LIBRO CON CD

ATKINS CHET COMPLETE GUITAR METHOD CD TABLATURE SPARTITI LIBRO METODO CHITARRA FINGERPICKING

ATKINS CHET, COMPLETE GUITAR METHOD. CD TAB.

By Tommy Flint and Chet Atkins. For Guitar (Fingerpicking). Methods. Complete. Country. Book/CD Set. 108 pages. Level: Multiple Levels. This is an updated edition of Chet Atkin's famous guitar method. It contains numerous picking studies, chord etudes and great Atkin's style guitar solos. Written in notation and tablature.

Tuning the Guitar
Another Method of Tuning
Pitch Pipes
Electronic Tuners
The Rudiments of Music
The Staff
The Clef
Notes
Note Values
Rests
Notes and Comparative Rests
The Time Signature
Ledger Lines
The Fingerboard
Charts
The Correct Way to Hold the Guitar
Tablature
The Fingerboard
The Notes on the Sixth String (E)
The Notes on the Fifth String (A)
Whole-Notes
Half-Notes
Quarter-Notes
The Notes on the Fourth String (D)
Whole-Notes
Half-Notes
Quarter-Notes
The Notes on the E (6), A (5), and D (4) Strings.
The Six Five Jive
Yankee Doodle
How Can I Leave Thee
The Notes on the Third String (G)
A Study on the Third String
Lightly Row
Running the Basses
The Notes on the Second String (B)
Whole-Notes
Half-Notes
Quarter-Notes
The Notes on the First String (E)
Three-Four Time
Dotted Half-Notes
Colonial Waltz
Right Hand Development
Alpha
Two String Harmony
A Picking Study
Pick Up Notes
Two and One
Tone
Tempo
The Tie
First and Second Endings
Chromatics
The Sharp
The Flat
The Natural
Accidentally On Purpose
Music in Two Parts
Right Hand Etude
Fingerstyle Etude
The Key of C
The C Scale
Chords in the Key of C
3/4 Accompaniment Style
4/4 Accompaniment
Home, Home, Can I Forget Thee
Remembering Home
Alternate Basses
With Melody Notes
Lightly Row
Long, Long Ago
The Marine Hymn
Martha
The Eighth Note
Eighth Notes and Eighth Rests
The Scale in Eighth Notes
A Scale Study
An Eighth Note Study
Tiptoe
Our Boys Will Shine Tonight
The Caissons Go Rolling Along
The Blue Tail Fly
Bicycle Built for Two
Oh, My Darling Clementine
My Mountain Home
Two-Four Time
The Key of A Minor
The A Minor Scale (Harmonic)
Melodic
The Chords in the Key of A Minor
Etude
A Minor Study
The Wayfarin' Stranger
Dotted Quarter Notes
America the Beautiful
How to Count Triplets
Triplets
The Key of G
The G Scale
A Scale Study
Three in One
Chords in the Key of G
Accompaniment Styles in the Key of G
Old Folks at Home
Home on the Range
Red River Valley
The Key of B Minor (Relative to G Major)
Two E Minor Scales
The Chords in the Key of E Minor
Accompaniment Styles in the Key of B Minor
Waltz in E Minor
The Key of F
The F Major Scale (Two Octaves)
Triplet Etude
The Chords in the Key of F
Accompaniment Styles
May
March Majestic
Sixteenth-Notes
Table of Notes and Rests
Sixteenth-Notes
Prelude
Single String Sixteenths
The Notes on the Second String
The C Scale in Thirds
Notes on the Fifth Fret
The Key of D Minor (Relative to F Major)
The D Minor Scales
The Chords in the Key of D Minor
Accompaniment Styles (Common Time)
Prelude in D Minor
Mist in the Valley
The Key of D Major
The D Major Scale
The Chords in the Key of D Major
Accompaniment Styles
The D Scale in Two Octaves
The Street of Laredo
Smoky Mountain Lullaby
Thirds in the Key of D
Drink to Me Only With Thine Eyes
The Key of B Minor (Relative to D Major)
The B Minor Scales
Etude in B Minor
The Chords in the Key of B Minor
Accompaniment Styles
Southern Picking
Love Song
Etude
The Key of A
Etude
The Chords in the Key of A
The Musical Notation of the Chords
Accompaniment Styles
Six-Eight Time
The Carnival of Venice
The Notes on the Third String
The G Scale
The A Scale
G String Etude
The Notes of the Fourth String
A Table of Notes on the First, Second, Third and Fourth Strings
Smooth
Tenting Tonight
The Key of F# Minor (Relative to A Major)
Two F# Minor Scales
The Chords in the Key of F# Minor
Accompaniment Styles
The Key of E Major
The Chords in the Key of E Major
Careless Love
More Chromatic Signs
Ode to Bob
Chopin's Prelude
Spanish Fandango
Just As I Am
John Henry
Me and Merle
Wimoweh
Liebestraum
Czardas
Yankee Doodle Dixie

Price: €33,99
€33,99

ATKINS CHET THE BEST OF Styles Techniques Father Country Guitar LIBRO CD TABLATURE Mister Sandman

ATKINS CHET, THE BEST OF Styles and Techniques of the Father of Country Guitar. CD TAB.

A Step-by-Step Breakdown of the Styles and Techniques of the Father of Country Guitar
Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Chad Johnson
Artist: Chet Atkins
Learn the trademark riffs and licks behind one of the most influential recording artists of all time and one of the founders of the Nashville sound. This book/CD pack features analysis and lessons for 12 Atkins hits along with a CD featuring full demos.
72 pages

