About Beginning Fingerstyle Blues Guitar For guitar. Instructional and Blues. Beginner. Instructional book and examples CD. Guitar tablature, standard notation, chord names, guitar chord diagrams and instructional text. 96 pages. 
With guitar tablature, standard notation, chord names, guitar chord diagrams and instructional text. Instructional and Blues.
A step-by-step method for learning this rich and powerful style. Takes you from the fundamentals of fingerpicking to five authentic blues tunes.


One day back in March of 1988 a oung man named Mark Galbo 

came to me to study jazz guitar. Over the next several weeks I
learned a lot about him. He was twenty-seven years old, he held a
degree in music, and he was an excellent blues guitarist. He taught
at his studio and as a guest clinician at blues festivals. He also
performed all over the country at these festivals and in clubs
throughout the New York area. He has played with some of the
leading blues guitarists of our time, including Etta Baker and John
Cephas. This was of great interest to me because although I have
been associated primarily with jazz through my hundreds of
columns for Guitar Player magazine and the many books I have
written, I greatly love fingerstyle blues guitar. For a long time I
had wanted to write a book on the subject. As time went by and I
saw Mark for his weekly lessons, I became more and more
impressed with his dedication to the blues, his conscientiousness
about everything he did, and his articulateness. I asked him if he
would like to collaborate with me on a book. This is the result of
that collaboration.
Since the blues falls into the category of folk or "unschooled"
music, there has always been a mystique as to how a student
might go about learning it. Legends abound about how Robert
Johnson learned his craft from the devil or a witch doctor. We
know that many bluesmen learned just by hanging around their
elders. But most of us don't have that opportunity and have to
turn to instructional books.
One type of book contains direct transcriptions of blues solos by
the masters. Unfortunately, many are dauntingly difficult and
require a rather advanced technique. The advantage to this book is
that we will start from the very beginning and gradually work
toward greater sophistication. Not only will you learn the
technique necessary to approach the works of the blues masters,
but you will acquire the tools to make up your own pieces. And if
you decide that you want to branch out into other styles of music,
the fingerpicking techniques you learn here will give you a good
basis for explorations into ragtime, country-and-western, folk, and
even classical music.



Well before the beginning of the twentieth century there existed in America a large body of music performed by black people for black people. It included minstrel shows, work songs, field cries or hollers, and spirituals. However, at some time during the 1890s no one knows any exact dates-another kind of music could be heard in rural areas of the Deep South. This new music came to be called "the blues" sometime around 1900. Ma Rainey, quoted in Sandra R. Lieb's excellent biography Ma Rainey, Mother of the Blues, says that she first heard the word "blues" applied to a song she heard sung by a little girl on a street corner in 1902. Although the blues emerged from all over the South, many of the most important and influential blues musicians came from Mississippi. There, scores of impoverished, wandering performers accompanied themselves on the guitar at turpentine and lumber camps, roadside cafes, railroad stations, and street corners. Out of many a few were recorded and have become famous among aficionados of early blues. Bluesmen like Charlie Patton, Robert Johnson, Son House, and Bukka White helped develop a style known as country blues which has been copied over and over again throughout the world. Country blues were about unrequited love, loneliness, troubles at work, the desire to travel (I got to keep movin), or of specific events. "Backwater Blues" told of a flood on the Mississippi River. Other songs were about legendary personalities like C.C. Rider and Stagger Lee.

The early street musicians would sing their stories, adapting the musical form to their lyrics. It might have taken them nine, twelve, thirteen, or any number of measures to get through a verse. Their melodies were simple, direct, and elemental; their accompaniments often consisted of nothing more than a single chord or a repeated riff. However, the spread in popularity of the blues led inevitably to its modification and standardization. Ever larger numbers of phonograph owners picked up an interest in the blues and favored records that were to their own tastes. Bands began to play the blues not just as accompaniments but as instrumental pieces. W.C. Handy, who came to be known as "the Father of the Blues," wrote down songs so that they could be published and sold as sheet music. Handy himself receives credit ...

Origins Of The Blues
Preparing To Play Our First Blues
Preparing To Play A Blues In G
Preparing To Play A Blues In E
Melody Notes
Eighth Notes, Dotted Notes, And Syncopation
Blue Notes
Fretting-Hand Techniques
Picking-Hand Techniques
Playing Chords In The Higher Positions
Singing The Blues
Five Blues Pieces



The Origins of the Blues 
The Form 
The Beat 
Picking-Hand Technique for Fingerstyle Guitar 
Preparing to Play Our First Blues 
Building a Solid Technique 
The Alternating Bass 
Picking with the Fingers 
Combining the Thumb and Fingers 
Preparing to Playa Bluesin G 
Preparing to Playa Bluesin E 
Melody Notes 
Eighth Notes, Dotted Notes, and Syncopation 
Eighth Notes and the Alternating Bass 
Dotted Rhythms 
Blue Notes 
Fretting-Hand Techniques 
Double Stops 
Picking-Hand Techniques 
The Brushstroke 
Heel Damping 
Walking Basslines 
Playing Chords in the Higher Positions 
Singing the Blues 
The Blues LyricForm 
Turnaround Fills 
FiveBlues Pieces 
Contents of Compact Disc 
A step-by-step method for learning this rich and powerful style.
Graded exercises take you from the fundamentals of fingerpicking to
five authentic blues tunes. Each technique is carefully explained and
illustrated in the book as well as on the accompanying compact disc.
All music is presented in both standard notation and tablature.
The origins of the blues
The 12-bar blues form
The importance of the beat in the blues
The roles of the thumb and of the fingers
Playing the alternating bass
Playing the melody
Putting the thumb and fingers together
Whole notes, half notes, and quarter notes
Fingerpicking patterns for various chords in various keys
Playing our first blues
The turnaround
Melody notes for each chord
Eighth notes and dotted quarter notes
Blue notes
Double stops
Walking basslines
Heel damping
Chord inversions
Singing the blues
M&O Blues
Beekman Blues
Big Road Blues
32-20 Blues
Black Rat Swing
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