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    LETTERATURA
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SPARTITI COUNTRY / BLUEGRASS

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12 - 13 - 14

4896 HILAND JOHNNY, STRICTLY RHYTHM VOLUME 1. CD

Euro 21,00

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HILAND JOHNNY, STRICTLY RHYTHM VOLUME 1. CD TAB.

Product Description:
Recorded lessons from one of America’s greatest guitarists Johnny Hiland teaches rhythm patterns essential to the working guitarist in the styles of, Bluegrass, Country, Country Rock, Blues, and Swing. Lessons in standard notation and TAB with complete audio instruction.

Song Title: Composer/Source:
Bend Legend Johnny Hiland
Country Rock Shuffle Johnny Hiland
Johnny Hiland Bio Johnny Hiland
Johnny Hiland's Guitar Sessions Interview (excerpt) Johnny Hiland
Johnny's Live and Studio Gear Johnny Hiland
Moving from 1 to 4 Alternate Pattern Johnny Hiland
Ray Price Style Shuffle Johnny Hiland
Standard Blues Shuffle Johnny Hiland
Strictly Rhythm Johnny Hiland
Swing Shuffle Johnny Hiland
Switching Licks Johnny Hiland
That's Alright Momma/Workin' Man Blues Johnny Hiland

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1028 COMPLETE COUNTRY GUITAR BOOK. Fred Sokolow. CD TABLATURE PER CHITARRA

Euro 30,99

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COMPLETE COUNTRY GUITAR BOOK. Fred Sokolow. CD TABLATURE

Product Description:
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 CD. 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.

Product Number: 93935BCD
Format: Book/CD Set
ISBN: 0786628413
UPC: 796279042567
ISBN13: 9780786628414
Series: Complete
Publisher: Mel Bay Publications, Inc.
Date Published: 11/11/1997

Song Title: Composer/Source:
Amazing Grace Arr. By: Fred Sokolow
Arkansas Traveler Arr. By: Fred Sokolow
Banks Of The Ohio Arr. By: Fred Sokolow
Beautiful Brown Eyes Arr. By: Fred Sokolow
Bluegrass Back-Up Arr. By: Fred Sokolow
Bury Me Beneath The Willow Arr. By: Fred Sokolow
C & W Vamp Arr. By: Fred Sokolow
Can The Circle Be Unbroken Arr. By: Fred Sokolow
Careless Love Arr. By: Fred Sokolow
I Am A Pilgrim Arr. By: Fred Sokolow
I Never Will Marry Arr. By: Fred Sokolow
Jimmie's Blue Yodel Arr. By: Fred Sokolow
Just A Closer Walk With Thee Arr. By: Fred Sokolow
Lonesome Road Blues Arr. By: Fred Sokolow
Luther's Walk Arr. By: Fred Sokolow
Nine Pound Hammer Arr. By: Fred Sokolow
Railroad Bill Arr. By: Fred Sokolow
Red Apple Juice Arr. By: Fred Sokolow
Rockabilly Rave-Up Arr. By: Fred Sokolow
Rockin' With Carl Arr. By: Fred Sokolow
Roll In My Sweet Baby's Arms Arr. By: Fred Sokolow
Sally Goodin Arr. By: Fred Sokolow
Scotty's Boogie Arr. By: Fred Sokolow
Shamblin' Along Arr. By: Fred Sokolow
Soldier's Joy Arr. By: Fred Sokolow
Steel Bending Arr. By: Fred Sokolow
Take This Hammer Arr. By: Fred Sokolow
Talking Guitar Blues Arr. By: Fred Sokolow
The Great Speckled Bird Arr. By: Fred Sokolow
Turkey In The Straw Arr. By: Fred Sokolow
Wabash Cannonball Arr. By: Fred Sokolow
Wildwood Flower Arr. By: Fred Sokolow
Worried Man Blues Arr. By: Fred Sokolow
Wreck Of Old 97 Arr. By: Fred Sokolow

