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Spiced Up Fingerstyle Arrangements : Taught by Cory Seznec

Spiced Up Fingerstyle Arrangements : Taught by Cory Seznec

This lesson features a mixed bag of six songs arranged in a variety of ways with the idea of adding some spicy seasoning to the fingerpicker’s cookbook. The lesson employs tricks and licks that Cory has picked up over the years in his quest to find his own “style”. In this almost four hour lesson each song has it’s own built-in exercises for fingerpicker’s looking to head in new directions. The old standard A Sin To Tell A Lie becomes a highly arpeggiated waltz with some fun licks up the neck. Somebody Stole My Gal incorporates counterpoint, chord inversions, and nice bass movement. The old jug band tune Sadie Green (The Vamp of New Orleans) gets revamped with a feel that bounces from down low New Orleans rumba to punchy ragtime picking and back again. A highly unorthodox treatment of Blind Willie McTell’s East St Louis Blues gets deep into Cooder-esque syncopation, and a chorus was added to make it a little less repetitive. The instrumental “showpiece” No Hiding Place was influenced by Cool John Ferguson’s virtuosic zinger off of a Music Maker Relief Foundation music compilation (likely Ferguson’s take on the old gospel number No Hiding Place Down Here), and then taken on a bunch of detours. Those looking to “Africanize” their playing will enjoy Cory’s take on The Parting Glass which takes this old Celtic drinking ballad on a trip to east Africa, featuring funky polyrhythms and muted strings in 12/8. Titles include: Somebody Stole My Gal, A Sin To Tell A Lie, East St Louis Blues, Sadie Green (The Vamp of New Orleans), No Hiding Place, The Parting Glass

SEK 377.00
1

Buster B. Jones: Fingerstyle Guitar From The Ground Up Volume 2

A Guitar Lesson With David Bromberg

Fred Sokolow: Fingerpicking Guitar Solos

Bottleneck Slide Guitar

Eric Thompson: Flatpicking Guitar Country Style - The Roots Of Bluegrass Guitar

Buster B. Jones: Fingerstyle Guitar From The Ground Up Volume 1

Fred Sokolow: Flatpicking Country Classics

Fred Sokolow: The Music Of Johnny Cash For Fingerpicking Guitar (DVD)

Celtic Melodies And Open Tunings

Tom Feldmann: The Guitar Of Blind Willie Johnson

Beginner's Blues Guitar

East Coast Fingerstyle Blues Guitar

East Coast Fingerstyle Blues Guitar

The East Coast, from Florida up to Virginia, gave birth to a vibrant fingerstyle blues tradition, documented on recordings from the mid-1920s up into the 1970s and 1980s. In East Coast Fingerstyle Blues Guitar, author John Miller has selected some of the most interesting and exciting recorded performances from that period to present to you, with transcriptions of the performances in TAB and standard notation, lyrics to the songs provided, playing tips that will help you get the songs up and running as soon as possible, and links to the original recorded performances, so that your own playing can be informed by the playing of the masters. A particular focus of the book is therepertoire of three of the strongest practitioners of East Coast Blues—Buddy Moss, Blind Willie McTell and Blind Boy Fuller. You'll also find two songs each by Luke Jordan and William Moore, a Blind Blake tune and a host of songs from artists who qualify for the designation talent deserving of wider recognition: Peg Leg Howell, Carl Martin, Floyd Council, Virgil Childers, Sonny Jones, Gabriel Brown, Ralph Willis, Willie Trice and Henry Johnson, many of whose songs are being made available for the first time. If you're looking for fingerstyle guitar pieces with a great range of feeling, musical variety and depth of expression, you need look no further than East Coast Fingertyle Blues Guitar. It will give you the information and background you need for a total immersion in this exciting music. Includes access to online audio. The East Coast, from Florida up to Virginia, gave birth to a vibrant fingerstyle blues tradition, documented on recordings from the mid-1920s up into the 1970s and 1980s. In East Coast Fingerstyle Blues Guitar, author John Miller has selected some of the most interesting and exciting recorded performances from that period to present to you, with transcriptions of the performances in TAB and standard notation, lyrics to the songs provided, playing tips that will help you get the songs up and running as soon as possible, and links to the original recorded performances, so that your own playing can be informed by the playing of the masters.A particular focus of the book is the repertoire of three of the strongest practitioners of East Coast Blues—Buddy Moss, Blind Willie McTell and Blind Boy Fuller. You’ll also find two songs each by Luke Jordan and William Moore, a Blind Blake tune and a host of songs from artists who qualify for the designation talent deserving of wider recognition: Peg Leg Howell, Carl Martin, Floyd Council, Virgil Childers, Sonny Jones, Gabriel Brown, Ralph Willis, Willie Trice and Henry Johnson, many of whose songs are being made available for the first time.If you’re looking for fingerstyle guitar pieces with a great range of feeling, musical variety and depth of expression, you need look no further than East Coast Fingertyle Blues Guitar. It will give you the information and background you need for a total immersion in this exciting music. Includes access to online audio.