INTRODUCTION
Chet Atkins holds a place in musical history reserved for a very select few. His contributions to country music are inestimable, as is his influence on guitar players worldwide.
Simply put, country music would not be the same today if it weren't for Chet. Quite likely the most recorded instrumentalist in the history of popular music, his guitar playing has graced the records of Elvis Presley, The Everly Brothers, Hank Williams, Jerry Reed, and Les Paul, to name but a few. Originally a disciple of fingerstyle legend Merle Travis, Chefs groundbreaking guitar work throughout his recording career of over fifty years has in turn influenced the styles of such notable players as Mark Knopfler, Eric Johnson, and George Harrison. And although his virtuosity on the instrument is well acknowledged, his talents were not limited to the guitar alone. As a producer for RCA records, he is often credited as single-handedly creating the "Nashville Sound" as we know it today, fusing the twang of traditional country with a pop sensibility. His list of producer credits reads like a "who's who" in popular country music, including Patsy Cline, Waylon Jennings, Charley Pride, Elvis Presley, and Jerry Reed. He also discovered and/or signed such legendary artists as Dolly Parton, Ronnie Milsap, Willie Nelson, and Steve Wariner.
Chester Burton Atkins was born on June 20, 1924, in Luttrell, Tennessee, about twenty miles northeast of Knoxville. His first musical influence was his older brother Jim, a highly accomplished guitar player who eventually went on to play with Les Paul. Chefs parents separated when he was ten, and he moved to Georgia to live with his father, a music teacher and song leader for several traveling evangelists. At his brother's suggestion, the fiddle became Chefs first instrument, but it wasn't long before he acquired a Sears Silvertone guitar and started learning to play it. He advanced rapidly, and by the time he left high school in 1941 at age seventeen, he had made up his mind to make a career for himself in music.
Chefs sophisticated style was a tough sell at first. He held a few performance slots at various radio stations in Knoxville and eventually Cincinnati, but he was often dismissed because his style wasn't "hillbilly" enough. During this time, while working at WLW with the duo Homer and Jethro, Chet met his future wife, Leona Johnson. They married in 1946. Later that year, Atkins finally received a break when, in support of Red Foley, he made his first appearance at the Grand Ole Opry, where his ear-grabbing style was greatly appreciated. Several more radio positions followed in Virginia and Missouri, but in 1947, with the birth of his first daughter and poor job prospects, Chet moved back to Knoxville to work with Homer and Jethro at WNOX. Eventually, a tape of Chefs radio performances was sent to RCA Victor's office in Chicago and made its way to Steve Sholes, the label's head of country music. After receiving a call from Sholes, Chet moved the family to
Nashville.
Sholes was greatly impressed by Chefs playing and put him to work immediately; Chet was featured on nearly every recording session of 1949. Mother Maybelle and the Carter Sisters hired him a year later as a regular on the Grand Ole Opry, signaling that Chet had officially arrived in Nashville. During this time, Chefs playing wound up on records by Hank Williams ("Cold, Cold Heart" and "Jambalya"), The Louvin Brothers ("When I Stop Dreaming"), The Carlisles ("Too Old to Cut the Mustard" and "No Help Wanted"), Kitty Wells ("Release Me" and "Repenting"), and many more. When Sholes could not make the sessions because of other business, Chet was allowed to produce them himself.
By the mid-fifties, Chet was producing thirty artists a year as well as recording his own albums for RCA. His 1954 debut album, Chet Atkins and His Galloping Guitar, produced his hit instrumental version of "Mister Sandman" and included his now-classic "Country Gentleman." A signature model Gretsch guitar was developed bearing Chefs name; it eventually became a huge seller in the early sixties when George Harrison made it his guitar of choice with the Fab Four. Chet played on Elvis Presley's historic RCA debut, "Heartbreak Hotel," in 1956, and provided the famous tremoloed electric guitar part on the Everly Brothers' "All I Have to Do Is Dream." He became to country guitar what James...
 

Big Foot
Blue Angel
Cascade
Chinatown, My Chinatown
Country Gentleman
Galloping On The Guitar
A Little Mark Musik
Mister Sandman
So Soft Your Goodbye
There'll Be Some Changes Made
Yakety Axe
You Do Something To Me

Price: €31,99
€31,99

COMPLETE COUNTRY GUITAR BOOK Fred Sokolow CD TABLATURE flatpicking lead-Doc Watson-Clarence White-bluesy-Atkins/Travis fingerpicking-rockabilly-Nashville-Western swing

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 .

Price: €30,99
€30,99

COUNTRY GUITAR ALAN WARNER BOOK CD TABLATURE CHITARRA METODO TECNICA SPARTITI LIBRO ACCORDI

Play country style Guitar with this great book and CD. Over seventy exercises, licks and stunning solos presented in standard notation and easy-to-read tablature. 



All the techniques and licks in this book are demonstrated on the accompanying CD which includes a number of stunning solos by Alan Warner to show how the licks should sound in performance.

Arpeggio In D

Bluegrass Guitar Solo

Clearwater Vamp

Country Picker

Misty Mountain

Pull Your Socks Up

River Valley Vamp

Short Guitar Solo

Price: €24,99
€24,99

CRARY DAN THE FLATPICKER'S GUIDE BOOK WITH CD GUITAR TABLATURE LIBRO CHITARRA SPARTITI ACCORDI

CRARY DAN, THE FLATPICKER'S GUIDE. CD TAB.

Series: Guitar
Medium: Softcover with CD
Artist: Dan Crary

Dan Crary is one of the top flatpickers in the United States. His book teaches how to play accompaniments, cross-pick, play lick strums, and lots more, and the examples in the book are explained on the accompanying CD by Crary himself. The CD also allows guitarists to play along with the songs in the book.

112 pages

Price: €24,99
€24,99

FLATPICKING COLLECTION,1998 ANNUAL EDITION. CD TABLATURE

 

FLATPICKING COLLECTION, 1998 ANNUAL EDITION. CD TABLATURE

Solos by Some of the world's greatest guitarists

Introduction

Flatpicking Guitar Magazine, in conjuction with Mel Bay Publications, is proud to bring you this sampler of flatpicking guitar music from twenty-two of the best bluegrass guitar players in the business. This CD project, the second in an annual series, originally grew out of requests we received from our readers regarding an audio reference for the material we present in the magazine. AlI of the tunes on this CD have been transcribed in both standard music notation and tablature within the pages of the second volume of the magazine (six issues).

After we produced the first flatpicking CD sampler in 1997, Bill Bay of Mel Bay Publications approached us about publishing a book that would include all of the transcriptions as well as some information about each of the artists on the CD. That book, published in 1998 by Mel Bay Publications, Flatpicking Collection: 1997 Annual Edition, contained all of the transcriptions as they appeared in our magazine during our first year of publication.

That first book and CD were so well received, we decided to make it an annual event. What you are holding in your hands is the second in this flatpicking series.

On the majority of the cuts on the CD the artists play more than one break to each song, however, in most cases you will only find one of those breaks transcribed here. For the most part, the biographical material presented in this book was extracted from more complete articles that were published about these artists in Flatpicking Guitar Magazine.

Please support the artists that appear on this sampler by purchasing the source CDs. If you have any trouble finding these CDs, give us a call and we will help. We owe a special thanks to all of the artists on this CD for their time, effort and talent; their record companies for allowing us to use this material; Mel Bay Publications for publishing the book, and Bill Wolf for mastering the CD.

I dedicate this book in memory of my friend, mentor, and teacher, Charles Sawtelle. After a five year struggle with leukemia, Charles passed away on March 20, 1999. He was an outstanding guitar player and an extraordinary human being.

