Modal Soloing Strategies for Guitar

Modern Ideas for All Styles

By Jody Fisher
Item: 00-35461
UPC: 038081396576
ISBN 10: 0739071629
ISBN 13: 9780739071625

Series: The Improv Series
Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar

Modal Soloing Strategies for Guitar is a comprehensive, multi-faceted study of the seven major-scale modes. Start applying and understanding the modes through sample licks, extended solos, and play-along tracks. In addition, you'll play each mode in all 12 keys, learn different types of fingerings, and even learn the formula for each mode and its relationship to the diatonic chord. Soon, you'll be harmonizing the modes and deriving them by altering other scales. A CD with play-along tracks and demonstrations of all the examples in the book is included.

• Each mode of the major scale in all 12 keys, examined from five different perspectives
• Harmonized modes with suggested voicings
• Open, closed, and single-string fingerings
• Licks and play-along tracks for every mode
• Extended solos showcasing the modes in various combinations
• Examples in TAB and standard music notation

Pentatonic Soloing Strategies for Guitar (35302)

The Improv Series
Modern Ideas for All Styles

ISBN-10: 0-7390-7162-9 (Book & CD)
ISBN-13: 978-0-7390-7162-5 (Book & CD)
Alfred Music Publishing Co., Inc.

This book was acquired, edited, and produced by Workshop Arts, Inc., the publishing arm of the National Guitar Workshop.
Nathaniel Gunod, acquisitions, managing editor Burgess Speed, acquisitions, senior editor
Timothy Phelps, interior design Ante Gelo, .music typesetter

CD tracks 1, 4, 7, 10, 13, 16, 19, and 22 recorded by Robert Brown at Workshop
Sounds Studio, Cranford, NJ; tracks 2,3,5,6,11, 12, 14, 15, 17, and 18 recorded at
Studio Blue, Derry Hill, TX; tracks 8 and 9 recorded by Glenn Riley; tracks 20 and 21
recorded by Steve Robertson at Standing Room Only Studios, Fontana, CA

Alfred, the leader in educational publishing,
and the National Guitar Workshop,
one of America's finest guitar schools, have joined
forces to bring you the best, most progressive
educational toolspossible. We hope you will enjoy
this book and encourageyou to lookfor
other fine products from Alfred and the
National Guitar Workshop.

Cares. Contents printed on recycled paper.



Welcome to Modal Soloing Strategies for Guitar, the only book about the modes
you may ever need. This book is for intermediate to advanced guitarists desiring
a thorough understanding of modes and their applications for improvising. For
those unfamiliar with the basics of notation and music theory, there is a review
starting on the next page. If you are already familiar with these basics, you can
skip the review and jump ahead to page 20.
The modes have been in existence for centuries as compositional tools for classical,
folk, and ethnic musicians, as improvisational devices for jazz musicians, and a
source of "new" sounds for rock, pop, and country artists. But, unfortunately,
the subject has been shrouded in mystery, causing many guitar students a lot of
confusion. The confusion may be due to an incomplete overview of the subject.
There are many ways of looking at modes and each one has an important place
in understanding and applying the modes to improvising, composition, or both.
Although modes can be derived from both major and minor scales, this book deals
only with the modes of the major scale. Each chapter is devoted to a particular
mode and will include:
• A notated list of the mode in twelve keys
• Perspective #1: The modal formula, a look at where the half steps occur in
the scale and how it relates horizontally to the fretboard
• Perspective #2: The mode's relationship to the diatonic harmony
• Perspective #3: The mode created by altering another scale
• Perspective #4: The mode's intervallic distance from the "parent" key,
measuring from the root of a chord
• Perspective #5: Deducing a mode's key signature
• Six closed-position fingerings
• Open-position fingerings in every key
• The harmonized mode, with sample chord voicings
• Mode usage
• Practice suggestions
• Licks
• Melodic patterns
• Backing track to practice soloing
Also, sample solos utilizing most of the modes in various combinations have been
included at the end of the book.
One way this book is different from many others is that three fingering options are
covered. The first is the horizontal approach along the single string. The second
is the use of "locked" fingerings or scales that are played in a fixed position. The
third fingering option is the "open" position. When any musical concept is explored
on the guitar, a more complete understanding is accomplished by examining all
three fingering options.
It should be noted here that, while a clear understanding of the modes is important,
it represents only a part of what is needed to become an accomplished improviser.
Modes, in conjunction with other scales, arpeggios, and licks, are only part of the
picture. Improvisation is a lifetime study. Try to keep this in mind.
Each chapter of this book is complete so it's all right to skip around. You can also
move straight through from beginning to end for a very comprehensive study. To
get the most out of this book, you need to transpose all exercises and fingerings in
all twelve keys. At first this may seem like a hassle, but in time it will get easier
and payoff in the form of greater fluency.

