The blues has always been spiced with suggestive metaphors. This collection of bawdy blues songs celebrates the off-color blues repertoire. Fred shows you how to accompany yourself singing the songs, and how to fingerpick an instrumental version of each one. His easy-going instructional style, his tips on playing the arrangements, and his slowed-down, split-screen performances of each tune make learning easy. All the arrangements are written out in tab and music as well.
One of the world’s foremost fingerstyle guitarists and harp-guitarists, Muriel Anderson has performed and recorded with Chet Atkins, Les Paul, Victor Wooten and the Nashville Chamber Orchestra. Her recent CD Nightlight Daylight has already won 11 national awards and Muriel is also the first woman to have won the National Fingerstyle Guitar Championship.
In this second lesson on Celtic Fingerstyle Guitar, Tony McManus explores all the dance rhythms of Scottish music, with its pipe-marches, strathspeys, single and double jigs, slip jigs and reels. Three unusual tunings are presented: CGCGCD, CGDGCD and DAAEAE. These tunings are used to better maintain the integrity of the music and Tony has been notably successful in translating the complex music of the highland bagpipes to the guitar. The idea and playing of sets is presented as well as further exploration of ornamentation techniques.
Tony McManus is an adept master of Celtic fingerstyle guitar, both in terms of adapting Celtic music to the guitar, and in its performance - presenting all its intricacies, graces, and frills, yet at the same time maintaining the pace and drive which characterizes the style of this music. In this first lesson, Tony discusses in detail the importance of ornamentations and triplets in Celtic music and how this can be technically achieved. He illustrates these ideas with several melodies played in a Dropped D tuning. This is followed by a discussion of scales and fingerings and playing reels in the DADGAD tuning. This is a challenging lesson for the fingerstyle guitar student interested in learning Celtic music from one of the finest players of this idiom.
This collection of traditional music from Ireland and Scotland arranged for solo guitar is the result of a passionate study of the tradition by some of the finest musicians playing in this genre. Compiled by Stefan Grossman, this book includes arrangements by Pierre Bensusan, El McMeen, Martin Simpson, Pat Kirtley, Duck Baker, Tom Long & Steve Baughman. Looking back less than a century you would find this music performed on fiddle, pipes, button accordion, flutes and whistles, in solo and ensemble settings, but never guitar, even in its basic role of providing rhythm. The challenge for those who attempt to translate Celtic traditional music for fingerstyle guitar is to preserve the unique qualities which are the essence of the style. The popularity of alternate tunings in this music tends to come from two different directions.
For some time now, I have periodically made transcriptions of early pieces mainly for my own enjoyment. My interest in early music runs parallel to my interest in Western folk music. It was, and still is, intriguing to consider the characteristics that are common to both. I discovered that even whole pieces, thought to exist in manuscript only, occasionally cropped up remarkably intact in current folk playing, and instruments long assumed silent were found to be still sounding in remote areas of Europe. I began by taking a medieval dance tune and treating it as I would a jig or reel, or drawing on contrapuntal practice in making arrangements of folk songs.
In this lesson, John Renbourn presents a wide variety of fingerstyle arrangements from traditional ballads to country blues, from a Booker T. & the MGs rock instumental to the church hymn Abide With Me. All receive the special touches of John's unique playing, and are explained in detail with the help of split-screen video techniques that allow the student to clearly see and study what each hand is doing.