INTRODUCTION

Country guitar means a lot of things to different people. To some it's the easy strumming
of Hank Williams; to others it's Albert Lee or Jerry Reed playing a hot electric lead in a con-
temporary C&W tune; to still others it's Mother Maybelle Carter picking the "Wildwood Flower,"
Eldon Shamblin playing jazzy riffs on Bob Wills' "San Antonio Rose, " Lester Flatt backing up
Earl Scruggs on the "Foggy Mountain Breakdown, " or Carl Perkins rocking out, hillbilly
style, on "Blue Suede Shoes."
And there are still more performers who shaped the diverse traditions and styles of
country guitar playing: Jimmie Rodgers, Doc Watson, Merle Travis and many more.
All the traditions sparked by these major artists are very much alive. Listen to a country
radio station for an hour and you'll hear most of the above-mentioned styles demonstrated by
lead and back-up guitarists. Your enjoyment of one or two of these traditions prompted you to
pick up this book.
A discography at the end of "The Complete Country Guitar" will help you put these musical
influences in historical perspective. More importantly, the body of the book shows you how to
play in the styles of all these artists. Everything from mountain music to the modern Nashville
sound is examined. Licks and s cales are diagrammed and written out in music and tablature,
and a recording enables you to listen to all the tunes and musical examples while studying
the charts and paperwork. (The greatest pickers of all time learned by listening to records
and imitating them -- and few of them ever had any written aids.)
If you're a beginner, you'll want to start with the basics (tuning up, playing simple chords
and strums); otherwise you can open up to the chapter on your favorite type of country music ...
listen to the recorded tunes on the recording .... study the notes and diagrams that precede the
accompanying music and tab ... and finally, comparing the music/tab to the recording, play
like Clarence White or James Burton.
Whether you're a professional picker looking for some new licks or just someone who
wants to pick and sing some country favorites, I hope you find something useful and enjoyable
in this gold mine of guitar riffs.

SONGBOOKS
Countless songbooks are available that contain your favorite country tunes with
the words and music. Since most of them include chord grids, you can learn songs
from them. Just figure out (by ear or trial and error) which strum fits a given tune,
and read the chord grids while you strum. If the song is written in a difficult key
(Eb or B, for example) you can use the transposing method in the MUSIC THEORY
APPENDIX to change the key, or you can use a capo to make difficult keys easy.

HOW TO USE A CAPO
Various capos, made of rubber, metal and plastic are available at guitar stores. They depress
all of the guitar strings at whichever fret the capo is placed, which then raises the guitar's pitch.
If you playa G chord with the capo on the 2nd fret (acting as though the fret in front of the capo
were the 1st fret of the guitar), it's the same pitch as an A chord-because A is two frets higher
than G.
One of the capo's main uses is to enable you to raise a song's key (e. g. from G
to A) and still play in the original key's chord fingerings. This is handy if a song is
written in G but you can sing it better in A; or if you learned an arrangement using
G fingering but need to sing in a higher key. Here are some other situations in which
the capo is handy:
1. If a song is written in a difficult key (Ab or B, for example), or if someone's
singing voice calls for a difficult key, pick a nearby easy-to-play-in- lower
key and capo up the difference between the two keys. To play in Ab: G is one
fret below Ab, so capo up one fret and play G fingering. (You can use the
transposing method in the MUSIC THEORY APPENDIX to change all the
chords in the tune from the original key to the capoed key. ) To play in B: A
is two frets below B, so capo up two frets and play A fingering.
2. If you want to play higher up the neck - for variety's sake, or to sound different
from another guitar - but you want to stay in a given key: use the same
process as above. For instance, to playa tune in E, higher up the neck: C is
four frets below E, so capo up four frets and play in the key of C (using the
transposing chart if you need to). To play in G, way up the neck: D is five
frets below G, so capo up five frets and play in D.

PRACTICING SUGGESTIONS
Practice your chords and strums by playing along with the tunes on the recording.
Whether a song is an exercise in fingerpicking or electric lead styles, you can
accompany it with the strums in this chapter. The music /tab will tell you which chords
to play and your ear will tell you whether the rhythm is a country shuffle, waltz or
country frock beat.
It's also excellent practice to try to find by ear the appropriate strums and chords
to familiar songs. From childhood on, we all learn hundreds of nursery rhymes,
folk songs and country and pop tunes, most of which only use three or four chords.
Hunt for these - trusting your ear - on your guitar.
Try using songbooks or sheet music to learn some simple tunes. Once you know
the changes* to a tune, the best way to smooth out your rhythm and chord-changing
technique is to play with another guitarist -- especially one whose playing is at a
slightly higher level than yours. This can be demanding on both of you at times, but
it can also be a lot of fun.
Changes" = the musician's shortened term for "chord changes."