Jody Fisher has worked professionally in virtually all
styles of music during his career, from straight-ahead
and contemporary jazz to rock 'n' roll, country, and
pop. For several years, he was a director of the National
Guitar Workshop. He also taught guitar and jazz studies
at both the University of Redlands and Idyllwild School
of Music and the Arts (ISOMA TA). He is an active
performer in the Southern California area, where he
maintains a busy private teaching practice as well.

One does not survive in the music business without
help and support from a large network of family and
friends. I would like to thank my wife, Julie; my son,
Josh; Shauna Perry; and my parents, Howard and Edith
Fisher. Also, thanks to my brother, Rich; my uncle, Sid;
David Smolover, Nat Gunod, Ted Greene, Joe Diorio,
George Stanley, Bob Scarano; and the entire gang at
Caleb's Guitar.

Other Instructional Materials by Jody Fisher
3D-Day Guitar Workout (AlfredlNational Guitar Workshop-Book #17867)
Ear Trainingfor the Contemporary Guitarist (AlfredlNational Guitar Workshop-Book & CD #19370)
Jazz Skills (National Guitar Workshop-Book & CD #07-1012)
Rhythm Guitar Encyclopedia (AlfredlNational Guitar Workshop-Book & 2 CDs #14838)
Stand Alone Tracks: Smooth Jazz (AlfredlNational Guitar Workshop-Book & CD #17808)
The Complete Jazz Method:
Beginning Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14120)
Intermediate Jazz Guitar (AlfredlNational Guitar Workshop-Book & CD #14123)
Mastering Jazz Guitar: Chord/Melody (AlfredlNational Guitar Workshop-Book & CD #14126)
Mastering Jazz Guitar: Improvisation (AlfredlNational Guitar Workshop-Book & CD #14129)
Jazz Guitar Harmony (AlfredlNational Guitar Workshop-Book & CD #20440)
Teaching Guitar (AlfredlNational Guitar Workshop-Book & CD #22916)
Jazz Licks Encyclopedia (AlfredlNational Guitar Workshop-Book & CD #19420)

A compact disc is included with this book. Use the CD to help ensure you're capturing the feel
of the examples and interpreting the rhythms correctly. The symbol shown at the left appears
next to every example that is on the CD. The track number below the symbol corresponds
directly to the example you want to hear. Track 1 provides tuning notes for your guitar.
0001 Soloing Strategies for Guitar


About the Author
otation and Theory Review 5
Tablature (TAB)
Scale Diagrams
Chord Diagrams
Reading Roman Numerals
Left-Hand Techniques
The Chromatic Scale
The Major Scale
Key Signatures
Minor Scales

The Ionian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
C Ionian Backing Track

The Dorian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures
Fingerings: The Mode in Six Closed Positions
Open Position Fingerings: In Every Key
Harmonizing the Mode: Chord Voicings
Using the Mode: Improvisation
Melodic Patterns: For Practice
D Dorian Backing Track

The Phrygian Mode
In Every Key on Single Strings
Perspective #1: Finding the Half Steps
Perspective #2: Thinking in a Parent Key
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root...
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings ; .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
E Phrygian Backing Track .

The Lydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
F Lydian Backing Track .

The Mixolydian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale ,
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
G Mixolydian Backing Track .

The Aeolian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position fingerings: in every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
A Aeolian Backing Track .