SEK 314.00
1

Pat Kirtley: Introduction To Alternate Tunings

The Music of Motown : for the Fingerstyle Guitarist

The Music of Motown : for the Fingerstyle Guitarist

We all grew up with the sounds of Motown. In this double DVD lesson Alberto Lombardi puts his fingerstyle talents to arrange four all time Motown great hits.You Can’t Hurry Love: What a happy uplifting song! The key is to get a good groove! An alternating bass reminiscent of Chet Atkins was perfect for most of the song. Alberto uses a tiny bit of percussion on the guitar to capture the original bass groove. Being an up-tempo tune, a few blues licks are added to give an electric guitar feel. Harmonics are introduced in the chorus to replicate the background vocals of the Supremes.How Sweet it is (To Be Loved By You): This arrangement is based primarily on James Taylor’s cover of Marvin Gaye’s original version. Alberto replicates Taylor’s tenderness and subtleties of his voice with embellishments, slides and legatos.My Girl: This song has a killer guitar riff! You can’t loose it in the arrangement. Alberto starts only with the riff and bass and then blends the riff with the bass part leaving room for the melodic vocals. As for all Motown vocal parts it’s full of subtleties and the arrangement preserves these.I Heard it Through the Grapevine: Marvin Gaye sang like an angel! Alberto captures this expressiveness, both using the same refined lines and also the rough sweetness of his attitude. Very close attention was focused on building a bass line that works, very close to the original but appropriate for the “fingerstyle transformation” of the song. You got to keep it snappy and grooving. Harmonics impersonate the breathy vocals of the female background singers while the bass keeps the groove riff going.

SEK 529.00
1

Spirituals For Fingerstyle Guitar : Taught by Cory Seznec

John Low: African Fingerstyle Guitar

Hot Licks : Exercises and Creative Tips for the Acoustic Guitarist

Hot Licks : Exercises and Creative Tips for the Acoustic Guitarist

In this double DVD lesson Alberto Lombardi explores his approach to lick techniques on the acoustic guitar. Alberto has been an electric guitarist for most of his life. He had to adapt the things he does on electric to the acoustic guitar. He had to learn how to incorporate these techniques to his thumb picking arrangements. Obviously the biggest challenge was doing alternate picking with a thumbpick and not a flatpick. Alberto also found that hammer-ons and pull-offs needed a bit more strength, as the strings on his acoustic were heavier than his electric guitar. His approach and method has been almost exclusively the “rock approach” that uses repetitive patterns and then combines them, as opposed to the jazz way that studies entire phrases over changes. The aim of this lesson is to build a collection of patterns and ideas to develop a basis for further expansion and personal adaptation. You will study: • Legatos, • Alternate picking with the thumbpick • Hybrid picking • Harmonics - natural and artificial • Finger strengthening exercises • Lots of Hot Licks In this double DVD lesson Alberto Lombardi explores his approach to lick techniques on the acoustic guitar. Alberto has been an electric guitarist for most of his life. He had to adapt the things he does on electric to the acoustic guitar. He had to learn how to incorporate these techniques to his thumb picking arrangements. Obviously the biggest challenge was doing alternate picking with a thumbpick and not a flatpick. Alberto also found that hammer-ons and pull-offs needed a bit more strength, as the strings on his acoustic were heavier than his electric guitar. His approach and method has been almost exclusively the “rock approach” that uses repetitive patterns and then combines them, as opposed to the jazz way that studies entire phrases over changes. The aim of this lesson is to build a collection of patterns and ideas to develop a basis for further expansion and personal adaptation. You will study: • Legatos, • Alternate picking with the thumbpick • Hybrid picking • Harmonics - natural and artificial • Finger strengthening exercises • Lots of Hot Licks

SEK 377.00
1

Duck Baker: Guitar Aerobics (DVD)

Lasse Johansson: Early Jazz for Fingerstyle Guitar (DVD)

Lasse Johansson: Early Jazz for Fingerstyle Guitar (DVD)

The ragtime and early jazz music pioneers during the first decades of the last century didn?t know that the sounds they created would echo in the music that people loved for years to come. They started an American music tradition that is alive to this day. I was born and raised in Sweden and I have always enjoyed the music from that era but being a Guitarist, I never thought that playing back-up in a jazz band was for me. I?d rather do something with these songs so that they would fit my approach playing fingerstyle Guitar.Many of the early jazz songs and of course classical ragtime often is played as Piano music, with a steady left hand playing bass notes and chords together with the right hand playing a syncopated melody on top. This style of playing is very similar to the alternating bass style on the Guitar. So these tunes easily lend themselves to a fingerstyle arrangement.With classical ragtime I approach arranging by transcribing the original Piano sheet-music. The important thing is to find keys that suit the Guitar and then decide what notes not to play since it is not technically possible to play all the notes in a Piano score on the Guitar. I like to play in keys that will give me the opportunity to use open strings in the bass while the melody moves up and down the neck. This is especially important since my aim is to make my arrangements not too difficult to play, so that the player can concentrate on the music instead of being too concerned with the technical aspects of his/her playing. The most important challenge though, is to make the tune sound like Guitar music, not Piano music played on the Guitar.