CONTENTS
INTRODUCTION .
HOW TO READ TABLATURE.

BEGINNINGS
TUNING UP
FIRST POSITION CHORDS
HOW TO HOLD A FLATPICK .
STRUMMING PATTERNS
SONGBOOKS
HOW TO USE A CAPO
PRACTICING SUGGESTIONS

CARTER·STYLE BACKUP
THE CARTER·STYLE LICK
BASS RUNS (BURY ME BENEATH THE WILLOW IN 5 KEYS)
I NEVER WILL MARRY
AMAZING GRACE
JIMMIE RODGERS-STYLE BACKUP:
JIMMIE'S BLUE YODEL. .
HAMMERING·ON
PULLING-OFF
TAKE THIS HAMMER
I NEVER WILL MARRY
TALKING BLUES (TALKING GUITAR BLUES)

BLUEGRASS BACKUP
THE G RUN
MORE TAGS
EXTRA RHYTHM STROKES
LESS STROKES
ENDINGS
BANKS OF THE OHIO
ROLL IN MY SWEET BABY'S ARMS
WABASH CANNONBALL
AMAZING GRACE

CARTER·STYLE LEAD
FIRST POSITION MAJOR SCALES
G MAJOR SCALE & WILDWOOD FLOWER
C MAJOR SCALE
WABASH CANNONBALL & D MAJOR SCALE
THE GREAT SPECKLED BIRD
A MAJOR SCALE & WRECK OF OLD 97
E MAJOR SCALE & CAN THE CIRCLE
BE UNBROKEN
A WALTZ·TIME CARTER-STYLE LEAD:
BEAUTIFUL BROWN EYES

DOC WATSON-STYLE LEAD
FAST FLATPICKING TECHNIQUE
FIDDLE TUNES
SOLDIER'S JOY
TURKEY IN THE STRAW
ARKANSAS TRAVELER
SALLY GOODIN
EMBELLISHING A SIMPLE MELODY:
WRECK OF OLD 97 (PART I)
WRECK OF OLD 97 (PART II)
LONESOME ROAD BLUES
FLATPICKING EXERCISES

CLARENCE WHITE-STYLE BLUESY LEAD
BLUE NOTES (FLAT 3RDS. 5THS & 7THS)
CHOKING THE STRINGS
LONESOME ROAD BLUES
CROSSPICKING
NINE POUND HAMMER
RED APPLE JUICE
CROSSPICKING PATTERNS

FINGERPICKING MERLE TRAVIS CHET ATKINS-STYLE
FINGERPICKS
FINGERPICKING PATTERNS:
RAILROAD BILL .
I AM A PILGRIM
BASS RUNS & FINGERPICKING: .
I AM A PILG RIM
FINGERPICKING MELODY
RAILROAD BILL .
BANKS OF THE OHIO .
WORRIED MAN BLUES .
FANCIER FINGERPICKING & BANJO
ROLLS: WORRIED MAN BLUES .
MOVEABLE CHORD & HOW TO USE THEM .
FINGERPICKING ALL OVER THE FRET-
BOARD: I AM A PILGRIM .
CARELESS LOVE .
JUST A CLOSER WALK WITH THEE .

ROCKABILLY A LA SCOTTY MOORE & CARL PERKINS .
SCOTTY'S BOOGIE (pART I)
SCOTTY'S BOOGIE (PART II) .
THE MOVEABLE BLUES SCALE: .
ROCKIN' WITH CARL
BOOGIE WOOGlE BASS PATTERNS: .
ROCKIN' WITH CARL (BACKUP)
ROCKABILLY RAVE-UP .
CARELESS LOVE .

