Johnny Winter Style-The American Blues Guitar in 6 Weeks course is designed to focus your practice towards realistic goals achievable in six weeks. Each week provides you with techniques concepts and licks to help you play and understand blues soloing at a manageable easy to follow pace.Week two focuses on the style of Johnny Winter and includes: Blues scale patterns repetitious phrasing building licks using hammer ons and pull offs playing 'in the pocket' using triplets using pentatonic scale sequencing to create blues licks.The DVD is presented by Steve Trovato who is best known as a world class country guitarist but is equallyproficient in a wide range of popular Guitar styles. He has written a number of bestselling Guitar tuition books and maintains a full time position in the Guitar Department at the University of Southern California.

Albert King Style-The American Blues Guitar in 6 Weeks course is designed to focus your practice towards realistic goals achievable in six weeks. Each week provides you with techniques concepts and licks to help you play and understand blues soloing at a manageable easy to follow pace.Week six focuses on the style of Albert King and includes: Learn to shift position to create longer blues lines learn to play multiple note bends on a single string learn to bend in intervals combine techniques from all other lessons in the series.The DVD is presented by Steve Trovato who is best known as a world class country guitarist but is equallyproficient in a wide range of popular Guitar styles. He has written a number of bestselling Guitar tuition books and maintains a full time position in the Guitar Department at the University of Southern California.

Bill Bay asked me to write a follow up book to my last book ”The Bluegrass Pickers Tune Book (20233).' If you like Bluegrass music (232 songs) I'd recommend getting that book to add to your collection. The focus of this book 'The Acoustic Source Book' is on roots and old-time music. The book is focused on the time period from late 1800's until 1940's. There are a few songs from The Bluegrass Book that were too important to be left out. I decided notto use any patriotic and Christmas songs and came up with a list of about 400 songs which eventually was cut down to over 200. During the late 1800's and early 1900's there was an important evolution in American music; the birthof jazz ragtime and blues. This was also the period of the phonograph and early commercial recordings. Music from the Minstrel period as well as traditional songs were used as staple for the roots musicians. In the early 1900'sthere were rags blues gospel Tin-Pan Alley jug band spiritual old-time country and popular songs. I've tried to include some of the well-known songs from every genre to give you a big slice of Americana. There are some greatsongs that are popular roots bluegrass and old-time songs today that have never been published. There are also great songs that are not well known that should be played and enjoyed.

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

Morning Thunder-In The Guitar Artistry Of Chris Proctor the National Fingerstyle Guitar Championship winner talks about his style and influences as well as giving dazzling performances on both 6- and 12- string guitars.Chris Proctor falls squarely into the ?New World? steel-string guitar style. Beginning with pop and rock music Chris was soon drawn to the country blues. After exploring that tradition he studied classical and jazz music the traditional music of the British Isles bluegrass and old-time Appalachian music and finally began to investigate the world of the 12-string guitar.In 1982 Chris won the U.S. National Fingerstyle GuitarChampionship and released his first recording ?Runoff.? That recording and the 8 that followed on the Flying Fish Rounder Windham Hill and Sugarhouse labels over the next 27 years elevated Chris to the top rank in the steel-string world. Chris also wrote articles and books filmed instructional videos of his transcriptions and techniques created the guitar workshop program for Taylor Guitars and designed the Taylor Chris Proctor Signature Model guitar.Beginning in the year 2000 Chris broadened his original focus on new music to include reinterpreting music of his diverse set of original influences. His performances today are a primer on the acoustic guitar music of the ?New World.? They feature original guitar techniques and devices invented and adapted by Chris and they convey a striking array of tones textures and moods.Titles include: Tap Room Hot Spot War Games Ozymandias Beppe Ladybug Stomp Nights in White Satin Bach to Ireland Late Again Interstate Morning Thunder The Last Steam Engine Train Revisiting the Sailor?s Grave Gecko Drive and Medley:A Scarce O? Tatties/The Lyndhurst Jig??? Review: Watching Taylor fingerstylist and original workshop clinician Chris Proctor in his new DVD Morning Thunder is an enlightening exercise. Proctor has

Up until a few years ago finding guitar players who could sight read melodic lines was about as rare as sighting a whooping crane. Today because of widespread study and the use and popularity of the guitar melodic sightreading has become an essential part of guitar playing. It is now important for a working guitarist to be as proficient at sight reading as any brass or woodwind player. Rhythms in this book are extremely complex compelling theplayer to focus on learning the guitar fretboard.

Grammy Award winner songwriter composer producer recording artist and rst-call session and touring musician Massimo Varini is one of the world?s most celebrated and versatile Guitarists and educators.As the only Italian Guitar tutor on Truefire.com Massimo Varini is a name that is causing ripples outside of his native Italy. With a huge YouTube following and bestselling Guitar tutorials at home MassimoVarini is bringing his Basic Guitar Course to English speakers for the first time. With a focus on learning to read music and legions of happy students Massimo Varini?s BasicGuitar Course sets itself apart from other tutorial books on the market. Learn how to play scales chords and arpeggios how to accompany songs and the CAGED system to master the fretboard in this clear concise andeasy to follow volume.

A systematic approach to developing technique on the classical guitar must include studies designed to focus on concise specific techniques and offer musical challenges as well. The studies in this book will assist in thedevelopment of certain techniques of right hand touch right hand finger movement and right hand chordal balance. In addition this book presents clear and direct left hand technical challenges that promote the development ofconsistent left hand technique. These musical motives also help to develop the ability to recognize and read note groups quickly and should prove to be most helpful in the continuing quest to improve sight-reading skills on theinstrument. Written in notation only.

Comping Voicings and Grooves for the Serious Jazz Guitarist-This DVD is compiled from all of the DVDs originally included in the previously published 'In the Pocket' series of jazz Guitar chart/DVD sets. These lessons focus on many aspects of rhythm Guitar playing.Starting withfour-to-the-bar comping (ala Freddie Green/big band rhythm playing) and ending with more modern concepts such as quartal harmony this series of lessons will take any guitarist to the next level.Concepts covered are:Three-note voicings Four-to-the-bar strumming Creating interesting bass motion through chord changes Finding and playing in the groove Two-note voicings (rootless voicings) Guide tones Quartal harmony shapes Modalcomping.

This collection of classic guitar studies is intended for the intermediate guitarist. As a whole these etudes emulate the content of Carcassi's famed 25 Etudes yet in a more contemporary harmonic and rhythmic idiom.These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises- but also as valid pleasurable concert repertoire. The first ten etudes 11-20 focus on the use of thea finger in combination with i and m. Etudes 4 7 11 13 15 and 17 also concentrate on left-hand slurs. The final five etudes were composed as - and intended to be performed- as a set with each piece dedicated to a particular LatinAmerican composer.

Contemporary guitarist Pierre Cullaz fills a large gap with his Technique for guitarists in all Styles The compilation is essential to all serious guitarists of all styles. The first volume of Technique for guitarists in all Styles gives focus to the technique of both the right hand and left hand pickstrokes chords fingering rhythms and scales among other aspects. Considering that few Guitar technique books currently exist Cullaz's Technique for guitarists in all Styles provides an essential addition to the study of the instrument.