Par . The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio. / Date parution : 2021-11-03/ Recueil / Guitare

The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

Eric Thompson est un pionnier dans le domaine de flatpicking, première attention attire depuis plus de 40 ans dans les bandes de bluegrass avec David Grisman et Jerry Garcia. Depuis lors, son ton gros et la cueillette soulful ont honoré une myriade de bandes de racines, y compris le Stringband flamme bleue, l'orchestre de Cajun de Californie et les Intentions de Bluegrass. Dans ' Fondations de Flatpicking ', Eric partage les pierres angulaires de la technique de grande flatpicking. Il vous emmène étape par étape, à partir de mélodies de chanson choisis dans la basse, rythme, dans les styles de Maybelle Carter et Charlie Monroe et le mouvement jusqu'à flatpicking single-note, avec des exercices pour aider le maître jouant long parcours de lisse propre, notes et rapide. Puis il construit votre répertoire avec des airs de violon classique et pauses de chansons, dont des dispositifs caractéristiques, les phrases et les terminaisons de stylistes séminales comme Don Reno, Doc Watson et Clarence White. Tous en notation standard et onglet avec trois CD audio incluaient. / Guitare (Flatpick) Et Plectre / 24 pages / niveau : Débutant / Partition/3-Cd Set - Format: 11,75 X 8,75

Par . Learn some of Berklee's favorite, most popular guitar music. This collection includes some of the most popular songs and repertoire taught by the Berklee Guitar Department faculty. The music is taught and performed in their Guitar Sessions summer programs, global initiatives, online, and on campus. By learning this music, you will experience a diversity of styles: classic rock, blues, country, singer/songwriter, jazz, jam band, funk, progressive rock, funk, classical, and contemporary improvisation/microtonal music. Each piece is selected and introduced by some of Berklee's most popular faculty members. This collection will help you become a well-rounded player and prepare you to participate in Berklee's guitar programs. Notation varies, depending on the style of the selection, and may include traditional notation, tablature, and chord diagrams. 20 songs, including: Apache (Jerry Lorden) · Freight Train (Elizabeth Cotten) · Hey Hey (Big Bill Broonzy) · Two Bones and a Pick (T-Bone Walker) · We Gather Together (16th Century Dutch song) · The Weight (Robbie Robertson) · Wildwood Flower (Maybelle Carter) · You've Got to Hide Your Love Away (Lennon/McCartney) · and more. / Date parution : 2023-08-12/ Recueil / Guitare

The Roots Of Bluegrass Guitar-Discover the secrets of performing hot lead breaks and clear crisp melodic lines in the flatpick style with this comprehensive guide by one of the best in the business.Capture the sounds and learn the techniques thatcharacterise the music of every flatpick guitarist from Maybelle Carter to Doc Watson. You will learn to embellish your playing with hammer-ons and pull-offs for the real old-time country sound while advancing step-by-stepthrough single note arrangements of rags and fiddle hoedowns.Split-screen presentations will help you master both left and right-hand details getting you closer than ever to the true style of the flatpick Bluegrassguitar.

As the Country Blues began to be recorded in the mid-1920s it soon became apparent that the music was being played and appreciated not only by African-American musicians and audiences but by white musicians and audiences as well. Many of these white musicians played with and learned from black musicians for even in the Jim Crow Era there was always a good deal of musical interaction and exchange. So it is that the term 'Hillbilly Blues' can be used to describe the music made by white musicians of that era in the Country Blues style. Included on this DVD are songs from Clarence Greene known mostly as a fiddler but an ace guitarist Dick Justice who in his one dayin the recording studio waxed ten masterful performances Frank Hutchison who excelled at lap slide harmonica on a rack and conventional blues picking Sam McGee a banjo and guitar master who went on to star on the Grand Ole Opry Hobart Smith a musical powerhouse Maybelle Carter a rocksteady and beautifully lyrical player who may have been the most influential of the bunch and Emry Arthur a soulful singer and player who recorded one of the earliest versions of Man Of Constant Sorrow.The songs selected for inclusion on the DVD have been chosen to introduce you to a variety of different keys and playing positions as well as a host of different right hand techniques.A PDF included on the DVD offers not only detailed transcriptions of the songs but the songs' lyrics too. All of the original performances by the musicians are included on the DVD as bonus tracks both as references and for your listening enjoyment.

Open tunings are as old as the guitar itself and they’ve been used to play blues folk country rock and old-timey music. Who’s known for using open tunings? Artists as diverse as Robert Johnson Bob Dylan MaybelleCarter Bo Diddley Blind Willie McTell Keith Richards Doc Watson Muddy Waters Joni Mitchell Ry Cooder Neil Young Fred McDowell Jimmy Page Son House John Renbourn Leo Kottke Ani DiFranco Alex de Grassi and PierreBensusan! In this 92 minute lesson Fred shows you how contrary to what many beginners might think open tunings make it easier to play guitar. You’ll learn songs from all the above musical genres in open D open G andDADGAD tuning. In addition to learning songs you get some tips on how to improvise and play chords in G and D tuning. It’s a great way to expand your range on the guitar and get a whole different sound! Tunes include:Buckets of Rain Statesboro Blues Mean Old World Little Sadie K.C.Jones Stackerlee The Way I Am and I Didn’t See It Coming. Also included are bonus audio tracks featuring recordings from the 1920s to 1940s of some ofthese tunes so that you can hear how these songs can be played and sung.