LIBRO CON CD

THE STUDENT REPERTOIRE SERIES VOLUME 1. DI LAWRENCE FERRARA. Metodo con numerosi brani, tra questi Sakura. CD.

By Lawrence Ferrara. For Guitar. Book and Audio CD. Graded anthology of guitar works selected, transcribed, arranged, and recorded by Lawrence Ferrara. Thirty-nine pieces offering a colorful array of preludes, etudes, historical pieces, folk music, and standard guitar repertoire.

VILLA LOBOS, HOMAGE TO AND OTHER COMPOSITIONS. CD

5-STRING BANJO STYLES FOR 6-STRING GUITAR. Dobbins. CD TABLATURE

Product Description:
This book/CD set presents six complete songs and 19 licks and patterns (in both standard and open G tuning) in the styles of banjoists Earl Scruggs and Allen Shelton, and guitarists Chet Atkins and Jerry Reed. (Also included is the 3-finger roll tour de force ‘Strike It Rich’ by 2001 Winfield Fingerstyle Guitar Champion Richard Smith.) Written in standard notation and tablature, with fingerings, chord diagrams, and performance notes; a discography is included for further listening. The companion CD includes performances of all the songs, and the licks and patterns are demonstrated both slowly and up to tempo. For intermediate to advanced level guitarists.

Product Number: 20622BCD
Format: Book/CD Set
ISBN: 0786670088
UPC: 796279092401
ISBN13: 9780786670086
 

I got the idea for this arrangement of "Weeping Willow" (also known as "Bury Me Beneath the Willow") from the banjo playing of Allen Shelton. Allen was with the legendary bluegrass band Jim and Jesse and the Virginia Boys for many years. Allen's recording of Weeping Willow is on his LP Five String Dobra and Banjo

Performance notes ... I begin the arrangement in classic Shelton-style, using aforward roll (p-i-m) pattern.

At measure 18 I change to claw hammer picking. I play the melody notes with my thumb and index finger, and the strums with the back of my middle fingernail.

At measure 34, I take a verse "up the neck," as bluegrass banjo players say, using block chords.

At measure 50, it's back to Shelton-style. I stole the ending lick from another one of my favorite banjo players, Buck Trent. Don't forget to tune your guitar to open G (D G D G B D, 6th-1st strings).

About the recording ... I used a Takamine classical, equipped with an L.R. Baggs pickup.

Discography

For inspiration, check out these banjo players ...

Earl Scruggs
A true legend, his very name is synonymous with bluegrass banjo. Check out his classic 1950's tracks with Flatt & Scruggs on the albums Foggy Mountain Banjo and Foggy Mountain Jamboree (Columbia Records).
Earl's playing can also be heard on the landmark Will the Circle Be Unbroken CDs by the Dirt Band (with special guests).

Allen Shelton
Allen was with the legendary bluegrass band Jim and Jesse and the Virginia Boys for many years.
His pIay-ing can be heard on many recordings by Jim and Jesse, and on his own LP Five String Dobro and Banjo
(Atteiram Records).

Buck Trent
Buck was featured as banjoist and lead guitarist with Porter Wagoner, and recorded with Porter and Dolly Parton, among others. His "underground classic" LP Sounds of Now and Beyond (RCA Records) featured acoustic banjo, electric banjo, and electric nylon string banjo. For a list of Buck's current CDs and cassettes log on to . . . and guitar players, too!

Chet Atkins
Another legend whose very name is synonymous with his instrument. Just a few classic Atkins tracks featuring rolls are "Cascade" (from Me and My Guitar), "Rocky Top" (from Yestergroovin'), "Hellacious" (from Pickin'My Way), "Dizzy Fingers" (45 rpm single), and "Cosmic Square Dance" (from Stay Tuned).

Jerry Reed
Jerry adapted the three finger roll to create a new style all his own. His classic RCA albums Jerry Reed Explores Guitar Country and Georgia Sunshine are must-haves, as well as his duet albums with Chet Atkins
(Me and Jerry/Me and Chet.)

Carl Jackson
Carl played banjo with Jim and Jesse, banjo and guitar with Glen Campbell, and is also a respected compositer, vocalist, and producer. For a taste of his three finger roll style on guitar, check out "Hap Towne Breakdowne", from Steve Wariner's CD No More Mister Nice Guy (Arista Records). 

About the music ...
This Richard Smith original is the title cut from the 1998 album by the Richard Smith Guitar Trio. With strong support from brothers Rob (on guitar) and Sam (on bass), Richard navigates the neck from stem to stem with melodic banjo rolls, pull offs, and even a little bit of b1uegrassy flatpicking.
Performance notes ... Richard plays three finger rolls with his thumb (p), index (i), and middle (m) fingers, varying the pattern to fit the melody. There's at least one spot (measure 7) where he uses afour finger roll (p-i-m-a). The lick can be played with a three finger roll however, by dragging your thumb across the 4th and 3rd strings. I have transcribed the first verse (beginning at measure 9) exactly as it is on the recording. Each repeat contains a few variations, which I have not included due to space limitations. At the first bridge (measure 44), Richard plays double stops (two note harmonies) above sustained bass notes. There's some great Jerry Reed style pull off licks in measures 46 and 54. At the second bridge (measure 60), Richard "flatpicks" Doc Watson style with his thumbpick. (For this hybrid picking technique, Richard favors a thin thumbpick, filed very short.) Play the scales in measures 78-80 and 85-86 with an alternating thumb and index finger. Check the fingering for the proper pattern (p-i or i-p).
About the recording ...
Says Richard: "I actually used a guitar that my Dad bought in Spain in the early 70's. A souvenir guitar from a touri t shop. You know, real cheap, about 20 dollars! I think the label inside says something like Viancee Tatay Thomas. It plays great though, and the sound is pretty good. Nice treble. It's also slightly smaller than a regular classical, so it's comfortable to sit around and play in the living room."

Acknowledgements
Introduction
Weeping Willow
Lonesome Road Blues
Old Joe Clark
Lily of the Valley
Hang Loose
Strike it Rich
Licks and Patterns
19 Exercises
Discography
About the Author

ACOUSTIC GUITAR MAGAZINE N.9, FLATPICKING GUITAR MASTERPIECES. 12 titoli: Black Mountain Rag, Doc Watson -Fiddler’s Dram/Whiskey before Breakfast, Norman Blake -Julius Finkbine’s Rag (with the Kentucky Colonels), Clarence White -Durang’s Hornpipe, Dan Crary -Tipper, Tony Rice -Dixie Breakdown, Mark O’Connor -Open Arms, Russ Barenberg -Smith Chapel, David Grier -Red Apple Rag, Scott Nygaard -Me and My Farmall, Kenny Smith -Decision at Glady Fork, Bryan Sutton -Deep Gap, Alison Brown. CD TAB.

Acoustic Guitar CD Songbook #9
Series: Guitar Collection
Publisher: String Letter Publishing
Softcover with CD - TAB
Artist: Various

Learn groundbreaking techniques from the best players in this genre! Features note-for-note transcriptions in notes & tab, detailed performance notes with tips from the artists, and a full-length companion CD with the original artist recordings. Songs & artists include: Doc Watson (Black Mountain Rag) - Norman Blake (Fiddlers Dram/Whiskey Before Breakfast) - Dan Crary (Durang's Hornpipe) - Tony Rice (Four on Six) - Mark O'Connor (Dixie Breakdown) - David Grier (Smith Chapel), and more! 72 pages.

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 .