NASHVILLE LEAD STYLES .
CHORD FRAGMENTS HANK SNOW-STYLE:
WABASH CANNONBALL .
BURY ME BENEATH THE WILLOW .
CHORD FRAGMENT MAJOR SCALES: .
GREAT SPECKLED BIRD .
C & W VAMP .
SOME NEW F·FORMATION LICKS AND
A JAMES BURTON-STYLE SOLO .
BEAUTIFUL BROWN EYES
I NEVER WILL MARRY .
CHICKEN PICKIN' & SLIDING SCALES: .
RED APPLE JUICE .
ROLL IN MY SWEET BABY'S ARMS
MORE STRING-BENDING WITH THE SLIDING
SCALE: STEEL BENDING (pART I) .
PEDAL STEEL LICKS: .
STEEL BENDING (PART II)
NINE POUND HAMMER .
SOME PRACTICE SUGGESTIONS
THE LUTHER PERKINS-STYLE BACKUP
LICK: LUTHER'S WALK .

WESTERN SWING .
SALLY GOODIN
TAKE THIS HAMMER
A DIMINISHED SCALE .
WHEN TO USE THE DIMINISHED SCALE .
SHAMBLIN' ALONG
CARELESS LOVE .
TEXAS-STYLE CHORD COMPING: .
SALLY GOODIN BACKUP
MORE ABOUT PASSING CHORDS:
SHAMBLIN' ALONG BACKUP .
CARELESS LOVE BACKUP

EQUIPMENT APPENDIX .
GUITARS & STRINGS
AMPS & ELECTRICAL EQUIPMENT .

MUSIC THEORY APPENDIX .
NOTES ON THE GUITAR FRETBOARD
MAJOR SCALE & INTERVALS
CHORDS
CHORD FAMILIES & TRANSPOSING .

HOW TO PRACTICE WITH RECORDS .
DISCOGRAPHY .

Disponibilità:

2344 COMPLETE FLATPICKING GUITAR BOOK, BY STEVE KAUFMAN. CD DVD

Euro 32,00

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COMPLETE FLATPICKING GUITAR BOOK. S. Kaufman. 47 Titoli. CD DVD TAB.

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6603 FLATPICKING SOLOS, 12 Contest-Winning Arrangements. CD TABLATURE

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FLATPICKING SOLOS, 12 Contest-Winning Arrangements. CD TABLATURE

Flatpicking Solos
12 Contest-Winning Arrangements
Series: Guitar
Publisher: Cherry Lane Music
Format: Softcover with CD
Artist: Scott Fore
Author: Scott Fore

Here, for the first time in print, are the championship flatpicking arrangements that have won Scott Fore numerous national competitions. The accompanying CD contains full-length recordings of each of Scott's arrangements, played by Scott himself, and full rhythm tracks so you can play, too! Scott Fore's many contest victories include the South Carolina State Flatpicking Championships (2003), the National Flatpicking Championships (2002), the Doc Watson Guitar Championships (2002), the Galax Old Fiddler's Convention (2002), and the Wayne C. Henderson Championships (1999). He teaches flatpicking master classes throughout the United States and has recorded a self-titled solo CD. Songs include: Alabama Jubilee • Angeline the Baker • The Beaumont Rag • Bill Cheatham • Blackberry Blossom • Cluck Old Hen • Ragtime Annie • The Red Haired Boy • St. Anne's Reel • Whiskey Before Breakfast.

Inventory #HL 02500679
ISBN: 9781575607122
UPC: 073999912616
Width: 9.0"
Length: 12.0"
72 pages