Dan Miller Flatpicking Guitar Magazine

 

 

Book Contents:

20 Title - Artist

Lonesome Reuben - James Alan Shelton

The Girl ILeft Behind Me - Dan DeLancey

God Rest Ye Merrie, Gentleman / Joy to the World - Dan Crary

Roan Mountain Rag - Richard Bennett

Shady Grove - Charles Sawtelle (with Hot Rize)

Big Sciota - Russ Barenberg

Cross the Bridge - Sean Watkins (with Nickel Creek)

Danny Boy - Larry Sparks

Luke's Rainbow - Richard Starkey &: Mark Cosgrove

Shenandoah Valley Breakdown - Luke Bulla

I Don't Remember - Craig Vance (with The McKrells)

Whing-Ding - Adam Granger

Black Eyed Susie - Jimmy Haley

Saturday Night Ramble - Jeff Autry

Nashville Blues - Chris Jones

Take Me Back to Tulsa - Orrin Star

Sally Goodin - Jim Nunally & Dix Bruce

Belfast - John McGann

Santa Fe Railroad Line - Mike Maddux

Keep a Light on in the Window - Joe Carr &: Alan Munde

 

 

 

Dan DeLancey ..

The Girl ILeft Behind Me

Written by Dan Miller

Kansas City native Dan Delancey says that he likes to think of himself more as an "arranger" than a "hot lick" player. Listening to him play at the flatpicking guitar competition at Rocky Grass in 1997, it was certainly evident that arrangement is something he does very well. His arrangements were interesting, exciting, tasteful, and well performed. The fact that he did not win the contest that year was not of great concern to Dan (he did come back and win it in 1998). He likes the experience of the contest and he likes the interaction with the other pickers. A veteran of about fourteen Winfield competitions, he says, "I started going to contests because I didn't have anybody to compare my playing with at home. I would go to the contests just to see what the other guys were doing and where they were learning their stuff. I would pick up their licks and see what they thought of me. I just wanted to compare myself." He continues, "I don't believe that contests always judge a persons talent fairl. You win some and you lose some." With the release of his new CD Flatpick Guitar - A Few Favorites, Dan is ready to see what the rest of the flatpicking world thinks about his playing.

Dan says that he didn't have a "big" interest in the guitar until he was about fourteen years old and his parents bought him his first "good" guitar (a Yamaha FG-160). However, prior to that time he had bought a "cheap" guitar by himself, using money he earned mowing lawns, and had taught himself a few chords. Dan had been exposed to bluegrass music because his uncles, on his mother's side played bluegrass and his grandmother kept a stack of bluegrass records. He said he would spend six or seven hours everyday in the summer, during his junior high school years, playing rhythm to records at home. Dan says, "There was a great fiddle player in Kansas City named Lyman Enloe. He cut about three albums and I learned to play back-up to every tune on those albums. That really helped

my timing when I started flatpicking."

Dan's interest in flatpicking lead guitar breaks was sparked when, bored one summer day while sitting around the house, he was flipping through the radio dial and landed on a public radio station that played Doc Watson's "Black Mountain Rag" followed by Dan Crary playing "Huckleberry Hornpipe." Dan was hooked. He says, "When I heard that I knew that I wanted to play more than just chords on the guitar."

Dan says that back during the seventies there were not many books or tapes available for learning how to flatpick the guitar. He states, "I had a local guy show me how to flatpick one tune. Once I had that foundation, I went from there and figured out how to do it. I listened to Norman Blake, Doc Watson, Dan Crary and had all of the albums. Sometimes I would spend a whole year trying to learn a tune off of the record." Dan also says that he ordered one of Russ Barenberg's early Homespun lessons and learned some things from those tapes that also helped him.

From the time he was a teenager in the 1970s up until about five years ago, Dan says that everything he had learned on the guitar had been pretty much self-taught. It was at a workshop in Elkins, West Virginia, that he first met Steve Kaufman. Dan spent a week there and says "Steve took me under his wing and really payed a lot of attention to me that week. I came home with a good direction, a lot of good ideas, and a better guitar player." Since then, Dan has taken a number of private lessons with Steve and has attended the first two of Kaufman's flatpicking camps. In 1997 Dan placed second in the camp's first flatpicking guitar contest.

When asked about the most valuable lessons he learned from Kaufman, Dan replied, "The single thing he helped me with the most was arrangement. He taught me to first get the basic melody down and then work out variations that flow into each other. He taught me how to create passages and runs which connect variations together smoothly." Dan says that it might take him a full year to put three or four variations to a tune together.

After playing on the Yamaha guitar for a number of years, Dan saved his money and bought a new Martin D-18, after that he bought a 1979 Martin HD28, and then he played a Mossman guitar for a number of years. Last year he bought a 1957 Martin D-21 which was restored by Marty Lanham of the Nashville Guitar Company. When he bought the guitar, the entire top from the bridge forward (on both sides of the soundhole) was covered with an enormous pick guard. Dan has pictures of the guitar when he bought it and this pickguard would make Lester Flatt's and Larry Sparks' pickguards combined look tiny in comparison. Dan says, "Marty Lanham took the guitar apart, put it back together, and made it like new. He put it in good shape."

Dan says that over the years he has spent quite a bit of time working on his tone and technique. When asked to elaborate on his experiences he says, "I discovered early on that the way you hold the pick, the way the pick strikes the string, the way the pick rolls over the string, it all effects the tone of the guitar immensley. If you strike the string with the flat of the pick it is a crisper sound, I like the mellower sound, so I tilt the pick forward."

Another interesting discovery Dan made was that the use of jumbo frets on his guitar helped with his speed and economy of motion in his left hand. He says, "The large fret keeps the flesh on the end of your finger from touching the fingerboard. Your finger never touches the wood." By allowing the player to

 

Dan Crary ..

God Rest Ye Merrie, Gentleman / Joy To The World

Dan Crary is an imposing figure-both literally and figuratively. At over six feet tall, his eyes peering out behind tinted glasses, his thinned gray hair pulled back into a tight, small pony tail and his gray beard neatly trimmed, Crary speaks with a resonant baritone voice that commands attention. It's fitting then, that, until his retirement last year, Crary had spent much of his time teaching Communication Sciences at Cal State Fullerton.

As a guitarist, Crary, indeed casts a giant shadow. In 1970 Crary released the first bluegrass album built around the guitar aptly called Bluegrass Guitar. In the liner notes to the CD reissue of Bluegrass Guitar, Tony Rice states: " ...the idea of lead guitar standing alongside mandolin, banjo and fiddle is relatively new and Dan (Crary) along with Doc Watson, Clarence White, Norman Blake, Larry Sparks, and others, made it happen ...Crary's direct approach makes for a wonderful sound and fully developed aesthetic all it's own."

