DAVID HAMBURGER

THE ACOUSTIC GUITAR METHOD David HAMBURGER 2DVD TABLATURE Scarborough Fair-little sadie-delia

THE ACOUSTIC GUITAR METHOD, DAVID HAMBURGER. 2DVD TABLATURE

Using the techniques and songs of American roots music.

The Acoustic Guitar Method 2-DVD Set
Series: Instructional/Guitar/DVD
Publisher: Homespun Video
Format: DVD - TAB
Author: David Hamburger

These carefully graded starter lessons are based on David Hamburger's best-selling books, issued by the publishers of Acoustic Guitar magazine (HL#00695648, 00695649, 00695666, and 00695667). Total beginners will learn how to use a pick and form all the most important chords, while those with some guitar experience will learn fingerpicking styles and other essential techniques. More than two-dozen classic songs are taught, drawn from blues, folk, country and bluegrass traditions. Includes music and tab. 230 minutes.

Inventory #HL 00641892
ISBN: 9781597730716
UPC: 073999738360
Publisher Code: DVDHAMGT29
Width: 5.25"
Length: 7.5"
Run Time: 3:50:00

COLUMBUS STOCKADE BLUES
CARELESS LOVE
DARLING COREY
HOT CORN, COLD CORN
EAST VIRGINIA BLUES
IN THE PINES
SCARBOROUGH FAIR
MAN OF CASTANT SORROW
STAGOLLE
I MA PILGRIM
ALBERTA
DELIA
SHADY GROOVE
WILL THE CIRCLE BE UNBROKEN
HOUSE OF THE RISING SUN
SUGAR BABE
TRAVIS PICKING
CRAWDAD SONG
OMIE WISE
BANKS OF THE OHIO
THE GIRL I LEFT BEHIND ME
NEW RIVER TRAIN
SAIL AWAY LADIES
GAMBLER'S BLUES
LITTLE SADIE

Prezzo: €49,99
€49,99

ACOUSTIC GUITAR MAGAZINE ACOUSTIC GUITAR SLIDE BASICS David Hamburger CD TABLATURE METODO

ACOUSTIC GUITAR MAGAZINE PRESENTS SLIDE BASICS. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA SLIDE CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA CHITARRISTICA, 

Le tecniche principali per lo slide blues, e per scivolare in altri generi. 9 Lezioni, 15 canzoni complete. Single string melodies, working in the thumb, open g tuning and closed position, pull-offs hammer-ons and blue notes, turnarounds and moving basslines.

Series: Guitar Educational
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: David Hamburger


David Hamburger, leading sideman, solo performer and teacher, guides players through this complete introduction to bottleneck slide guitar playing with progressive lessons in open tunings and fingerstyle technique, tips on slide guitars and gear, technical exercises, and full songs. The accompanying CD features all of the music played slowly, then up to tempo. In standard notation with tablature and chord diagrams.
Bitten by the blues bug? If you have always wanted to explore the haunting sounds of acoustic slide guitar, or are looking to brush up on your bottleneck basics, this easy-to-follow, step-by-step CD lesson book will have you well on your way to mastering one of the great styles of American roots music. David Hamburger, a master teacher, sideman, and solo performer specializing in slide and Dobro, is uniquely qualified to offer you these nine progressive lessons on the fundamentals of acoustic slide guitar. 72 pages.

Contents
Lessons

GETTING STARTED :

Guitars, Slides, and Tunings,

le diverse accordature, i tipi di bottleneck, messa a punto per lo slide

Single-String Melodies

l'angolatura del bottleneck, muting, terzine,  


Working in the Thumb

OFFBEAT

MOVING AROUND THE NECK :

Open-G Tuning and Closed Position

Vibrato

Spicing Up Your Melodies

Shuffling in D

MORE TOOLS AND TECHNIQUES :

Travis Picking

Tampa Red


Pull-offs, Hammer-ons, and Blue Notes

lo slide di un quarto di tono, le "BLUE NOTES"

Turnarounds and Moving Bass Lines

SONGS:

Cucina Blues
Steady Now
Offbeat Blues
From Twelve to Seven
Transposin' and Tumblin'
Three-Note Jump
Two-Chord Draw
The Cover-up
Better Late Than Never
Slidin' and Frettin'
Since I've Laid My Burden Down
Blue Note Special
Muddy's Blues
Muddy's Blues #2
Goin' Back to Clarksdale

Your pull-offs will be only as clean as your technique is in general. That is, if you're
still hearing lots of other strings sound as you slide up on a particular string, you're
going to hear all those strings ringing open along with the one string you want to hear
when you lift the slide. So keep paying attention to your damping and muting. Also,
make sure you've really reached the fret you were aiming for before you actually lift
the slide from the strings. Unless you're going for a quarter-tone slide ...
 