INTRODUCTION

This book is the result of requests from guitarists who want to learn my contest arrangements. All these tunes and arrangements have been used by me to win various traditional music guitar competitions throughout the United States. Some of the contests I have won with these tunes are the 2003 South Carolina State Flatpicking Championships, the 2002 National Flatpicking Championships (Winfield, Kansas), the 2002 Doc Watson Guitar Championships at Merlefest, the 2002 Galax Old Fiddler's Convention, the 1999 Wayne C. Henderson Guitar Championships (Rugby, Virginia), and many other contests held in Virginia, North Carolina, Tennessee, and South Carolina. In arranging these tunes I tried to maintain the melody and preserve the flow, but at the same time I tried to use as many "guitar tricks" as possible. To this end, when I arrange a tune, I first learn the melody in as many locations on the neck of the guitar as possible. I also find as many versions of the tunes as I can. And I get ideas from other instruments; in fact, I strive to not listen to guitar versions so that I will not sound like any other guitarist. I also look for what I call the "skeleton" of the tune; in other words, how many of the notes in the melody can I leave out and still recognize it? Once I have found the basic skeleton of the melody and the location of those notes, I begin looking for places where I can insert guitar tricks: slides, hammer-ons, pull-offs, bends, open string/fretted note combinations, chromatic ideas, intervallic phrases, harmonics, etc. There is an endless catalog of musical ideas that are specific to the guitar, and you should be familiar with all of them. All these arrangements are within the reach of most intermediate and advanced players, but beginning students, too, should be able gain a lot of valuable experience by studying them. The difficult sections can be mastered if you take them one phrase-or even one note-at a time. The tempos indications are a guide, as these arrangements work well at both slow and fast tempos. The main thing to strive for is musicality. My general rule regarding pick direction is that I use downstrokes on the strong part of the beat and upstrokes on the weak part. With triplets, I sometimes break this rule by starting with an upstroke; in other words, when you have two eighth notes, the first gets the downstroke and the second the upstroke. In a 16th note grouping, the first note gets a downstroke, the second an upstroke, the third a downstroke, and the fourth an upstroke. By following this rule and observing the location of the note within the beat, your pick will always be moving in the correct direction. Syncopations, however, might have you picking consecutive upstrokes or downstrokes. Good luck, and I hope you enjoy learning these arrangemen ts. Scott Fore

ACKNOWLEDGMENTS
I'd like to thank: My sons, Carson, Austin, and Alex, for love and encouragement, and for being such great sons. I couldn't ask for finer sons and finer people to be around. My mom and dad for things too numerous to mention. My brother and sister for years of encouragement and for always telling me that I could do it. Cheryl Lunsford for love and support. Thanks also for helping me hone these arrangements and for encouraging me to push beyond normal limits. Carson Cooper for always pushing me to work harder on my right-hand technique and for inadvertently forcing me to keep striving to play with more authority. Rick Krajnyak at Real2Reel for helping me record the tunes on the CD in his incredible studio, and for friendship. Lou Roten, Ellen Tait, and Chris Middaugh at Schertler for the greatest pickup and peakers. They help me to alway sound good when "plugged in." Dana Bourgeois, Bonni Lloyd, John Thigpen. And all of the fine folks at Pantheon/Bourgeois guitars for building some of the best guitars found anywhere. Bourgeois guitars bring out the best in my playing and creativity. Steve McCreary at Collings for supporting the Walnut Valley Festival and for building fine instruments. Mike Lille and Elixer strings for the great Nanowebs. I exclusively use Elixer anow-ebs strings on all my guitars. Great tone and feel from the time they are put on the guitar. No waiting for the strings to break in. Wayne Henderson in Rugby, Virginia, for building some fme instruments, and for some fine guitar picking. I feel incredibly fortunate to have the opportunity to learn from great players and builders like Wayne. All the fine musicians from whom I've had the pleasure to "borrow" guitar techniques. The list is tremendously long. Wayne Dunford at FotoExpo in Christiansburg, Virginia. Wayne's a great friend, photographer, artist, and musician.