Crary's influence as a guitarist reverberates with any guitar tune picked at ajam session. As Rice so simply stated, Crary is among the founders of the form. Crary is one of the architects of flatpicking guitar. Listen to Bluegrass Guitar and one is struck with the selections-virtually all standards today. Many of them, "Gold Rush," for example, presented as guitar pieces for the first time.

One measure of Crary's influence might be the legion of fans he commands. In a recent concert, Pat Flynn, (formerly of the New Grass Revival and an award winning studio guitarist), dedicated a hot fiddle tune to Dan Crary and Doc Watson describing them as "two of the guys on the Mount Rushmore of bluegrass guitar." Steve Kaufman, himself an astounding guitarist who has also helped put the language of fiddle tunes in the hands of guitarists worldwide, credits Crary with "talent, genius and a genuinely kind soul" in his eloquent notes to the re-release of Crary's Lady's Fancy.

Talking to Crary, you get the feeling that his college lectures are as dynamic and fluid as his guitar playing. A passionate guitar advocate, Crary readily shares his opinions which are always carefully worded and constructed, and well thought out (much like his guitar playing). Crary has combined his academic background with his passion for guitar in his educational work, both at college and his workshops. He has contributed to various music publications and has researched the role of music as communication in society. He is fond to recall a Bill Monroe story about watching a circa '68 hippie and redneck jam on a fiddle tune. Good music bridges barriers. One hopes Crary will devote some time to a book, sharing his accumulated knowledge about the guitar and music in general. He has stories to tell.

In workshops-and as a Taylor endorsee, he's done many-Crary recounts his growing up in the musical void of Fifties era Kansas City. He animatedly covers the rise of the guitar, crediting Elvis Presley to the dominant position the instrument holds worldwide today.

Crary possesses a midwestern work ethic and the need for social responsibility. He will talk guitar with anybody and love it. Crary prefers not to teach a specific version of one of his solos. Instead, he tells students, with a nod to Segovia, that they are all self taught. He then goes on to cover ways we can better teach ourselves. His main refrain is how to best structure a practice.

With concepts and the emotional delivery of a sales training or motivational seminar, Crary advises to define attainable goals for each practice session and write them down. Then go ahead and tackle the challenge-it can be the rhythm, the way you finger a particular note- virtually any of the actions that create your music. Just running through repertoire does not constitute practicing Crary emphasizes.

Once you've reached a particular goal, Crary recommends you share your success with someone for positive reinforcement then define your next goal. He readily admits that this method was the way he finally over came some problems working out his famed version of "Lime Rock." The reasoning is simple, it's easier to conquer small hills than giant ones, and success feels good. Sounds trite, but it's true.

Dan Crary is a unique man, not just for his dual career path, but for the sheer power of his conviction and faith in the guitar and music and for the humility with which he views his role in the history of guitar, "That's for other's to decide," he says flatly.

This cut, "God Rest Ye Merrie, Gentleman/Joy To The World," is from Dan's Sugar Hill Release Holiday Guitar (SHCD-3871).

 

CD Contents

 

1. Lonesome Reuben - James Alan Shelton

Traditional

Source CD: Road To Coeburn· James Alan Shelton

1997. Copper Creek Records (CCCD-0154). P.O Box 3161, Roanoke, VA 24015

James Alan Shelton - guitar. Ralph Stanley II - rhythm guitar, John Rigsby - mandolin,

Ben Isaacs - bass. Steve Sparkman - banjo. James Price - fiddle

 

2. The Girl I Left Behind Me - Dan DeLancey

Traditional

Source CD: Flatpick Guitar: A Few Favorites· Dan Delancey

1997, OED 1097

Dan Delancey, 7911 Hunter, Raytown, MO 64138 (816) 356-1879

Dan Delancey - guitar, Scott TIchenor· mandolin, Ronnie Delancey - bass

 

3_ God Rest Ye Merrie, Gentleman/ Joy to the World - Dan Crary

English 18CITraditionai

Source CD: Holiday Guitar-Dan Crary

1997. Sugar Hill (SHCD-3871). Sugar Hill Records. P.O. Box 55300, Durham, NC 27717

Dan Crary. guita.r

 

4. Roan Mountain Rag - Richard Bennett

Richard E. Bennen, Indian Gap Music· BMI

Source CD: Walking Down The Line - Richard Bennett

1997, Rebel Records (REB-CD-1738) Rebel Records, P.O. Box 3057, Roanoke, VA 24015

Richard Bennett - guitar

 

5. Shady Grove - Hot Rize (Charles Sawtelle - guitar)

Traditional, arr. Wernick

Source CD: Hot Rize in Concert· Hot Rize

1984, Fiying Fish Records (FF 70107)

Flying Fish Records, 1301 W. Schubert, Chicago, Il 60614

Charles Sawtelle - guitar, TIm O'Brien - mandolin and vocal, Nick Forster - bass and vocal,

Pete Wernick - banjo

 

6. Big Sciota - Russ Barenberg

Traditional

Source CD: Skip, Hop, & Wobble· Douglas, Barenberg, & Meyer

1993. Sugar Hill (SHCD-3817), Sugar Hill Records, P.O. Box 55300. Durham, NC 27717

Russ Barenberg - gullar. Jerry Douglas - dobra, Sam Bush - mandolin,

Edgar Meyer- bass

 

7. Cross the Bridge - Nickel Creek

(Sean Watkins - guitar)

Traditional

Source CD: Here to There - Nickel Creek

1997, Nickel Creek, 1205 Doran Rd. Murray, KY 42071

Sean Watkins - guitar, Sara Watkins - fiddle, Chris Thile - mandolin, Scott Thile - bass

 

8. Danny Boy - Larry Sparks

Traditional - Arr. Larry Sparks

Source CD: Blue Mountain Memories - larry Sparks

1996, Rebel Records (REB-CD-1726) Rebel Records, P.O. Box 3057. Roanoke. VA 24015

larry Sparks - guitar, mandolin

 

9. Luke's Rainbow - Richard Starkey and Mark Cosgrove

Richard Starkey

Source CD: Richard Starkey and Mark Cosgrove

1998. Richard Starkey. 174 Newport Ave, Nazareth. PA 18064

RIchard Starkey - lead and rhythm guitar. Mark Cosgrove - lead and rhythm guitar

 