The Locrian Mode .
In Every Key on Single Strings .
Perspective #1: Finding the Half Steps .
Perspective #2: Thinking in a Parent Key .
Perspective #3: Altering a Scale .
Perspective #4: In Relation to a Chord's Root... .
Perspective #5: Adjusting Key Signatures .
Fingerings: The Mode in Six Closed Positions .
Open Position Fingerings: In Every Key .
Harmonizing the Mode: Chord Voicings .
Using the Mode: Improvisation .
Melodic Patterns: For Practice .
B Locrian Backing Track .

Concluding Solos .
Ionian/Dorian .
Ionian/Dorian/Phrygian .
Lydian/Dorian .
Mixolydian .
Aeolian/Mixolydian .
Locrian/Mixolydian/ Aeolian .

Modal Soloing Strategies for Guitar



Tablature (TAB)
Tablature (TAB) is a system of notation that graphically represents the strings and frets of the guitar fingerboard. Each note is indicated by placing a number, which indicates the fret to play, on the appropriate string.

Scale Diagrams
This book is loaded with scale diagrams. The top line represents the first string of the guitar, and the bottom line the sixth. The vertical lines represent frets, which are numbered with Roman numerals.

The root Scale tones First string
Frets Fret numbers

Chord Diagrams
Chord diagrams are similar to scale diagrams, except they are oriented vertically instead of horizontally. Vertical lines represent strings, and horizontal lines represent frets. Roman numerals are used to number the frets.

Chord Name First String -C7
Barre + Fret number
Frets Sixth String

Reading Roman Numerals
Roman Numeral Review
Here is a review of Roman numerals and their Arabic equivalents.
I or 1
II or 2
III or 3
IV or 4
V or 5
VI or 6
VII or 7

Left-Hand Techniques
SL= Slide
H = Hammer-on
P= Pull-off
Bend and Release
Whole-Step Bend
Half-Step Bend
Left-hand fingering 

Price: €27,99




Product Description:
This beginner's method for 12-string guitar by veteran guitarist Tommy Flint covers all of the basics for getting started. Topics include tuning and strings; reading chord diagrams, notation and tablature; blues; triplets; slurs; slides; melody playing on the 1st and 2nd strings; two and three part harmony; movable chords; and rolls. Numerous solos give the student a chance to practice the skills being taught. The companion CD is a helpful audio tool for attaining the correct sound.


Going Down The Road Feeling Bad --
Shuffle Boogie --
Down And Out Blues --
Sweet Hour Of Prayer --
In The Pines --
Wildwood Flower --
Mean And Low-Down Blues --
Bully Of The Town --
Little Rosewood Casket --
Graceful Movements --
Letter Edged In Black --
A Boogie --
Dowtown Strut --
Little Brown Jug --
Under The Double Eagle --
Rena Lara --
Gee Haw Boogie --
Brushing The Blues --
Old 97 --
Frankie And Johnny --
The Old Spinning Wheel --
South Side Shuffle --

Price: €20,99


Acoustic guitar magazine 3, HABITS OF THE HEART. 15 Chitarristi che di simile hanno la chitarra acustica. Elliott Smith è un cauntautore rock, Guy Davis: blues puro, Mike Dowlig suona una dolce canzone del 1855 di George Root, Laura Love fa dell'arabic-afro-funk, Merle Travis, Jim Croce, negli altri troverete folk irlandese, Spirituals, Celtica, Rock-Blues, Grunge, classica contemporanea. Dan Bern: Oh Sister -Jim Croce: I'll Have to Say I Love You in a Song -Guy Davis: If You Love Somebody -Jerry Douglas: A Tribute to Peador O'Donnell (Donal Lunny) -Mike Dowling: Rosalie (George Root) -Stephen Fearing: Coryanna -David Grier: Have You Ever Been to England -Kristin Hersh: Home -Laura Love: I'm a Givin' Way -Roy Rogers: Gertie Ruth -Elliott Smith: Sweet Adeline -Scott Tennant: Mysterious Habitats (Dusan Bogdanovic) -Merle Travis: Guitar Rag -Josh White: Landlord (Gene Raskin) -Chris Whitley: Scrapyard Lullaby. CD TABLATURE

Price: €26,99



Accompagnamento Folk song, country backup Carter style, suonare e cantare, rapidità nel cambio degli accordi, gli accordi con barre, bass lines, l'uso del capo, ritmi rock, accordi con abbellimento. 10 SONGS: Down in the Valley -Gold Watch and Chain -Highway Robbery -June Apple -Mr. Bojangles -Star of the County Down -The Water Is Wide -Wildwood Flower -Worried Man Blues.