SEK 301.00
1

David Laibman: Playing The Classic Rags Of Scott Joplin, James Scott & Joseph Lamb

David Laibman: Playing The Classic Rags Of Scott Joplin, James Scott & Joseph Lamb

The great ragtime pieces of the early 20th century were written mostly for Piano, but many translate superbly for the Guitar, and David Laibman will show you how.Here's a mystery: if the great ragtime pieces of the early 20th century were not written for Guitar, and if they weren't player on the Guitar at all (until some of us started doing so half a century ago), then why do they work so will on Guitar?Well, thumb vs. three fingers on the right hand (we'll leave out the pinky for now) creates that subtle antagonism between steady bass and syncopated melody - the 'twinkle in the eye' of Ragtime. There is a theory that the original borrowing actually went in the other directed, from three-finger Banjo to Piano. Who knows? But I'm finding that the 'educated thumb' is only one neat thing about ragtime Guitar. Classic rags are very expressive, with moods and tempers, hills and valley. You can capture some of this with left-hand notes (slides, hammer-ons, pull-offs), with right-hand brushes, rolls, nail strokes, with clever use of open strings and natural harmonics. This works. It is it's own story - not an imitation of a Piano, or of a dixieland or jazz band. It is, simply - ragtime Guitar.In these lessons, I have tried, for the most part, to meet two goals. First, to create versions of some of the most beautiful classical rags that 'lay down' well on Guitar, so when you play them you are working with the instrument, not fighting it. I have tried to pitch and arrange the pieces so that a lot of the action is in first position rather than high up on the neck, and to keep left hand gymnastics to a minimum. Second, I didn't want these arrangements to sound like 'student' arrangements, too elementary to be believable. It is all about striking a balance. I am generally pleased with the result, and I hope you will be too.While the focus of these lessons is on the 'greats' - Joplin, Lamb and Scott - I have also included one of my own recent compositions: Pandora's Rag. This version is simpler than the one I play on my recent CD, Adventures in Ragtime, in Em, G and E, rather than Am, C and A, and not so high up the neck. I hope you like it; I think it has some nice harmonies. No one will ever touch the ragtime masters, but I would not be doing them justice if I didn't try to use their inspiration to strike out on my own a bit.And that is what you should do too! It would be great is you learn to play these charming and challenging pieces. But even greater if you improve the arrangements, adapt them to your own tastes, see if you can apply the various techniques to other music - ragtime, and beyond - that can give pleasure to yourself and others, and enrich the treasure-house of fingerstyle Guitar. None of us has tapped even a fraction of its full potential - and that's what makes it fun!" - David Laibman

SEK 325.00
1

Introduction To Thumbstyle Guitar

John Miller: Introduction To Chord Theory And Chord Voicing For The Guitarist

John Miller: Introduction To Chord Theory And Chord Voicing For The Guitarist

In this 2-DVD set master guitarist and instructor John Miller walks you through the fundamentals of chord theory, providing you with the conceptual tools needed to understand chord structure, and then shows you how to apply that knowledge to the neck of guitar, making practical sense of the information so that you will be equipped to voice chords up and down the neck in any key.In Volume One of the set, John goes over the major scale and its structure, and then moves on to intervals, familiarizing you with the different interval types and the language used to define and describe them. He moves then into triads and shows how the diatonic triads are derived from scale structure, following up triads with seventh chords, the diatonic seventh chords and the various seventh chord types. As you move through these topics, you will find a variety of exercises on the PDF that is included on your DVD, exercises that will test and build your knowledge of these topics. Having laid the initial theoretical groundwork, John then shows you how to voice triads and seventh chords out of the E, A, C, D and F positions.In Volume Two, John starts out by defining sixth chords and showing how to voice them, then discusses tonic function and seventh chord function. The remainder of Volume Two is devoted to working on songs, seeing how to play the same song in a variety of keys and positions and how to use the way the guitar is tuned to transpose from one key to another in the easiest possible fashion. After working through this 2-DVD set you will have a sound fundamental understanding of triad, sixth and seventh chord structures in a variety of positions, and won't be deterred from learning songs in flat keys or playing up the neck without a capo. If you are really interested in understanding chords and ready to work on developing your understanding, Introduction to Chord Theory and Chord Voicing for the Guitarist will get you well on your way towards that goal.On the PDF accompanying the DVD you'll have the opportunity to diagram all of the chords.

SEK 382.00
1

Contemporary Ragtime Guitar