PERFORMANCE NOTES

ALABAMA JUBILEE

This tune, along with "Ragtime Annie," is one that I can always count on to place me in competitions. I use every technique except harmonics in this arrangement. I also normally play this tune at a tempo of 140+ when I compete. This is probably the most challenging arrangement in the book. It requires you to have a highly developed righthand technique, especially when playing at the faster tempos, but it also works well at slower tempos. The song kicks off with the turnaround and goes straight to the melody. The first section is straightforward, and it is not until you get to the second break that things get harder. The second break is crosspicked and there is a lot of string skippin-let the strings ring as long as possible to give a fuller sound. The lick at measure 28 is an intervallic type oflick. I borrowed the idea from jazz saxophonists. The main thing to remember, as for all these arrange4ments, is to play from chord positions. The third section begins at measure 38 and is straightforward. Pay attention to the recording to get the feel of the double stops at measures 42, 49, 50, 51, and 52. Listen to the recording to get the accents.
ANGELINE THE BAKER
The Intro is something I came up with while sitting at a friend's house-I thought it sounded like a fragment of the melody. It is also a way of starting the tune without resorting to the standard "breakdown" type of Intro. The arrangement is fairly straightforward. Try to maintain the flow of the melody since this is a solo. You will note that there is not a rhythm track for this tune. The first tricky licks come in measures 35 and 39. After the initial bend, rake your pick back across the strings fretted at the 7th fret. This lick is derived from piano players and guitarists like Jerry Reed and Jim Hurst, and I used it a lot when I played electric guitar in country bands in the '80s and '90s. The section beginning with measure 41 is reminiscent of Chuck Berry's licks or those of R&B guitarists of the '60s. Measure 49 makes me think of a loose Steven Stills-type groove. Play this section loosely and don't pay too much attention to the open strings; your focus should be on the fretted notes. Try to keep the dropped D ringing as much as possible to fill out the sound. There is a lot of crosspicking in this arrangement, and it will reveal any weaknesses in your right-hand technique. The song finishes the way it begins, with the opening chordal structure. You should try to imitate the sound of a slide guitar in the final chord of the song. As in all the songs, listen to the recording to get the accents. In all these transcriptions, the accents set the notes apart from just a steady string of 16th notes. Don't let the tab scare you, because this arrangement is really one of the easier ones. The secret to this tune is to keep the open D and A strings ringing in a "drone-like" fashion. This helps fill out the single-note melody line. As with all of the arrangements in this book, play out of the chord positions-this will make the arrangements finger more easily.
BEAUMONT RAG
This is another arrangement that is fairly simple to play. The thing to keep in mind is to keep the flow going. There is a lot of crosspicking in this arrangement. As with all crosspicking, you need to find the chord shape and hold down all the notes of the chord. In other words, don't read the tab one note at a time, but in groupings of notes. For example, in the G7 chord in measure 18, you hold down the F note at the 3rd fret for the full measure while the other notes move around it. Listen to the recording for the accents in the cross picked sections. Accents help bring out a melody when crosspicking. Be careful to let all the notes ring as long as possible for the "floating notes" section beginning at measure 34. "Floating notes" are combinations of open strings and fretted notes; the ringing open strings produce a harp-like sound. One of the toughest parts of the song is the diminished run in measure 38; you can look for other fingerings to make this run easier, but I've tabbed it the way I play it. Measures 50 through 53 should be crosspicked. Look at the finger groupings in each measure, and just slide them down the neck; then play measure 54 as a tremolo. It's fairly tough to go from the crosspicking in measure 53 to the tremolo in 54 and maintain timing. As with all the songs, work with a metronome set to a slow tempo, and work up to a fast tempo. The ending tag in the last three measures can be played without accompaniment. Again, as with all the songs, listen to the recording to get an idea of the accents.

BILL CHEATHAM
This arrangement is fairly straightforward and shouldn't pose many problems. It opens with a statement of the basic melody. In measure 19 I begin a break using "floating" notes-you should strive to keep the strings ringing as long as possible to achieve the "floating" sound. In measures 31, 63, and 65 the slashes indicate that that section is to be played using tremolo or very fast strumming. Giving the notes their full values will help with the flow of this and all arrangements in this book. The thing to keep in mind is that, in all the sections, you should maintain chord shapes wherever possible; doing so will help keep notes ringing and help fill out the song. The trickiest part of the song occurs in measures 51-58, where I play the tune using harmonics. Harmonics are represented by diamond-shaped notes and are played by lightly touching a string directly over top of the fret indicated in the tab. Trying to make these harmonics loud and clear is difficult at the faster tempos at which this piece is normally played. The song is fairly straightforward after this point. Again, listen to the recording to get an idea of the accents.