Probably the most common function of the acoustic guitar, and the role that most players begin with, is that of an accompaniment instrument. All you need are a few easily fingered chords and you're accompanying your voice on your favorite folk songs, backing up your roommate's fiddle or mandolin, or thrashing away in a rock 'n' roll frenzy. But once you've caught the bug, you'll want to do a little more than furiously strum those C, G, D, A, or E chords. Along with a full lineup of lessons and songs, expertly played by master teachers on the accompanying CD, this book introduces you to the basics of accompaniment, using both fingerpicking and flatpicking techniques in a number of styles, including folk, rock, blues, Celtic, and bluegrass.




Folk Song Accompaniment - Happy Traum
Country Backup, Carter Style - Dix Bruce
Accompanying Your Voice - Elizabeth Papapetrou
Speeding Up Chord Changes - Janet Smith
Tackling Barre Chords - John Gribble


Moving Bass Lines -Happy Traum
Using a Capo - David Hamburger
Rock Rhythm - David Hamburger
Chord Embellishment - Dylan Schorer


Down in the Valley
Gold Watch and Chain
Highway Robbery
June Apple
Mr. Bojangles
Star of the County Down
The Water Is Wide
Wildwood Flower
Worried Man Blues

Price: €19,99


Acoustic guitar magazine 5, FINGERSTYLE GUITAR MASTERPIECES VOL.5. 12 titoli: -Jorma Kaukonen: Embryonic journey -John Williams: Sakura variations -Adrian Legg: Queenie's waltz -Ed Gerhard: The water is wide -Martin Simpson: Jock o'hazeldean -John Renbourn: Bourree l & ll -Leo Kottke: Three quarter north -Preston Reed: A day at the races -Jacques Stotzem: Never enough -Peppino D'Agostino: Bella donna -Duck Baker: Opening the eyes of love, e una suggestiva california dreamin'/paint it black, riarrangiate da Proctor. CD TAB.

Series: String Letter Publishing
Publisher: String Letter Publishing
Softcover with CD - TAB
Composer: Various Composers

12 instrumental compositions and arrangements from Acoustic Guitar magazine by today's best fingerstyle players. Hear all the original artist performances on the CD and then use the clear, accurate song transcriptions in notes & TAB to bring their songs to life on guitar. Includes artist bios and photos, plus detailed performance notes with tips from the artists themselves. Includes works by Duck Baker, Peppino D'Agostino, Ed Gerhard, Leo Kottke, Jorma Kaukonen, Adrian Legg, Chris Proctor, Preston Reed, John Renbourn, Martin Simpson, Jacques Stotzem, and John Williams. 72 pages.

Price: €29,99


acoustic guitar magazine, LEAD & MELODY BASICS. Per imparare a suonare musica folk, blues, Celtic & bluegrass, con i titoli: Cripple Creek -Cotton-Eyed Joe -Cottonwood -The Theme from the Pink Panther -She'll Be Comin' 'round the Mountain -Arkansas Traveler -Wildwood Flower -Walker Street -Tripping up the Stairs. Lezioni su melodie e scale maggiori arpeggiate -Jim Wood; Adding Melodies to Strum Patterns -Dylan Schorer; Beginning Blues Soloing -David Hamburger; Hammer-ons, Pull-offs, and Slides -Paul Schlueter. l'improvvisazione intorno a una melodia -Mike Christiansen; Learning to Transpose -Dix Bruce; Arpeggios and Melodies -Paul Kotapish; Melodic Solos up the Neck -Dylan Schorer. CD TABLATURE