 
QUARTER-TONE SLIDES
This concept is a little more tricky to communicate in print, and even if you listen to
the examples on the CD, you may find it difficult at first to hear the difference
between a quarter-tone slide and a half-tone slide. Still, it's an important sound, and
I wouldn't want you to come away from this book thinking, "Hamburger, that slacker,
he never even tried to explain quarter-tone slides." So here goes.
To begin with, remember that a one-fret distance on the guitar is called a half-step
or a half tone. So a quarter tone is just going to be half of that. "Dave," I hear you say,
"how am I supposed to play half a fret?" Well, say, what's that on your little finger? A
slide? Try this. On the third string, slide from the third fret completely up to the
fourth fret (Example 4a). That's a half-step (one-fret) slide, and if you play that over
a G bass, the B you're landing on will sound really bright and perfect as the major
third of a G chord.
Now slide from the third fret only halfway up to the fourth fret-to an imaginary
three-and-a-half fret (Example 4b). Over a G bass, that note won't quite sound major,
and it won't quite sound minor. Ifyou just stop right there in the middle, it won't quite
sound right, either. There's a blue note you're trying to find, and I can really only
describe it as being the note on the way to the major third. If you haven't lost your
patience with this project yet, try this last step: Start at the third fret again and slide
toward the fourth fret, but this time lift the slide from the strings somewhere between
your start at the third fret and your conclusion at the fourth, killing the note midflight.
You need to be damping behind the slide with your index finger so that lifting
the slide actually stops the note; otherwise you'll get a pull-off to the open G.
 
It's a tangy, ambiguous sound, and it does work as a pull-off to the open G string,
too. Let's try a few licks with this sound. In Example 5, almost all the action is in the
pickup before the downbeat. Example 6 also has a long pickup, this time with a pulloff:
make the two quick slides into the seventh fret, and on the second one, lift the
slide from the string to get the open G. This open note gives you time to jump down
with the slide to the third fret for the last move of the measure.
Prezzo: €22,99
€22,99

EARLY JAZZ AND SWING SONGS FOR GUITAR Acoustic Guitar Method Songbook CD TABLATURE LIBRO

EARLY JAZZ AND SWING SONGS FOR GUITAR, Acoustic Guitar Method Songbook. CD TABLATURE

LIBRO DI MUSICA JAZZ SWING CON CD.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE. 

Series: String Letter Publishing
Publisher: String Letter Publishing
Softcover with CD - TAB
Artist: Various Artists

Editor: Jeffrey Pepper Rodgers

Author Photograph: Stephen Hunt

Add to your repertoire with this collection of early jazz and swing standards! The companion CD features a two-guitar recording of each tune, and the book includes full guitar parts in standard notation and tab with chord diagrams, plus detailed notes on the song origins and arrangements.

Includes 15 songs: After You've Gone - Avalon - Baby, Won't You Please Come Home - Ballin' the Jack - Hindustan - I Ain't Got Nobody (And Nobody Cares for Me) - Indiana (Back Home Again in Indiana) - Limehouse Blues - Poor Butterfly - Rose Room - Saint James Infirmary - St. Louis Blues - Tain't Nobody's Biz-ness If I Do - Till the Clouds Roll By - Whispering. 38 pages

 