10. Shenandoah Valley Breakdown - The Bullas (Luke Bulla - guitar)

Bill Monroe/Champion Music, BMI

Source CD: Set Apart - The Bullas

1997, Dominion Records, PO Box 179. Northport, WA 99157

luke Bulla - guitar & fiddle. Brad Bulla - banjo. Jenny Anne Bulla - mandolin,

Carol Bulla - bass

 

11. I Don't Remember - The McKrells (Craig Vance - guitar)

Kevin McKrell, ASCAP

Source CD: Better Days - The McKrelis

1997. Woods End Music Group, Greenfield Center. NY 12833 (518) 584-4431

Craig Vance - guitar & vocai, Kevin McKrell - lead vocal & rhythm guitar, Rick Bedrosian -

bass, Chris Leske - banjo, mandolin, Joyce Anderson - fiddle & vocal

 

12. Whing-Ding - Adam Granger

Adam Granger (BMI)

Source CD: Of Mice and Men - Adam Granger

1998, Jeep Records (JEEP-T42), Box 26115, Shoreview, MN 55126 (800) 575-4402

Adam Granger - guitar

 

13. Black Eyed Susie - Baucom, Bibey, Graham & Haley (Jimmy Haley - guitar)

Source CD: Baucum, Bibey, Graham & Haley

1998. Rebel Records (REB-CD-1743) Rebel Records, P.O. Box 3057.

Roanoke, VA 24015 Jimmy Haley - guitar, Terry Baucom - banjo,

Alan Bibey - mandolin, Randy Graham - vocai & bass

 

14. Saturday Night Ramble - Jeff Autry - gutiar

Joe Maphis (Silver Hill MuSIC - BMI)

Source CD: Bluegrass '98

1998, Pinecastle Records (PRC 1079), PO Box 456, Orlando, Fl 32802

Jeff Autry - guitar, Scott Vestal - banjo, Aubrey Haynie - fiddle, Mark Schatz - bass

Wayne Benson - mandolin, Randy Kohrs - resophonic guitar

 

15. Nashville Blues - Chris Jones

Alton and Rabon Delmore (Unichappell MusicNidor Pub - BMI)

Source CD: Follow Your Heart· Chris Jones

1998, Rebel Records (REB-CD-1749) Roanoke, VA 24015

Chris Jones - guitar, Mike Compton - mandolin, Ron Block - banjo, Paul Brewster - tenor

vocals, Ron Stewart - fiddle, Darrin Vincent - bass

 

16. Take Me Back To Tulsa - Orrin Star & the Sultans of String

Bob Wills and Tommy Duncan - Anne-Rachel Music, BMI

Source CD: Sultans Live! - Orrins Star & the Sultans of String

1998, Good Ear Music, (800)

Orrin Star - guitar and lead vocal, Bob Green - fiddle and harmony vocals,

Greg Vongas - bass and harmony vocals

 

17. Sally Goodin - Jim Nunally & Dix Bruce

Traditional

Source CD: Untitled 2nd CD from Dix Bruce & Jim Nunally

1998, Musix, PO Box 231005, Pleasant Hill, CA 94523

Jim Nunally - lead guitar, Dix Bruce - rhythm guitar

 

18. Belfast - John McGann

John McGann and Chris Moore, luminous Bloom Music, ASCAP

Source CD: Rust Farm

1998, Daring Records (CD 3032), PO Box 793. Marblehead. MA 01945

John McGann - guitar, Chris Moore - mandolin, Jim Whitney' bass

 

19. Santa Fe Railroad Line - Mike & Bertye Maddux

B. MadduxlLittie Birdie Music, BMI

Source CD: Banjo - Mike & Bertye Maddux

1997, T-GAP Records, PO Box 3097, Colorado Springs. CO 80934

Mike Maddux - guitar and vocal, Bertye Maddux - mandolin and vocal

Phile Easterbrook - banjo, Rick Desko - bass

 

20. Keep a Light on in the Window - Joe Carr & Alan Munde

Ed Marsh/Mountainside Music, Inc . 8MI

Source CD: Welcome To West Texas - Alan Munde & Joe Carr

1998, Rounder Records (CD FF 669), One Camp St. Cambridge, MA 02140

Joe Carr - guitar. mandolin, lead vocal, Alan Munde - banjo, Ed Marsh - bass and fiddle

Price: €26,00
€26,00

FLATPICKING COLLECTION STEPHEN BENNETT BOOK CD TABLATURE LIBRO SPARTITI CHITARRA

FLATPICKING COLLECTION, S. Bennett. CD TAB.

Product Description:
This book features twelve of Stephen Bennett’s favorite flatpicking solos for the six-string acoustic guitar. Perhaps best known for his work with the harp guitar, Stephen shows the same relaxed, sharp-witted spirit he exudes on stage in his insightful performance notes for these inspired guitar solos. Written in standard notation and tablature with a few altered and open tunings and partial capo indications, this book is recommended for the intermediate to advanced player. The companion performance CD includes all of the selections in the book.
Afton Mountain Stephen Bennett
Blackberry Blossom Arr. by Stephen Bennett
Cooley's Reel Arr. by Stephen Bennett
Greased Pig Stephen Bennett
Indian Nation Arr. by Stephen Bennett
Little Martha (Stewart) Stephen Bennett
Remember Stephen Bennett
Richmond Arr. by Stephen Bennett
Snowflake Reel Stephen Bennett
Tangier Morning Stephen Bennett
The Forest Floor Stephen Bennett
Waltz for a Maple Tree Stephen Bennett

Price: €34,99
€34,99

FLATPICKING COLLECTION VOL3 CD TABLATURE LIBRO SPARTITI CHITARRA

FLATPICKING COLLECTION VOL.3. CD TABLATURE

20 Solos by some of the world's greatest guitarists.

Book Contents:
The Old Minor Joe Clark - Gary Brewer
New Five Cent Piece - Doug Rorrer
Sarah Hogan - John Lowell
Wheel Hoss - Wyatt Rice
Saint Anne's Reel - Fisher's Hornpipe, Peter McLaughlin
Kentucky Waltz - Rob Pearcy
Signal Hill - Brad Davis 
Dawg's Pause - Dix Bruce
Fickle Wind - Travis Alltop
Bill Cheatum - Roy Curry
Don't Try This At Home - John Moore
Dry and Dusty - Robin Kessinger
Blinded By Love - Ray Craft with Unlimited Tradition
Alarm Clock - Jim Hurst
EI Cumbanchero - John Chapman
Against The Grain - Tim May (w/Crucial Smith)
Road To Coeoum - James Alan Shelton
Cotton Patch Rag - Cody Kilby
Cascade - David Grier
Big Mang - John Carlini & Tony Rice