As you try moving the melody onto other strings, you'll probably discover the two
moves that won't work. Youcan't start the melody on the sixth string because you'd need
a lower string, a B, to complete it. Have you tried starting the melody on string two, tuned
to a B note? Interesting sound. Why won't it work? Because the major-third interval
throws a wrench into the works. If the third string were tuned a perfect fourth below the
second string, to an Hinstead of a G,you could play the melody here just as on the other
string pairs. With a little effort, though, you can probably figure out how to accommodate
the major-third interval.
Of course these examples are very simple and limited to notes confined to two or
three adjacent strings. Most melodies won't be quite this easy to transpose. More sophisticated
melodies will require some adjustments. Still, the same principles will apply that
allowed you to move a very simple melodic fragment through the keys of 0, G,A, and E.
Let's try transposing a more challenging tune.
"Wildwood Flower" is a beautiful old song first recorded by the Carter Family in 1928.
([he Rounder CDAnchored in Love includes this historic performance.) It is one of the
most often learned and played songs in the beginning and intermediate guitar repertoire.
Here's a transcription of Maybelle Carter's simple treatment of the melody and accompaniment,
her classic picking style with chord strums punctuating the single-string
melody notes. To play it smoothly, you need to hold your fretting hand in the general
shape of the accompaniment chord as you play single-string notes and chords. If you
drop your hand between notes or strums, you'll waste motion and miss the essence of
Carter-style f1atpicking. There are some notes that will require you to briefly change the
basic chord position, but you should try to move only the necessary finger to reach a note.
You'll find a few hammer-ons and pull-offs, but other than that, all the notes and
chords are played with simple downstrokes. The original version of "Wildwood Flower" is
played in the key of Bb.Maybelle Carter probably tuned her guitar down one whole step
and played out of C position. The resulting sound was in the key of Bb.She probably did
this to accommodate Sara Carter's voice while still playing out of positions she was familiar
with. The first version is written in the key of C. Notice that in typical Carter style,
most of the chord strums don't use all six strings. For example, in the first full measure
(don't count the pickup measure) the strum on beat two is played on the first, second,
and third strings. You could strum all six strings, but the abbreviated strum allows for
more efficient hand movement and a crisper sound.
Once you can comfortably play "Wildwood Flower" in the key of C without looking at
the music, try moving it over one string so that the first note is on the second fret of the
fifth string. This will put the song into the key of G.The trick here is to maintain the same
basic hand position you held for the version in the key of C. Again, try to visualize your
fretting-hand positions before you play. It's going to look and feel a bit different in some
spots because the chords are different, but there's much that will be the same. The
changed passages are the fault of the major-third interval between strings three and two,
but the new chord positions will automatically take care of most of the differences. You'll
only need to change one note in the key-of-G version: beat three of measure 14. In the
key-of-Cversion we played the alternate G bass note for the C chord on string six. Since
you probably don't have a seventh string on your guitar, we'll play the alternate B bass
note for the G chord at the second fret of the fifth string.
 CD Track List
 Music Notation Key
 About the Teachers
GETTING STARTED - Melodies and Maior Scales - JIM WOOD
 Cripple Creek
 Cotton-Eyed Joe
Adding Melodies to Strum Patterns - DYLAN SCHORER
Beginning Blues Soloing - David HAMBURGER
Hammer-ons, Pull-Offs, and Slides - PAUL SCHLUETER
 Pink Panther Theme
MOVING ON - Improvising around the Melody - MIKE CHRISTIANSEN
 She'll be Comin' 'round the Mountain
Learning to Transpose - DIX Bruce
 Arkansas Traveler
 Wildwood Flower
Arpeggios and Melodies - PAUL KOTAPISH
 Walker Street
 Tripping up the Stairs
Melodic Solos up the Neck - DYLAN SCHORER
 Scale Library
Price: €15,99


Acoustic guitar magazine, FINGERSTYLE GUITAR ESSENTIALS. 12 lezioni e 8 canzoni. CD TABLATURE

Fingerstyle Guitar Essentials
Series: Guitar Method
Publisher: String Letter Publishing
Format: Softcover with CD - TAB
Author: Various Authors

Learn to build your technique, arrange songs, and use alternate tunings with this book/CD pack featuring lessons by Acoustic Guitar music editor Dylan Schorer, blues wizard David Hamburger, fingerstyle expert Chris Proctor, and many others. Includes 8 complete songs to play: Amazing Grace • Ashokan Farewell • Satin Doll • more.