EARLY JAZZ AND SWING SONGS FOR GUITAR INTRODUCTION

Early jazz refers to a period in American popular music that lasted from the late 'teens through the 1920s; the swing era basically refers to the 1930s. These periods overlap, of course, since musicians from the '20s continued playing throughout the 1930s and beyond, and the swing players of the '30s likewise continued to perform and record into the subsequent decades. With one exception, the 15 songs in this book were composed by professional songwriters in the first quarter of the 20th century. They were written as popular songs, to be sung in theatrical shows and revues and to be sold as sheet music, which at the time was still a bigger business than the sale of recordings. By the mid-1920s, as Louis Armstrong was hitting his stride with his Hot Five and Hot Seven sessions, recorded music was having its first big boom, and the interpretations of jazz musicians like Armstrong began to create a whole second life for certain popular songs. Jazz groups recorded these tunes with looser, more swinging interpretations of the melodies, new chord voicings, and a jazz pulse, generally using the songs as vehicles for improvisation. This fresh approach served to pull the songs in this book into what was then just becoming the jazz repertoire. By the 1930s the swing orchestras of Fletcher Henderson, Count Basie, and Benny Goodman were streamlining and refining the innovations made by Armstrong, Jelly Roll Morton, and others. Having cut their teeth on the music of the 1920s, Henderson, Basie, Goodman, and their peers and sidemen naturally gravitated toward reinterpreting those tunes, even as they composed new pieces and chose current show music to arrange. So we get Basie's and Goodman's versions of "Royal Garden Blues," Goodman's and Henderson's versions of "Rose Room," Basie's and Fats Waller's versions of "I Ain't Got Nobody," Goodman's and Jimmy Lunceford's versions of Introduction and Tune-Up: "Avalon"-all songs written a good 15 to 20 years before and given new life in the latest popular style. History exerts a winnowing effect on the music of the past-the 1960s' reputation as a golden era of rock 'n' roll, for instance, rests as much on forgetting the work of the Archies as on remembering that of Beatles and Bob Dylan. With the jazz age, too, certain songs have emerged as standards while countless other topical, novelty, and sentimental songs lie crumbling in the dust where they probably belong. In terms of the jazz repertoire, a standard is simply a song still in circulation because at some point an artist with sufficient influence saw fit to treat it as jazz material, and enough others subsequently ratified that first musician's judgement by recording and performing the song themselves. Early Jazz and Swing Songs includes the melody and chords to 15 standards in the public domain. The Cdincludes a two-guitar recording of each arrangement, but to really learn how to play these tunes, especially the melodies, I suggest tracking down at least one original recording of each song. I have stayed close to the published sheet-music versions of the melodies found in Hal Leonard's Early Jazz Standards, and more than a few of the tunes sound somewhat square when played that way. I did so, however, because even by the 1930s, many jazz musicians' renditions of these tunes were loose interpretations of the original theme, and if you want to understand the kind of improvisors they were, there are few better places to start than observing how they ornamented and re-created the melodies. I hope you have fun learning to play these tunes. Like fiddle tunes or classic rock songs, early jazz and swing standards are a great meeting ground for casual jamming with friends and fellow musicians. So once you've got a few of these under your fingers, don't hesitate to try them out the next time you're doing some picking. Good luck!

 

THE RHYTHM STYLE

I've arranged the chord progressions in this book in what guitarists call the Freddie Green style, after the rhythm guitarist who reportedly took only one recorded solo in his five decades with the Count Basie orchestra. While such nobility may not be your cup of Darjeeling, Green nevertheless perfected a comping (as in, ac-comp-animent) style that lays down just the right groove for a swing interpretation of the melody. There are two components to this style: what chords to play and how to play them. Let's look at each one before we get into the tunes themselves.

 

THE CHORDS

Jazz guitarists tend to use four-note chord voicings, but Green's style trimmed each chord down to the three notes found on the sixth, fourth, and third strings, as shown below in the second row. (Note that there is no commonly used fournote version of the G/D, so just the three-note version is shown.) You can play all 15 arrangements in this book using just these nine chord shapes.

Four-Note Voicings. Several of these chords have the third or the fifth of the chord on the lowest string, rather than the root. You may also have noticed that the Gm6, G7/D,and Gdim chords all have the exact same shape. These chords are meant to be played with a bassist, who is presumably playing the root of the chord on the first beat of each measure. Heard out of that context, these chords may not sound right at first, which is another good reason to spend some time with original recordings of these tunes and even to try and play along with them. Wherever possible, I've arranged these songs in the keys in which they were first published. While jazz musicians usually stick to the original key, sometimes another key becomes a popular alternative-for example, "Indiana" is just as frequently played in the key of F as in the original key of AJ,. And standards are frequently moved to another key to accommodate a vocalist.

