BAKER DUCK, FINGERSTYLE BLUES GUITAR 101. CD TABLATURE

Baker Duck, FINGERSTYLE BLUES GUITAR 101. 11 distinti Blues in 26 minuti, solo per chitarra. CD TABLATURE

Duck Baker's Fingerstyle Blues Guitar 101,
80 PAGES
Product Description:
A collection of 12 great acoustic blues guitar solos by Duck Baker in notation and tablature. The solos are intermediate to advanced in difficulty and successfully capture the earthy myriad of influences comprising classic American blues guitar stylings. Chords, scales, keys and turnarounds for the blues are taught in this method book. Standard notation and tablature. All songs from the book are included on the CD.

In the context of traditional folk music, blues as we know it is a very new formo The classic 12-
bar form evolved during the early years of this century, and while there are c1early African
antecedents of presumably ancient origin, the harmonic underpinnings of alI but the most basic blues
mark the music as Afro-American. How far back into the 19th century the origins of this musical
strain (as separate from ragtime, spirituals, and other early black music) can be traced is an area for
scholars to filI in as best they can. The point remains, however, that in terms of traditional music, a
century or so is a short time. Modem composers can, of course, stretch the limits of their constructions
until they literally do not exist; their predecessors indulged in ever more-extended forms culminating
in Wagnerian cyc1es which take days to perform. But the folk song has to make its point, and quickly.
Dance tunes are usualIy constructed of 8-bar sections and the standard 32-bar popular song (also of
8-bar sections) is a far longer structure than most folk songs.
Contemporary culture is geared to the notion that even last year' s tunes are passe, so it bears
reinforcing the point I want to start with. Every form of American music in this century, except for
some free jazz and free improvised music, is an extension of forms which existed by the 1920s, of
which the popular song form and the blues are the newest. This is true of New Orleans jazz, swing,
be-bop, gospel, bluegrass, rhythm and blues, and even such hybrids as Western swing and rock and
roll. Not one of these styles can even be imagined without the vital element of the blues.
It is much easier, however, to talk about "blues" as either a structure or a kind of musical
flavoring than it is to define the parameters ofthe music called "blues". Even a term as geographicalIy
specific as "Delta blues" means little musicalIy, lumping together players as diverse as Son House,
John Hurt, Sam Chatman, and Skip James. Hurt, for instance, played a guitar style that was not at alI
rooted in folk inventions but in Victorian parlor music. Nonetheless, his early recordings have a
definite African feeling to them that has eluded his many imitators. Chatman' s band, the Mississippi
Sheiks, played in a jug-bandish style that inc1uded elements of blues, ragtime, minstrel tunes, and
early popular songs. Their composition "Sitting on Top of the World" remains popular with blues
players but also crossed over to Western swing by 1940, and then, sometime later, to bluegrass. The
Western Swingsters were particularly prone to cover race recordings (as welI as just about anything
else) and often did a great job of it. Milton Brown, for instance, was a hell of a blues singer.
Of course, black musicians in the South always learned from whites as well. Many spirituals
sound like syncopated Scottish folk songs (a fact which people who puzzi e over Stephen Foster's
ability to write "plantation" songs without ever going South would do welI to consider). Just hearing
pianos would have opened alI kinds of doors for people who didn 't previously think chordalIy. Doors
that lead, ultimately, to ragtime, stride, and jazz. The glorious truth of the matter is that alI white
American music has black elements, alI black American music has white elements, and it is exactly
this integration that makes American music great.
My own feeling is that music that is not open to other styles is in danger. A lot of contemporary
blues, jazz, rock, and country is tired and formularized, largely because each little world is
increasingly cut off from the others. As far as blues goes, I get the sense that a lot of young players
who are taken with the music wind up in the hands of teachers who consider themselves experts
because they try to imitate old recordings without getting the feeling. A better approach in my mind
is to let our own imaginations enter an area whose dimensions have been defined by the great masters
ofthe pasto There are lots of musical ideas that fit welI into that framework that Delta players didn't
use. Of course there are many that don't, notably the tendency ofyounger white players to rock-androlIize
the blues. One purpose of this book is simply to provide a whole lot of new licks that can be
used in old contexts (and hopefulIy give ideas for other new licks). There are ideas that are swing and
even country-oriented, but I have stopped welI short of anything truly "modern"-though all the
really great modernjazz players are great at the blues, from Miles and Monk to Coltrane and Omette.
Another basic purpose is to expand know ledge of the instrument for the student. A lot of what' s
here was designed to address specific problems that students have, like the tendency of the right
thumb to only approximate what itis he's supposed to be doing (with apologies to alI you southpaws,
who are, I hope, sufficiently habituated to right-handed chauvinism to be able to make the necessary
adjustments without too much pain).
 

 

"First song I ever played was the blues. I didn't know much but I knowed that much. After a while I begin to play the E blues, the D blues, Cblues, A blues, and G blues. That was all there was to it. " Scrapper Blackwell, in an interview with Art Rosenbaum

 

Format: Book/CD Set
Song Title: Composer/Source:

CONTENTS:

Introduction .

Blues in E .

E Blues #1 .

E Blues #2 .

An Idiot's Guide to Theory .

Major Scales .

Chords .

The Dominant Seventh .

Upper Interval Chords .

Turnarounds .

E Blues Again .

Baby Let Me Follow You Down .

Blues in A .

A Blues #1 .

Blues in C .

The Jackson Stomp .

Make Me a Pallet on Your Floor .

Blues in G .

Sister Kate Variations .

E Blues Again .

Seven Point One .

A Blues Again .

Still Staggerin' .

The Dirtman Cometh .

C Blues Again .

The Deep Blue C .

G Blues Again .

The Mighty Midget .

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79