Inventory #HL 00699145
ISBN: 9781890490065
UPC: 073999991451
Width: 9.0"
Length: 12.0"
88 pages

Amazing Grace
Ashokan Farewell
Aura Lee
How Can I Keep From Singing
If I Only Had A Brain
Old Joe Clark
Satin Doll
Twin Sisters

88 pages

Price: €29,99


ACOUSTIC GUITAR MAGAZINE. Fingerstyle: Before you accuse me -over the rainbow -hey Joe -we are the champions -twist e shout -smoke on the water -bridge over trouble water -sound of silence -Layla -stairway to heaven -imagine -mother, e altre. CD TAB.

Price: €74,99

ADVANCED FINGERSTYLE GUITAR. Ken Perlman. Centerstream Publications CD TABLATURE


Series: Guitar
Publisher: Centerstream Publications
Softcover with CD - TAB
Composer: Ken Perlman

This follow-up to the popular Fingerstyle Guitar book by Ken Perlman (00000081) is really two books in one. To the advanced player, it's an excellent tune book featuring 33 interesting and highly playable guitar arrangements. To the intermediate player, it serves as a clear and detailed guide to the technical expertise and theoretical knowledge required to bridge the gap to the advanced level. Covers Baroque tuning, DAD-GAD tuning and much more. The tunes are organized according to genre: Alternating Bass Pieces, The Country Blues, Melodic Guitar, Fiddle Tunes, Ragtime and Chord-Melody, and all tunes are played on the accompanying CD.
216 pages

Price: €25,99



Sheet music: 72 pages

Publisher: John August Music, Mel Bay Publications (1995)
Language: English
ISBN-10: 0786614471
ISBN-13: 978-0786614479


by Muriel Anderson
This was originally a song I wrote about one of my favorite hangouts in Nashville (my second home), the Ultra Violet Cafe. Anne Sullivan recorded it as the title track for her CD, Ultra Violet Cafe. Renamed "Hometown/' ·this solo guitar arrangement incorporates the melody into the accompaniment. The basic concept of the composition is an arpeggio - feel with a gentle melody floating over the top. The right hand fingering is crucial to getting the fluid yet rhythmic character, especially in the introduction.
Note where the thumb (p) drops down to play the notes on the third string. Think of the notes played by the thumb as a separate rhythmic figure. Beginning in measure five, bring out the melody notes louder than the accompaniment. In general, the right hand fingering stays to the one-finger-per-string concept; the ring finger (a) plays the first string, the middle finger (m) plays the second string, and the index finger (i) plays the third string, although often the thumb takes the index finger's job and plays the third string. This adds to the cascading feel of the arpeggio. Exceptions: Where there are several consecutive melody notes on the same string, alternate fingers. Two consecutive notes on the third string (measure 24) are played index (i) - thumb (p). As is true of many of the compositions in this collection, some of the accompaniment notes are played so quietly that they are meant to be felt more than heard, These" ghost notes" help to subtly keep the rhythm moving along. After you've been playing the piece for a while, you may vary the accompaniment a little while keeping the chordal structure and feel of the piece intact. Play with dynamic swells and fades. Start by getting louder as the melody goes up and getting softer as the melody goes down. Then vary the dynamics as you feel the melody leads you. Also, sing the melody as you play it, and even make up lyrics to help phrase the melody. The piece ends with right hand harmonics an octave higher than the fretted note. With the right hand, touch the point on the string exactly twelve frets higher than the fretted note with the index finger, and pluck with the ring finger. This leaves the thumb free to play the bass notes.

