Acoustic guitar magazine, ACOUSTIC GUITAR PRIVATE LESSONS 1. 24 lezioni di: Lap-style, swing, soloing, Dan Crary, Bach, DADGAD, celtic, Texas swing, slide, flatpicking, e altro.
With this popular guide and two-CD package, guitarists will learn everything from basic techniques to more advanced moves such as accompaniment, flatpicking, swing and slide guitar. Informative articles include: Learning to Sight-Read (Charles Chapman); Using the Circle of Fifths (Dale Miller); Hammer-ons and Pull-offs (Ken Perlman); Bass Line Basics (David Hamburger); Accompanying Yourself (Elizabeth Papapetrou); Bach for Flatpickers (Dix Bruce); Double-Stop Fiddle Licks (Glenn Weiser); Celtic Flatpicking (Dylan Schorer); Open-G Slide Fills (David Hamburger); Practicing Secrets (Dan Crary); and many more! 2 CD TABLATURE
Acoustic Rock Rhythm.
Acoustic rock rhythm (w examples). By Mark Hanson.
Bach for Flatpickers.
Bach for flatpickers. By Dix Bruce.
Bass line basics.
Bass line basics. By David Hamburger.
Celtic Flatpicking.
Celtic flatpicking. By Dylan Schorer.
Chords for Songwriters
Chords for songwriters. By Gary Talley.
Crossing the Thumb/Finger Divide.
Crossing the thumb/finger divide. By Larry Sandberg.
D A D G A D Accompaniment.
D A D G A D accompaniment. By Jim Wood.
Double-Stop Fiddle Licks.
Double-stop fiddle licks. By Glenn Weiser.
Equipment picks from Kelly Joe Phelps
Kelly Joe Phelps. By Dylan Schorer.
Getting Ready to Perform.
Getting ready to perform. By Kristina Olsen.
Hammer-ons and Pull-offs.
Hammer-ons and pull-offs. By Ken Perlman.
Learning to Sight-Read.
Learning to sight-read. By Charles H. Chapman.
Open-G Slide Fills.
Open-G slide fills. By David Hamburger.
Playing with Elegance.
Playing with elegance. By Dale Miller.
Slide in Open G.
Part two of a workshop for beginning slide players. By Dale Miller.
Strums and Bass Notes.
Strums and bass notes (w examples). By Mark Hanson.
Swing Guitar Soloing.
Swing guitar soloing. By David Hamburger.
Texas Swing.
How to play that punchy, versatile backup style. How to play western swing backup. By Hal Glatzer.
understanding What You Play.
Understanding what you play. By Dale Miller.
Using the Circle of Fifths.
Using the circle of fifths. By Dale Miller.
Working the Room.
Working the room (keeping the audience's attention while performing). By Kristina Olsen.
Texas-Style Rhythm Guitar
Over the past few decades Texas contest-style fiddling has made inroads into most regions of North America, and wherever it goes, so goes its partner, Texas-style rhythm guitar, which, in its role as accompaniment for the highly evolved fiddle style, has developed in its own right into a sophisticated subgenre of folk guitar. An interesting situation exists in which fiddlers and guitarists, each having a life of their own, so to speak, work together in a symbiotic relationship where the head and backup blend into a complete, unified texture of melody, harmony, and rhythm. As one might expect, in addition to its special purpose in fiddle music, Texas-style rhythm guitar, in one form or another, has wide-ranging application in a myriad of divergent styles. The music of Texan Bob Wills has left an enormous impact on country music in general, and in his home state, old-timey fiddling, following the lead of pioneers like Eck Robertson and Benny Thomasson, quickly absorbed the jazzy influences in western swing with its emphasis on intricate, hot lead lines and swing rhythm. The guitarists accompanying these fiddlers, using, as far as I can tell, the early swing greats suck as Wills guitarist and arranger Eldon Shamblin for inspiration, soon developed as country swing style employing walking bass lines and passing chords. Shambling forged a new approach which combined the sophisticated harmonic and melodic structure of jazz legend Charlie Christian with the country sensibilities necessary to back an old-time musician like Wills. This sound, with varying degrees of commitment to jazz, has become the basis for contest-style rhythm. One of the more difficult requirements in Texas-style rhythm is deciding exactly which chords work and which do not. Many times the common substitutions can cause quite a bit of dissonance, but this usually works out fine because the fiddle and the guitar are going to the same end even if they take different paths while getting there. Indiscriminate alterations to the basic progression, though, result in boring patterns which obscure the individuality of a given melody. Leaning how to approach each tune in all its stylistic subtlety can only be achieved through experience. “Sally Goodin”, the quintessential contest fiddle tune, severs as an excellent place to start our investigation; the moves here are fundamental to the style and can be employed to great effect in hundreds of tunes. We will work there in A major, the most common key for “Sally Goodin”, but these same bass lines and chord substitutions can be transposed easily to any key. The melody below is almost as basic as possible, and the accompanying chord progression demonstrates the essential, unadorned harmonic rhythm with V7 (dominant) to I (tonic) cadences being the only movement that is absolutely required on the part of the rhythm section (as a matter of fact, this is precisely the way most any bluegrass or old-timey version would go). Texas-Style Rhythm Guitar.
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