 

STRUMMING

In the swing era, the guitarist was usually part of a four-piece rhythm section that also included piano, bass, and drums. Keeping good time meant providing a steady flow of quarter notes, four per bar, by playing a downstroke on every beat and possibly emphasizing beats 2 and 4 somewhat. Ifyou let your fretting fingers mute the fifth, second, and first strings, you can do a big, percussive strum across all six strings and just hear the notes you want to hear, on the sixth, fourth, and third strings. Relaxing your grip at the end of each quarter note dampens the strings and creates a little space between each stroke. At slower tempos, the four strums in a bar tend to come out relatively evenly, as in Example 1. At a moderate tempo (Example 2), the second and fourth beats start to get more clipped. And at faster tempos (Example 3), the second and fourth beats tend to become just a percussive backbeat.  

 

After You've Gone

Avalon
Baby, Won't You Please Come Home
Ballin' The Jack
Hindustan
I Ain't Got Nobody (And Nobody Cares For Me)
Indiana (Back Home Again In Indiana)
Limehouse Blues
Poor Butterfly
Rose Room
Saint James Infirmary
St. Louis Blues
Tain't Nobody's Biz-ness If I Do
Till The Clouds Roll By
Whispering

Prezzo: €18,99
€18,99

ACOUSTIC GUITAR FINGERSTYLE METHOD David Hamburger 2 CD LIBRO TABLATURE CHITARRA SPARTITI

THE ACOUSTIC GUITAR FINGERSTYLE METHOD. LIBRO CON 2 CD E TABLATURE

LIBRO METODO DI MUSICA,  CON 2 CD.

SPARTITI PER CHITARRA FINGERPICKING :

ACCORDI, PENTAGRAMMA E TABLATURE.

The Acoustic Guitar Fingerstyle Method introduces you to the two most essential fingerstyle approaches for playing American roots music: Travis picking and the steady-bass style. In each lesson, you’ll learn new techniques, concepts, and chord voicings and ways to practice and get them under your fingers. Then you’ll use what you’ve just learned to play a classic song or solo break from the blues, ragtime, folk, country, and ragtime traditions. 18 In-Depth Lessons: Travis Picking Basics - From Backup to Melody - Switching Chords - Eighth Notes and Syncopation - The Steady-Bass Blues - Steady Bass from Chord to Chord - Triplet Feel - Picking Pattern Fills - Descending Bass Lines and Chord Substitutions - Quicker Chord Changes - Double Stops - Seventh Chords up the Neck - Walking Bass Lines - Doin’ that Rag - Chord Anticipations and Early Jazz - Dropped-D Tuning - Swinging the Blues - Open-D Tuning 15 Songs to Play: - John Henry - Since I’ve Laid My Burden Down - Delia - St. James Infirmary - Nobody’s Fault but Mine - Houston Blues - Down in Navasota - Alberta - Hazleton - The Uptown Lowdown - Rag Mama - I Ain’t Got Nobody - St. Louis Blues - The Blunn Creek Slow Drag - Battle Hymn of the Republic

Spice up your fingerstyle blues with this melodic technique. With audio examples.
Full song lyrics
Essential listening suggestions for classic recordings of every songs
Arrangements
complete guitar parts

Whether you are studying with a techer or on your own, let the acoustic guitar method be your guide to joys and pleasures of playing guitar. This comprehensive approach with graded lessons and supplementary songs, is the one tool you need to get started. On the companion CDs you'll hear clear performances of all the music in the book. 

Welcome to the Acoustic Guitar Fingersty/e Method. This book focuses on the two most essential fingerstyle approaches for playing American roots music, Travis picking and the steady-bass style. In each lesson, you'll be introduced to new techniques, concepts, and chord voicings and shown ways to practice them and get them under your fingers. Then you'll use what you've just learned to play a new song or solo break. If you mostly play and sing, these lessons will give you the tools to spice up your guitar accompaniment as well as add instrumental breaks, intros, and outros. Ifyou'd sooner dance down the street in your underwear than sing, this book will give you lots of ways to make cool and complete-sounding music all by yourself without ever opening your mouth. Either way, by the end of this book, you'll have a whole new repertoire of tunes to play and a big handful of new chops to play them with. The Acoustic Guitar Fingersty/e Method picks up where the Acoustic Guitar Method left off, and assumes that you're familiar with picking patterns and with at least a dozen essential open-position chords. However, in case you're starting from scratch with this fingerpicking thing, or could just use a little brushing up, in the first lesson we'll review simple picking patterns and how to apply them to chords. (Speaking of which: for a detailed discussion of the theory, construction, and naming of chords, you might check out the Acoustic Guitar Chord Book, written by the very same quirkily handsome and surprisingly coherent gentleman who has the privilege of your attention at the present moment.) So if you think you've already got all these preliminaries in the bag, proceed directly to Lesson 2. Youmay pass Go, but alas, there is no $200 waiting for you. On the flip side, you won't have to sit on your hands for most of the book waiting for Mississippi John Hurt to hit your hotels on Boardwalk or Park Place ... 


