DOBRO WORKBOOK DAVID HAMBURGER techniques lap-style resophonic slide guitar CD TABLATURE

the DOBRO WORKBOOK, DAVID HAMBURGER. 98 Esempi per lap-style, slide, fotografie di tecnica. CD TABLATURE

Tutti gli esempi di questo libro sono suonati in accordatura SOL: SOL - SI - RE - SOL - SI - RE 



Teaches licks, techniques and improvisation for lap-style resophonic slide guitar. Covers: scales, licks, songs and examples; hammer-ons, pull-offs, slides, picking techniques; syncopations, rolls, double stops, playing in different keys; and more. The book is in standard notation and tab, and the CD features 98 full-demo tracks. 80 pages.  

The Technical Lowdown and a Note about the Recording All of the examples on the accompanying CD were played by the author using a 1996 Dobro Model 27DX strung with John Pearse phosphor bronze resophonic guitar strings (.016-.059) and played with National metal fingerpicks, a National metal thumbpick, and a Shubb bar. The short examples are played slowly, accompanied by a click track for reference. The longer examples are played up to tempo with a rhythm section. On the longer examples, you can use the balance control on your stereo to pan hard right, to hear just the example itself, or hard left, in order to play along with the rhythm track. +All of the examples in this book are to be played in the standard High G tuning, G-B-D-G-B-D, low to high. The first track on the CD provides a series of notes to which you can tune up.

Unless someone mistakenly gave you this book for your birthday instead of bringing a dozen roses or sending you to Nazareth, Pennsylvania on an all-expenses-paid tour of, oh, I don't know, some guitar factory, you're probably reading this right now because you want to improve your lap-style resophonic slide playing. Have you come to the right place? Well, let's start with what I can't show you. I can't teach you patience and determination, two relatively important ingredients in the sometimes difficult but generally enjoyable journey towards becoming a better musician. And inspiration-that impulse to take a weird left turn in your break, or to put two and two together and come up with thirtyseven- well, you're on your own in that regard, too. I can't even really show you some of the more tangible things like how to learn off of records or how to make discoveries by observing another musician perform or play at a jam. I might suggest ways to go about that, but I can't get inside your head to show you how that part of the learning process feels. Finally, I won't be showing you anyone's note-far-note solos, because I happen not to have the publishing rights to anything like that just lying around. But that's OK, because there are other places you can get that sort of thing. So what can I show you? Well, I can show you some notes. To be more specific, I can show you which notes you might play, how you might play them, and when you might play which ones. Put another way, I can show you various materials, techniques, and concepts. Materials are more or less the facts of music-the scales musicians choose from, the tunes they play on. From these bedrock materials come more subjective, creative things like phrases, licks, and breaks. Techniques are essentially the mechanics of playing a particular instrument. How to execute slides, rolls, hammer-ons and pull-offs, melodic style patterns, right-hand fingerings, and bar moves-these are all technical concerns. You, yourself, have to ultimately train your hands to respond the way you want them to, to create the sounds you seek, but I can give you particular things to practice that will help you focus your brain and your muscles on one thing at a time. Finally, concepts are just that-ideas about music. You need to know what you're trying to do in order to work on it and get better at it. A concept can be very specific, like using call-and-response phrasing to create a break, or using syncopation to create a new roll. Or it can be something more general, like an approach to practicing more effectively. The book is based on the demands of playing bluegrass-you can play any kind of music on the resophonic slide guitar, and I hope you take some of the ideas here and use them towards your own musical ends, bluegrass or otherwise, but bluegrass happens to be both technically demanding and possessed of a rich history of lap-style playing, which makes it a good point of departure for anyone interested in playing this instrument. I have tried to provide material that will work "in the real world," i.e., things that you could actually incorporate into your playing and really use. So while this is not a book of tunes per se, I have included arrangements of a handful of tunes from the the bluegrass repertoire, and many of the exercises are essentially sample breaks on those tunes. Some of the other exercises are really more like studies, designed to show you an idea, illuminate a concept, or give you a real workout executing a particular kind of move or pattern. These exercises are the musical equivalent of swinging two baseball bats while on deck before stepping up to the plate with just one-if you can get comfortable with a particularly difficult, demanding passage while practicing, the simpler things will come that much easier when you're on stage or in an impromptu jam. Each chapter builds upon what has come before, technically and conceptually, as it introduces the next round of material. While I have tried to keep the theory to the necessary minimum, it will help if you have a basic understanding of major, minor, and blues scales as well as of major and minor chords. 

Table of Contents :

Introduction .

A Word about "the Dobro" .

Some Essentials for Playing Lap-Style Resophonic Slide Guitar .

Holding the resophonic guitar

The bar





Chapter 1 Basic Techniques in Open Position-Hammer-Ons, Pull-Offs, Slides, and Picking

The G Major Scale;



Blues Notes in G;

Combining Major and Blues Sounds;

Combining Hammer-Ons and Pull-Offs;



Chapter 2 Building Licks and Starting to Improvise

Creating Your Own Vocabulary;

Four-Note Units;

Combining Units to Create Licks;

Unison Slides;

Double Stops;

Call and Response;

"New River Train";

A la "Nine Pound Hammer" .


Chapter 3 Syncopations and Rolls

Syncopated Rolls in G;

Syncopated Rolls over C;

Syncopated Licks in the Closed Position;

"Gowanus Valley Blues #2";

Playing over C in Open Position;

"Bill Cheatham"


Chapter 4 The Melodic Style

G Scales, Melodic Style;

From Open Position to Melodic Style and Back;

Creating Licks in the Melodic Style;

"Sally Goodin"


Chapter 5 Playing over C and F

C Scales and Licks;


"Bill Cheatham" Revisited;

F Scales and Licks;


"Red-Haired Boy"


Chapter 6 Playing in the Key of D, Open Position

D Scales;

Four-Note Units;

Combining Units to Create Licks;


"New River Train";

Syncopations in D;

Double Stops in D;



Chapter 7 Playing in D, Melodic Style

D Scales and Licks;

"Reuben" Revisited;

"Little Maggie";

Playing over A (in D);

"Soldier's Joy";

"Whiskey Before Breakfast"


Chapter 8 A and E

A Minor Scales and Licks;

A Major Scales and Licks;

"Old Joe Clark";

E Minor Scales and Licks;

E Major Scales and Licks;

"Salty Dog" .

Appendix-Finding the Notes on the Fingerboard .



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