SKU: MB.97167
ISBN 9780786651009. UPC: 796279065313. 8.75 x 11.75 inches. Transcribed by Justin Thompson.
Arthel Doc Watson and David Dawg Grismans musical friendship goes back to the early 1960s. The CD Doc and Dawg from the Acoustic Disc label captures some of their private sessions created during Docs visits to Davids home studio over the years. These transcriptions from that CD give Docs guitar parts in notation and tablature with chord symbols.
SKU: MB.30110M
ISBN 9780786687466. 8.75 x 11.75 inches.
Play Like a Legend: Doc Watson features transcriptions of his great guitar flatpicking recordings from the early 1960s until the 1990s. In addition, detailed explanations of special techniques such as Carter Plus soloing, using three note patterns 3NPs and numerous crosspicking patterns are included. Exercises are designed to isolate specific licks and patterns, making them easier to learn. Moveable phrases and licks are identified so that players can introduce Docs unique sound into their own playing. Includes access to online audio.
SKU: MB.93935M
ISBN 9780786688753. UPC: 786688750. 8.75 x 11.75 inches.
This book is an encyclopedia of Carter flatpicking style back-up, bluegrass back-up, Carter flatpicking style lead, Doc Watson-style lead, Clarence White-style bluesy lead, Atkins/Travis fingerpicking style, rockabilly guitar style, Nashville lead styles, and Western swing. The tunes and exercises in the book are included on the audio recording available online. Fred introduces each tune with page numbers to locate the corresponding material in the text. Stereo split track recordings allow you to hear the guitar through one speaker, separate from the band. In notation and tablature. Includes access to online audio.
SKU: BT.AMP-450-140
English-German-French-Dutch.
Wind in the Reeds was commissioned by Deena Draycott in memory of John Watson, an army bandsman, teacher and bassoonist. Wind in the Reeds is both a tribute and lasting memorial to John. The piece is largely pastoral in nature, evoking images conjured up by the ‘play on words’ in the title, but includes a faster central section which exploits other aspects of the character of the bassoon. Transitions between the various sections of the piece are achieved through a series of accompanied cadenzas for the soloist.Wind in the Reeds werd geschreven in opdracht van Deena Draycott, ter nagedachtenis aan John Watson, muzikant in een militaire band, muziekdocent en fagottist. Het werk is grotendeels pastoraal van karakter; het roept beelden op die de woordspeling in de titel (Wind in het riet) met zich meebrengt, maar het bevat een sneller middengedeelte dat andere aspecten van het karakter van de fagot in de schijnwerpers zet. De overgangen tussen de verschillende gedeelten van het werk worden gerealiseerd middels een reeks begeleide cadensen voor de solist.Wind in the Reeds wurde von Deena Draycott in Erinnerung an John Watson, einen Militärmusiker, Lehrer und Fagottisten, in Auftrag gegeben. Wind in the Reeds ist sowohl ein Tribut an John Watson als auch ein bleibendes Andenken an ihn. Das Stück hat einen größtenteils pastoralen Charakter und ruft Bilder hervor, die durch das Wortspiel im Titel heraufbeschworen werden. Es enthält jedoch auch einen schnelleren Hauptteil, der andere Charaktereigenschaften des Fagotts eines der Lieblingsinstrumente des Komponisten erkundet. Eine Reihe von Solo-Kadenzen bilden die Übergänge zwischen den verschiedenen Abschnitten des Stückes.Wind in the Reeds est une commande de Deena Draycott en mémoire de John Watson musicien dans l’armée, enseignant et bassoniste. L’œuvre est la fois un hommage et une commémoration la mémoire de John. Elle est principalement pastorale, évoquant des images en lien avec le jeu de mots du titre avec une partie centrale plus rapide mettant en lumière d’autres aspects du basson. Les transitions entre les différentes sections se font par une succession de cadences accompagnées pour le soliste. Wind in the Reeds fu commissionato da Deena Draycott in memoria di John Watson, un bandista dell’esercito, insegnante e fagottista. Wind in the Reeds è sia un tributo che un ultimo memoriale per John. Il brano ha per lo più le caratteristiche di una pastorale, che evoca immagini richiamate dal gioco di parole del titolo, ma include una sezione centrale più veloce che sfrutta le caratteristiche del fagotto. I passaggi tra le varie sezioni del pezzo sono realizzati tramite una serie di cadenze accompagnate per il solista.