Introduction
Flatpicking Guitar Magazine, in conjunction with Mel Bay Publications, is proud to bring you this sampler of flatpicking guitar music from twenty of the best bluegrass guitar players in the business. This CD project, the third in an annual series, originally grew out of requests we recei ved from our readers regarding an audio reference for the material we present in the magazine. All of the tunes on this CD have been transcribed in both standard music notation and tablature within the pages of the third volume of the magazine (six issues). If you are not familiar with our magazine and would like a free sample copy, please write to the address listed below, or call (800) 413- 8296. After we produced the first flatpicking CD sampler in 1997, Bill Bay of Mel Bay Publications approached us about publishing a book that would include all of the transcriptions as well as some information about each of the artists on the CD. That book, Flatpicking Collection: 1997 Annual Edition (MB97342BCD) published in 1998 by Mel Bay Publications, contained all of the transcriptions as they appeared in our magazine during our first year of publication. That first book and CD were so well received, we decided to make it an annual event. What you are holding in your hands is the third book in this flatpicking series.
On the majority of the cuts on the CD the artists play more than one break to each song, however, in most cases you will only find one of those breaks transcribed here. For the most part, the biographical material presented in this book was extracted from more complete articles that were published about these artists in Flatpicking Guitar Magazine.
Please support the artists that appear on this sampler by purchasing the source CDs. If you have any trouble finding these CDs, give us a call and we will help. We owe a special thanks to all of the artists on this CD for their time, effort and talent; their record companies for allowing us to use this material; and Mel Bay Publications for publishing the book. Dan Miller
Flatpicking Guitar Magazine P.o. Box 2160 • Pulaski, VA 24301
 

Gary Brewer ·
The Old Minor Joe Clark
Bio written by Dan Miller
Gary Brewer is immensely proud of his Roan Mountain, Tennessee, heritage and his family's musical tradition. "I am the fifth generation of bluegrass music in my family," Brewer states, matter of factly. "Our family was playing bluegrass before it was called bluegrassthat' s why we sometimes call it 'brew grass,' " he says with a wink and a smile, certainly not wanting to take anything away from his friend and mentor Bill Monroe. The family connection is certainly apparent during one of Brewer's performances. Not a show goes by when Gary doesn't announce, "this next tune will be played in the 'old-time' style of my grand-daddy 'Pap' Brewer." Gary's father, Finley "Jim" Brewer, Jr., who drives the band's bus and picks the guitar, is also called up on stage to sing a few numbers with Gary during the show. Additionally, when the show is close to home, Gary's five year old son, Wayne, will come up on stage with his dad and his "Papaw" to sing a song or two. About a year ago Wayne Brewer even performed with his father on the Grand Ole Opry and became the youngest person ever to perform on that stage. Thanks to Bill Monroe, Gary has an open invitation to perform at the Grand Ole Opry and has done so on several occasions. Gary Brewer began playing the guitar when he was nine years old, beginning on the electric guitar. His transition to the acoustic guitar occurred when he was twelve years old when Gary became fully immersed in bluegrass music. He began listening closely to the albums and eight-track tapes that his dad had around the house. The music that inspired him the most was that of the Stanley Brothers. He says, 'The Stanleys had that mountain influence and mountain sound. They were from the same region of the country and I could identify with it." As a result, his early guitar influences, other than his father and grandfather, were George Shuffler and Bill Napier. He also said that he remembers seeing Norman Blake play on "Hee Haw" when he was a young teenager. Although Gary was exposed to, and greatly enjoyed, the music of many bluegrass guitar players, he has never tried to copy or imitate anybody. He says, "I started my own band when I was fifteen years old and began writing my own material immediately. I was busy doing something that would be all mine instead of copying records. I was hearing what was inside of me on the guitar." When Gary was about fifteen some school mates who had heard that he could play the guitar asked him to join them in a talent contest. He went to one boy's house to rehearse and saw that they had a banjo and mandolin. They started to jam and it developed into a great afternoon picking session. When Gary got home that night he announced to his parents that he was going to start a bluegrass band. He named the band the Kentucky Ramblers and is still, over eighteen years later, playing under that same band name. Gary began his professional career in about 1979 and since that time has recorded 34 projects under his own name; filled in for Ralph Stanley's guitar player on occasion during the early 1980s; actually took Bill Monroe's place on stage at Fan Fair in 1996 and filled in for the Father of Bluegrass with his Bluegrass Boys when Monroe was in the hospital; toured Europe in 1995, selling out every show and recording a highly acclaimed "Live in Europe" album in the process; has been the main-stay act in the mayor of Louisville's music program for the past fourteen years; toured with Bill Monroe; played on the Grand Ole Opry as a featured act; played for President Ointon during a campaign stop in Louisville; recorded the sound track to a soon-to-be-released major motion picture "The Floyd Collins Story"; has played at nearly every major bluegrass event in the country; and eight years ago he started, and still runs, the country's largest free Bluegrass festival. On top of all that, and of special interest to readers of this magazine, he has recorded a highly acclaimed guitar instrumental album which as released in 1995.

When asked about his success, Gary says, "From the time I first started as a teenager, I understood that there was only going to be one Ralph Stanley. I knew that I needed to do something different in order to be recognized. I attribute my success to that fact that I record and perform my own material. I have never tried to copy anyone. Ninety percent of what I do in my show is Brewer material." On the following page, we have transcribed Gary's first break to "Old Minor
Joe Clark" from his Guitar CD. Gary said that he had been fooling around with minor chords one day and began to play the old mountain ballad "Old Joe Clark" out of A minor. He named his arrangement the tune "The Old Minor Joe Clark." The transcription on the next page was taken from a Mel Bay book which contains complete transcriptions of the songs on Gary's CD.