BLACKBERRY BLOSSOM
This arrangement begins with the basic melody, which is augmented only slightly in measures 6 and 7. Pay attention to the recording to get the feel of the "B" section beginning at measure 10. In measure 18, the open G string allows you to move up the neck without breaking the flow of the tune. This is a trick used by lots of guitarists. The open string rings while the hand is changing positions. The "floating" section, which begins at measure 34, is played by holding the chord shape and sliding it down the neck while allowing the open strings to ring. Measures 44 and 45 should be played as one long run to maintain the flow. Let the notes ring into each other to achieve that "floating" sound. The ending, which begins with the last measure of the "B" section, is played as one long grouping. This is one of the most often-played tunes in the fiddle tune repertoire, and the first tune I learned many years ago.

CLUCK OLD HEN
"Cluck Old Hen" is an old-time modal tune with both a major and minor feel. It's good for learning to use the pentatonic scale to improvise. It's similar to such tunes as "Big Mon," "Wheel Hoss," and others that use a flat-7th chord. The bends can be played, alternatively, using slides or "hammer-oDS." As in all the tunes in this book, let the notes ring for their full values. Listen to the recording to get an idea of the exact rhythms. Guitarists familiar with pentatonic and blues scales will find this arrangement very "finger friendly." Improvising over this progression is easy when using the G blues scale in its various positions.

RAGTIME ANNIE
Pay attention to the rhythmic groupings and listen to the recording to get the rhythmic nuances. This is a dance tune and, as such, should be played with dancers in mind. It needs a strong right-hand technique because of the crosspicking involved. As with all the tunes in this book, you should let the notes ring for their full values, if not longer, to give the song a full sound. This arrangement is a crosspicking tour de force and requires right-hand precision. The piece can be cross picked using strict alternate picking or the "DDU" pattern used by crosspicking legends George Shuffler and James Allen Shelton. This pattern creates a slightly different sound but also makes it more difficult to achieve the same speed that can be obtained with alternate picking. Depending on the sound I want to achieve, I use both picking patterns.

RED HAIRED BOY
This version is rather basic and should be accessible to all beginning and intermediate guitarists-there are no difficult techniques used. The last section is played mostly with hammer-oDS and pulloffs and serves as a good exercise for those techniques. The second break is played mainly around the 7th fret. For the Chorus in the second section, try to think like a mandolinist to get the feel of the chordal section and play it loosely. Listen to the recording to get the accents. The section beginning at measure 65 may be challenging for some guitarists, as it contains numerous hammer-oDS and pull-offs. The challenge is to maintain the volume of the slurred notes. With pull-offs this can be achieved only through proper technique; that is, pull and lift rather than simply lift.

ST. ANNE'S REEL
This tune is very accessible to beginning students. The first section is played slowly. Listen to the recording to get an idea of the feel. Pay particular attention to pitch when bending the 1st string at measure 5. At measure 10, the song begins at the indicated tempo, and the rhythm track begins here. This arrangement is fairly basic until you get to the second section beginning at measure 43. The triplets are played using the hammer-on, pull-off technique. The triplet in measure 58 is played using pull-offs. The "B" section is played using the "floating" chord shapes approach. These chords move around a lot; practice slowly to get the notes to ring out clearly. For all crosspicked tunes, pay attention to the accents to bring out the melody. This tune is played out of chord shapes, some of which may be unfamiliar. The key to making this arrangement sound smooth is to find those shapes and hold them down. Listen to the recording to get an idea of where the accents fall.