NOLA by felix Arndt
I discovered Nola when I was experimenting with bluegrass banjo techniques on the guitar; using as many open strings as possible in scale passages and fingerjrg the succeeding notes on different strings. This technique is often called "cross-string fingerings," used extensively by Chet Atkins and others. The notes ring into each other with a harp-like or "cascading" sound. Cross-string fingering also allows the notes to be played more quickly than would be possible otherwise. Some of the left hand fingerings in this transcription are a bit difficult, but necessary in order to keep the notes ringing on as many different strings as possible. When I first started arranging Nola, I played it at a music store for my friend and mandolin teacher Jethro Burns while he played a descending line on the mandolin. With the new line in my ears, I went home to work on incorporating it as an inner voice into my solo arrangement. From measures 21-26, the new line fits into the solo arrangement on beats two and four of the measure (instead of beats one and three where it was originally played). Pay close attention to the fingerings in this section. The descending line is indicated with accents in the arrangement. When Nola is played in the key of G with the 6th string dropped down to D and the 5th string down to G, it is possible to play all the notes of the piano transcription on the guitar (although sometimes in a different octave). In addition, this tuning allows for a great number of open strings in both the melody and bass. As the arrangement evolved, some phrases were modified from the original to maintain the momentum of the piece in a more guitaristic way. The piano version of the long run beginning in measure 54 goes below the range of the guitar.
To change the octave register of these notes would disrupt the shape of the run. Because of the cascading nature of the run, the most graceful resolution to the problem (however nonstandard) was to shorten the run by three eight notes (one beat). This is the reason for the 9/8 bar in measure 55. Another option, to keep consistent 12/8 measures (if you're playing with a drummer, for instance), is to repeat the first three eighth notes at the beginning of measure 56. (These are the notes that are an octave lower in the piano arrangement.) Sometimes the same note functions as a bass note and a melody note. This is indicated in the music by a double note with the stems going in either direction, as in measure four, fourth note. In this case, the double note head indicates the note's (double) musical functions, not to play the same note on two different strings. The notes with x's marked "muffle" are played with a down-stroke with the backs of the nails, bringing the palm down to muffle the strings quickly after they are struck. This creates a percussive effect with just a hint of the harmony. For some right hand fingering suggestions for Nola, refer to Fingerstyle Guitar Magazine, NO.5. If you are comfortable with using the pinkie finger, there are a couple of places in the theme where it would be handy to use it (in addition to the ring, middle, and index fingers.) I originally wrote this arrangement to be played on a Martin 00-21 strung with nylon strings in the bass and steel strings in the treble. Then I came to prefer the sound played on all nylon strings, on my Paul McGill classical guitar.

A Roman numeral means to bar all (or part) of that fret. 1/2[Roman numeral] means to bar specifically half way across.
[SQUIGGLY LINE] means to strum down or arpeggiate. In Fantasia de Fuego and In Memory of a Friend, a squiggly line indicates a rasqueado: a down strum with the backs of the finger nails, one finger after another in quick succession starting with the pinkie finger, then ring, middle, index.
Measures are numbered from [!]as the first full measure.
Right hand fingerings are indicated by p = thumb, i = index, m = middle, and a = ring.
Thanks to all my students at Wheaton college who helped me carefully proofread this music. Special thanks to Kathy Tyers. Music typography by Paul Kurtz.

To order Muriel Anderson's recordings:
MURIEL ANDERSON, Elmhurst, IL 60126
Note: Anderson's CD Hometown Live! contains three additional selections not included on the book edition CD.


Titles - AUTHOR - YEAR
- Hometown - MURIEL ANDERSON - 1995
- It Never Gets Easier - MURIEL ANDERSON - 1995
- All Thumbs - MARK CASSTEVENS - 1995
- The Three Sisters - MURIEL ANDERSON - 1995
- Arioso - MURIEL ANDERSON - 1995
- Fantasia De Fuego - MURIEL ANDERSON - 1995
- In Memory of a Friend - MURIEL ANDERSON - 1995
- Mister Chester - MURIEL ANDERSON - 1995
- After Tonight - MURIEL ANDERSON - 1995
- Nola - FELIX ARNDT - 1995
- The Water Is Wide - AMERICAN FOLK SONG - 
- Andante From Symphony For a Country Gentleman – JEAN-FELIX LALANNE - 1995

Price: €39,99
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