Rob Pearcy·- Kentucky Waltz
Written by Dan Miller

The name Rob Pearcy might not be one that you recognize right away, but take a look at the photo on the CD cover. If you've ever attended Steve Kaufman's flatpick camp, or witnessed any of the flatpicking guitar competitions anywhere from Merlefest all the way west to Winfield, you'll undoubtedly say, "I remember that guy!" Rob is the kind of guy that you'll tend to remember if you have ever seen him. His tall, lanky build, long goatee, lightning-bolt guitar strap, Dan Crary Model Taylor guitar and characteristic hat, complete with its long turkey feather, make him one of the most recognizable players on the flatpicking guitar competition circuit. And although he has removed his hat and dressed up a bit for the cover of his debut solo CD, Hats Off, looking at that long goatee and Taylor Dan Crary model guitar will probably still bring back memories of Rob blazing through "Lime Rock" or sweetly gliding through his fine arrangement of "Kentucky Waltz" on a competition stage somewhere. Rob Pearcy is a bluegrass music teacher by profession (teaching guitar, mandolin, banjo, dobro, fiddle, and mountain dulcimer). That statement, in and of itself, is not one to raise eyebrows. Many bluegrass musicians teach students how to play bluegrass instruments to supplement their income. The unique thing about Rob is that he teaches bluegrass music as a full-time member of the faculty at Hunters Lane High School in Nashville, Tennessee. Rob teaches about 70 students a semester at Hunters Lane. He runs three double length (an hour and forty minutes) classes a day, five days a week. The classes are divided into three blocks--one for beginners, one for intermediate level players, and an ensemble class. There are about 25 kids per class ranging from the ninth through the twelfth grade. The majority of the students enter the program with little or no experience. Rob starts all beginners playing the guitar. By the time the students reach the ensemble class, many have gone on to learn other instruments and have become quite skilled. Regarding the beginning of his interest in flatpicking, Rob says, "I would read Guitar Player magazine a lot and I keep seeing this name pop up-Doc Watson-and his acoustic flatpicking. I had really never heard it. One of the local music stores that I did business with owed me some money in trade for something so I asked them to get me the Doc Watson albums so that I could see what this guy was all about. I got all of the old Vanguard Doc Watson albums and it really changed my life. I thought, 'This is really something else!' I thought it was the greatest guitar playing I had ever heard." While Rob continued to play some electric guitar to make money, his attention and interest began to move more towards acoustic flatpicking. He says, "Frets magazine started that same year and I got the first issue. I read Dan Crary's column and learned how to play 'Salt Creek.' When I had first listened to Doc play, I thought no one else could learn to play like that. After I learned to play 'Salt Creek' reasonably well, I was excited." Rob's first contest experience was at the Smithville Fiddler's Jamboree. Of his first trip to the Smithville event, Rob said, "They had been having the festival all through the seventies. I had heard about it but never had much interest in it. After I won an acoustic guitar and began flatpicking, I thought, 'Well I'll go to that.' I took my Alvarez and it was an amazing event. I was really impressed that the people that played there kind of took me in even though I was this strange hippy guitar player. I wound up jamming with the guys who were the top three guitar players at the contest that year. I was hooked from then on out." After that rust experience at Smithville, Rob spent the next several years entering as many contests as he could find, including the Tennessee State Championship sponsored by Gallagher Guitars. He says, "It was at Gallagher's flatpicking championship that I started meeting the heavy duty flatpickers. I ran into Steve Kaufman, Roy Curry, Danny Roberts, Fred Dugin, and Mike Whitehead. They were all real nice guys and would jam with you-I thought it was the greatest thing." In addition to playing contests, Rob had also started teaching students at local music stores. One of Rob's friends, formerly a bandmate in a few of the country bands Rob had worked with over the years and at that time was a teacher at Hunter's Lane High School, brought Rob in on a new program the school was developing to teach kids bluegrass and acoustic music. Rob was rust asked to serve on the advisory committee to help choose teaching materials. A year later, when one of the teachers left the program, he was hired as a teaching assistant. He now has been working as a full-time member of the faculty for the past ten years. Having had ten years of experience teaching many students how to flatpick, Rob had the following to offer when asked to talk about what he has learned about teaching the art of flatpicking the acoustic guitar: "I see my main task as trying to teach them how to learn. As Dan Crary says in some of his instructional stuff, 'Everyone teaches themselves.' Someone else can show you how to do it, but you still have to get down to the task of doing it. I look at my job as like being a coach, and I show them the right things to do in order to learn. In flatpicking, I think it is important to learn the alternating pick technique. If I can teach them to get the alternating pick direction correct, they seem to really smooth out. It is such a simple thing that students tend to think that it is not that important." On the following pages we present the first break to Rob's arrangement of "Kentucky Waltz." This has been one of Rob's favorite contest pieces over the past several years. If you hear Rob pick it, you'll know why.
 

Contents:

1. Old Minor Joe Clark - Gary Brewer
Arranged by Gary Brewer, BMI
Source CD: Guitar - Gary Brewer
1995, Copper Creek Records (CCCD-0137), P.O Box 3161, Roanoke, VA 24015
Gary Brewer - guitar,

2. New Five Cent Piece - Doug Rorrer
Traditional
Source CD: Tradition: A Tribute to Doc & Merle Watson - Doug and Taylor Rorrer
Flyin' Cloud Records (FC-033). 168 Glenridge Drive, Eden. NC 27288 
Doug Rorrer - guitar and bass, Taylor Rorrer - rhythm guitar, David Holt - banjo, Kirk Sutphin -
fiddle, Scott Freeman - mandolin

3. Sarah Hogan - John Lowell
John Lowell, Old Cart's Music, BMI
Source CD: Growling Old Men - John Lowell & Ben Winship
1998, Snake River Records (SRR-015), PO Box 215, Victor, ID 83455
John Lowell - guitar and lead vocal, Ben Winship - mandolin and harmony vocal

4. Wheel Hoss - Wyatt Rice
Bill Monroe / Unichapel Music - BMI
Source CD: New Market Gap - Wyatt Rice
1990, Rouonder Records (Rounder CD 0272) Rounder Records, One Camp Street,
Cambridge, MA, 02140
Wyatt Rice - guitar, Rickie Simpkins - violin, Sammy Shelor - banjo, Ray Legere - mandolin,
Ronnie Rice - bass

5. Saint Anne's Reel / Fisher's Hornpipe -
Peter McLaughlin
Traditional
Source CD: Cliffs of Vermillion - Peter McLaughlin
1996, Dog Boy Records (D8-02), PO Box 57233, Tucson, AZ. 85732
Peler Mclaughlin - guitar, Tom Rozum - mandolin, Laurie Lewis - fiddle,
Jerry Logan - bass

6. Kentucky Waltz - Rob Pearcy
Traditional
Source CD: Hats Off - Rob Pearcy
1998, Blue Current (BC 1001), Blue Current Records, 137 Rebel Rd, Smyma, TN 37167
Rob Pearcy - guitar, Craig Duncan - fiddle, Terry Smith - bass

7. Signal Hill - Brad Davis
Brad Davis
Source CD: Climbin' Cole Hill - Brad Davis
1996, Raisin' Cain Records, (RCCS-1902) PO Box 890, Madison, TN 37116
Brad Davis - gUMr, Greg Davis - banjo, Big Buford - mandolin, "Thumper" - bass