Chapter 1 - Introduction.
CD Track: Tune Up

Chapter 2 - Travis Picking Basics.

Chapter 3 - From Backup to Melody.
CD Track: John Henry

Chapter 4 - Switching Chords.
CD Track: Since I've Laid My Burden Down

Chapter 5 - Eighth Notes and Syncopation.
CD Track: Delia

Chapter 6 - The Steady-Bass Blues.
CD Track: Nobody's Fault but Mine

Chapter 7 - Steady Bass From Chord to Chord.
CD Track: Houston Blues

Chapter 8 - Triplet Feel.
CD Track: Down in Navasota

Chapter 9 - Picking Pattern Fills.
CD Track: Since I've Laid My Burden Down

Chapter 10 - Descending Bass Lines and Chord Substitutions.
CD Track: Delia

Chapter 11 - Quicker Chord Changes.
CD Track: St. James Infirmary

Chapter 12 - Double Stops.
CD Track: Alberta

Chapter 13 - Seventh Chords Up the Neck.
CD Track: Hazleton

Chapter 14 - Walking Bass Lines.
CD Track: The Uptown Lowdown

Chapter 15 - Doin' That Rag.
CD Track: Rag Mama (Versions 1 and 2)

Chapter 16 - Chord Anticipations and Early Jazz.
CD Track: I Ain't Got Nobody

Chapter 17 - Dropped-D Tuning.
CD Track: St. Louis Blues

Chapter 18 - Swinging the Blues.
CD Track: The Blunn Creek Slow Drag

Chapter 19 - Open-D Tuning.
CD Track: Battle Hymn of the Republic

By David Hamburger.
Published by String Letter Publishing
Book/2 CDs

Prezzo: €31,99
€31,99

BEGINNING CHITARRA BLUES David Hamburger Livello base in italiano LIBRO CD TABLATURE

BEGINNING CHITARRA BLUES, D. Hamburger. In italiano. CD TABLATURE

 

LIBRO DI MUSICA CON CD,

METODO DI CHITARRA BLUES,

SPARTITI PER CHITARRA CON CD E TABLATURE. 


Metodo completo per chitarra blues. (Beginning). Il libro è designato a fornire diversi materiali di studio per esercitarsi e suonare. Sono stati inclusi in ogni dettaglio la chitarra ritmica, gli assoli, diversi stili blues e concetti d'improvvisazione. Vi sono esercizi per sviluppare la tecnica della mano sinistra, come il bending ed il vibrato, ed esempi interi per mostrare gli stili Blues Texas o Chicago, includendo le scale pentatoniche ed il metodo botta e risposta. Un'introduzione completa alla chitarra blues, adeguata a praticanti di ogni livello che per la prima volta si avvicinano a tale genere musicale. Vengono offerte tutte le conoscenze teoriche necessarie allo studio del libro, partendo dalla lettura della partitura, sino ad arrivare alle principali scale, all'analisi dell'armonia blues, alle sezioni di cui si compone un brano. Sono quindi affrontate le principali tecniche soliste (bending, vibrato, legati, slide). Numerosi si susseguono gli esempi di parti ritmiche, soliste e riff, notati in partitura e intavolatura, spesso nello stile dei grandi maestri. Un compagno ideale per costruire solide basi in ambito blues.