WHISKEY BEFORE BREAKFAST
Your guitar should be in drop-D tuning for this arrangement. Normally this song begins with a pickup (one or more notes immediately before a bar line that begin a melody or phrase). But I have not used one here. The first two bars of the song and most of the melody are scalar in structure. The first break is played mainly from first position open chord scale forms. I've stayed with the melody, and any deviations are diatonic in nature (all the notes are contained within the key). The slide in measure 21 does not originate from any particular note, although I normally slide from the D at the 3rd fret. I've inserted two endings for the first break to demonstrate two possible ways to end one break and lead into another. The first takes you back to the first note of measure 1, while the second leads into the second break-you can use either ending, depending on the arrangement you want to use. The 32nd note figure at the end of ending 1 would be considered a pickup figure. Most fiddle tunes end on the first note of the final measure or the third note of the final measure of the break, which leaves one or two beats for the pickup. If you are in ajam situation and want to use one of these breaks, you can use a pickup or just begin on beat 1 of the break. The second break begins at measure 35. Its first section, which runs to measure 50, is played in 7th position. The econd section of this break, which tarts at measure 52. begins in 10th position. Measures 54 and 55 are played using harmonics. Measure 56 begins a sequence of descending 6th intervals-they move diatonically down the fretboard. The section then repeats. The third break begins at measure 68 and is based on the open string sound called "floating." I've indicated that you should let the strings ring into one another. This section is easier if you notice the note groupings and playas if you are holding chords or chord fragments. The "B" section of this break should be played in a similar fashion. Let all the notes ring for their full values. Note that measures 100-104 are a Tag to provide an ending for the song. I've stayed close to the melody in this arrangement and used predominately notes contained within the D major scale. I've done this to show the enormous possibilities that are contained within a scale. You can use rhythmic variety to add interest, as well as such guitar tricks as harmonics, "floating" notes, and slurs (hammer-ons, pull-offs, and slides), but there are many other possibilities as well. You can use pedal tones and play the melody against these. You can even play the melody using harmonic intervals such as 3rds, 4ths, 5ths, octaves, etc. An interesting and challenging exercise is to take every other note and raise or lower it an octave.

Alabama Jubilee
Angeline The Baker
The Beaumont Rag
Bill Cheatham
Blackberry Blossom
Cluck Old Hen
Ragtime Annie
The Red Haired Boy
St. Anne's Reel
Whiskey Before Breakfast

Alabama Jubilee
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Angeline the Baker
Solo Performance

Beaumont Rag
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Bill Cheatham
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Blackberry Blossom
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Cluck Old Hen
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Ragtime Annie
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Red Haired Boy
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

St. Anne's Reel
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Whiskey Before Breakfast
Full Performance
Play-Along Rhythm Guitar Track
Slowed-Down Play-Along

Disponibilità:

2361 COMPLETE SOUTHERN ROCK GUITAR BOOK. CD

Euro 29,00

Quantità

COMPLETE SOUTHERN ROCK GUITAR BOOK. CASSETTA TAB.

Disponibilità:

2362 *CONTENPORARY RAGTIME GUITAR, S. GROSSMAN. NO TAB.

Euro 20,00

Quantità

CONTENPORARY RAGTIME GUITAR, S. Grossman. NO TAB.

Disponibilità:

4912 COUNTRY BALLADS FOR FINGERSTYLE GUITAR. Flint. CD

Euro 19,00

Quantità

COUNTRY BALLADS FOR FINGERSTYLE GUITAR. Flint. CD TAB.

Product Description:
This collection presents eleven fingerstyle guitar arrangements of beautiful traditional country ballads portraying struggles and the joys of life. These arrangements by Tommy Flint are given in notation and tablature, along with a CD featuring Tommy's performance of each piece. Tommy Flint is an outstanding guitarist who is known worldwide for his musical achievements. He has shared the stage with Dolly Parton, Cher, Roger Miller, Ray Charles, Glen Campbell, and Liza Minnelli.

Format: Book/CD Set

Contents:

Texas Twilight -- Tommy Flint
Silver Bell -- Tommy Flint
Beautiful Dreamer -- Tommy Flint
Footprints in the Snow -- Tommy Flint
Red Wing -- Tommy Flint
Tuck Me to Sleep in My Old 'Tucky Home --
Wind in the Maple --
After All These Years -- Tommy Flint
Appalachian Tears -- Tommy Flint
Annie Laurie --
Darling Nellie Gray

Disponibilità:

2364 COUNTRY GUITAR STYLES. BERKLEE SERIES CD

Euro 16,00

Quantità

COUNTRY GUITAR STYLES. BERKLEE. Ihde. Metodo completo con vari ritmi e solo. CD

Disponibilità:

2343 COUNTRY GUITAR BY ALAN WARNER BOOK & CASSETTE

Euro 20,00

Quantità

COUNTRY GUITAR. ALAN WARNER. CASSETTA TAB.

Disponibilità:

1314 COWBOY SONGS FOR ACOUSTIC GUITAR. CD TAB.

Euro 20,00

Quantità

COWBOY SONGS FOR ACOUSTIC GUITAR. CD TAB.

Disponibilità:

CHITARRA LAMPO