8. Dawg's Pause - Dix Bruce
Dix Bruce
Source CD: Tuxedo Blues - Oix Bruce
1998, Musix (CD 102) Po Box 231005, Pleasant Hill, CA 94523
Dix Bruce - guitar, Bob Alekno - mandolin, Mike Wollenberg - bass, David Balakrishnan - violin

9. Fickle Wind - Travis Alltop
Randall Hilton, Greasy Creek Pub., BMI
Source CD: Two Different Worlds - Travis Alltop
1998, Travis Alltop, PO Box, Nashville, TN
Travis Alltop - lead vocal and guitar, Dave Miller - mandolin, Elmer Burchett - banio, Kenny
Smith - bamooo vocal, Ronnie Simpkins - acoustic bass

10. Bill Cheatum - Roy Curry
Traditional
Source CD: Flat Top Specialist - Roy Curry
1999. Roy Curry (282598.8) PO Box 15163, Chattanooga, TN 37415
Roy Curry - guitar and bass, Bobby Bums - mandolin

11. Don't Try This At Home - John Moore
Dennis Caplinger, John Moore
Source CD: Bluegrass, Etc.
1996, Tricopolis Records
John Moore - guitar, Dennis Caplinger - banjo and fiddle, Jim Green - bass

12. Dry and Dusty - Robin Kessinger
Traditional
Source CD: Robin Kessinger
1996, Jim Martin Productions, PO Box 152, SI. Albans, WV 251n
Robin Kessinger - guitar, Luke Kessinger - bass

13. Blinded By Love - Unlimited Tradition
(Ray Craft - guitar)
Ray Craft, Doabie Shea Music, 8M1
Source CD: She's Gone - Unlimited Tradition
1998, Doabie Shea Records (DS-CD-4oo1) PO Box 68, Boones Mill, VA 24065
(540) 334-1118, Ray Cralt - guitar and lead vocal, Scolly
Sparks - Tenor Vocal, Dan Tyminski - Bamone Vocal, Shayne Bartley - mandolin,
Jason Hale - bass, Craig Smith - banjo, Aubrey Haynie - fiddle

14. Alarm Clock - Jim Hurst
Jim Hurst - N.N. Guido Music
Source CD: Open Window - Jim Hurst
1998, N.N. Guido (NR20617),
poBox 396, Fairview, TN, 37062
Jim Hurst - guitar, Missy Raines - bass, Fred Carpenter - fiddle, David Harvey - mandolin

15. EI Cumbanchero - John Chapman
Herdandez - Peer Inl - BMI
Source CD: Love's Gonna Live Here - The Chapman Family
1997, DigiGrass Records (DG1oo5CD) 417-882-5078
John Chapman - guitar, Bill Chapman - banjo, Patti Chapman - bass, Jeremy Chapman -
mandolin, Jason Chapman - bass, TIm Crouch - fiddle

16. Against The Grain - Crucial Smith
(Tim May - guitar) Tim May
Source CD: Crucial Smith
1997, Micah Records, 615-321-5526
TIm May - guitar, David Holladay - bass, Chris Joslin - dobro and banjo,
Kyle Wood - mandolin

17. Road To Coeburn - James Alan Shelton
James A. Shenon (mountain Empire Music - BMI)
Source CD: Road To Coeburn - James Alan Shelton
1997, Copper Creek Records (CCD-0154) P.O Box 3161, Roanoke, VA 24015
James Alan Shenon - guitar, Ralph Stanley II - rhythm gUMr, Steve Sparkman - banjo,
John Rigsby - mandolin, James Price - fiddle, Ben Issacs - bass

18. Cotton Patch Rag - Cody Kilby
Traditional
Source CD: Live From Winfield - Kilby, Shadd, Cosgrove
1999, NN001, PO Box 185, Cowan, TN, 37318
Cody Kilby - guitar

19. Cascade - David Grier
David Grier, Roo Flatpicking Music, ASCAP
Source CD: Hootenanny - David Grier
1998, Dreadnought Records (D 9801), PO Box 60351, Nashville, TN, 37206-0351
David Grier - guitar, TIm O'Brien - mandolin, Dirk Powell - accordion

20. Big Mang - Tony Rice & John Carlini
John Cartini (Garden Street Music, Queen's Counsel Music, ASCAP)
Source CD: River Suite for Two Guitars - Tony Rice & John Carlini
1995, Sugar Hill Records (SH-GD 3837) PO Box 55300, Durham, NC 2n17-53OO
John Carlini - guitar, Tony Rice - guitar

Price: €26,00
€26,00

FLATPICKING COOKBOOK GUITAR CHAMPION GARY COOK CD CHITARRA TABLATURE SPARTITI-Colorado Waltz

FLATPICKING COOKBOOK, Cook. CD TAB.

Product Description:
This book contains original and standard tunes performed by two-time National Flatpick Guitar Champion Gary Cook. Borrowing from many styles of acoustic guitar playing, this book will provide an insight into Gary's guitar technique. The selections in this book range from fast paced flatpicking to western swing music; you will learn many fun and unusual arrangements. The notation and tab to each song and the accompanying CD allow players of many skill levels to learn these songs. Included in this book are examples of Gary's contest selections, original compositions performed on several instruments, and other familiar tunes performed in Gary's unique style.

Format: Book/CD Set

Song Title: Composer/Source:
Colorado Waltz Gary Cook; Transcribed by Brad Davis
Durango Gary Cook; Transcribed by John McGann
Grandfather's Clock Arranged by Gary Cook; Transcribed by Joe Carr
John Henry Arranged by Gary Cook; Transcribed by Dix Bruce
Morning Waltz Gary Cook; Transcribed by John McGann
Nine Pound Hammer Arranged by Gary Cook; Transcribed by Steve Pottier
Old Spinning Wheel Arranged by Gary Cook; Transcribed by Adam Granger
Redcliff Gary Cook; Transcribed by Brad Davis
Soldier's Joy Arranged by Gary Cook; Transcribed by Adam Granger
St. Anne's Reel Arranged by Gary Cook; Transcribed by Joe Carr
Under the Double Eagle Arranged by Gary Cook; Transcribed by Steve Kaufman
Wabash Cannonball Arranged by Gary Cook; Transcribed by Dix Bruce
Western Standard Time Gary Cook; Transcribed by Beppe Gambetta
Whiskey Before Breakfast Arranged by Gary Cook; Transcribed by John Carlini
Wreck of the Old 97 Arranged by Gary Cook; Transcribed by Steve Pottier

Price: €59,99
€59,99
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