond The Pleasure Dome (also known as Matesa) comes next. This is played in the key of C and brings together several country blues styles to a lyrical instrumental. The Way She Walks isvery much influenced by Stefan's many years living in England. He learnt the first section from Martin Carthy and then added two additional parts to round off the composition. Why A Duck is played in the key of F and was originally recorded as a duet with John Renbourn. Stefan's part stands well as a Guitar solo and opens up the fingerboard to a variety of interesting chord fingerings.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.

Fingerpicking Guitar in the Dropped D Tuning. I became aware of the Dropped D tuning in 1960. It literally exploded my playing. Just by lowering the sixth string down a tone ' from E to D, my guitar sounded so much fuller. The tuning seemed to open up the fingerboard whether playing in the Keys of D, G or A. An alternating bass sounded huge and dynamic. Over the last 60 years I, as well as guitar playing friends, have explored playing in Dropped D. From folk and gospel to blues and early jazz to Celtic melodies and O'Carolan compositions to original instrumental compositions. This collection covers a lot of musical terrain. There's plenty of musical notes, styles, techniques in these pages. Travel slowly and try to absorb the arrangements one by one. The constant throughout is the Dropped D tuning. Includes access to online audio,