Questo libro è il risultato di anni di insegnamento privato individuale e di classe e di molti altri anni di ascolto, esecuzione e apprendimento di chitarra blues. Il blues è definita una musica di "sentimento", qualcosa che non si può imparare in un libro o durante una lezione. È vero che l'intenzione, le finezze, le emozioni di qualsiasi stile di musica trascendono la pagina stampata. E l'intuizione essenziale per gestire l'arte non è qualcosa che si impara in poche ore. Tuttavia, il blues ha una storia di conoscenza tramandata di bocca in bocca. Sembra che ogni musicista intervistato si ricordi precisamente da chi ha ricevuto la sua prima chitarra, chi gli ha mostrato il primo pezzo da suonare, che dischi ascoltava e chi ha visto dal vivo all'inizio della propria carriera. Con questi presupposti, il libro è designato a fornire diversi materiali di studio per esercitarvi e suonare. Sono stati inelusi in ogni dettaglio la chitarra ritmica, gli assoli, diversi stili blues e concetti di improvvisazione.Vi sono esercizi per sviluppare la tecnica della mano sinistra, come il bending e il vibrato, ed esempi interi per mostrare gli stili Blues Texas o Chicago, includendo le scale pentatoniche e il metodo "botta e risposta". Blues è un linguaggio,e questo libro può insegnare un po' del suo vocabolario. Per diventare fluenti nella lingua, comunque, è necessario ascoltare diversi dischi, molti concerti dal vivo, e suonare con diverse persone.

È disponibile un CD in questa serie. Ci auguriamo che questo renda l'apprendimento più facile e divertente. Questo simbolo apparirà vicino a ciascun esempio suonato sul CD. Usatelo, per assicurarvi di carpire la sensazione giusta di ciascun esempio, interpretando correttamente i ritmi, ecc. Buon divertimento!

 

A PROPOSITO DELL'AUTORE 

INTRODUZIONE 

CAPITOLO l- Iniziamo 

Semitoni,Toni, e l'importanza della forza di gravità 

La Tastiera 

Accordatura 

Notazione Musicale 

Leggere la Tablatura 

Leggere i Diagrammi degli Accordi 

Leggere un Diagramma di Accordi - Notazione Ritmica 

Leggere i Diagrammi delle Scale 

Leggere i Numeri Romani 

 

CAPITOLO 2- Teoria Blues 

La Scala Maggiore 

Armature di Chiave 

Scale Minori 

Scale Minori Relative 

Intervalli

Accordi 

Armonia Diatonica 

Armonia Blues

 

CAPITOLO 3-Chitarra Ritmica di Base

Vocabolario Ritmico di Base

Blues di Dodici Misure

Muting con il Palmo della Mano Destra

Lo Shuffle 

Accordi Mobili 

Muting con la Mano Sinistra 

Varianti dello Shuffle 

Stop Time 

Boogie-Woogie in Mi 

 

CAPITOLO 4-Scale Blues 

Pentatonica Maggiore 

Fraseggio 

Fraseggio Botta e Risposta 

I Riff 

Pentatonica Minore 

Note "Mirate" 

Combinare "Botta e Risposta" con le Toniche 

Trasposizione 

 

CAPITOLO 5- Tecniche per lo Mano Sinistra 

Hammer-on

pull-off

Unire gli Hammer-on e Pull-offs

Lo Slide

Il Bending

Il Bending Invertito

Licks nello Stile di Artisti Famosi

Il Vibrato

 

CAPITOLO 6- Stili di Chitarra Ritmica 

Muddy Waters - Vamps

Buddy Guy - Riffs Ritmici

Texas Swing

Blues Lento 

Blues Minore

 

CAPITOLO 7- lntroduzioni, Ritornelli e Finali

Ritornelli 

Introduzioni 

Finali 

 

CAPITOLO 8- L'Improvvisazione

Alternare le Pentatoniche Maggiori e Minori 

Aggiungere Note della Pentatonica Maggiore alla Pentatonica Minore 

Aggiungere Note della Pentatonica Minore alla Pentatonica Maggiore 

Accordi 

Espandere gli Schemi Base delle Scale 

 

CAPITOLO 9- Come Esercitarsi

Obbiettivi da Raggiungere 

Organizzare il Vostro Tempo 

Metronomi, Drum Machine, e Cassette / CD per allenarvi 

Variare le Fonti 

Oltre l'Allenamento a Casa 

Individualità 

Prezzo: €21,99
€21,99

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 

LIBRO METODO MUSICA CON CD. 

 

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

picks

capos

strings

 

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

The G Major Scale;

Hammer-Ons;

Pull-Offs;

Blues Notes in G;

Combining Major and Blues Sounds;

Combining Hammer-Ons and Pull-Offs;

Slides 

 

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;

Applications;

"Bill Cheatham" Revisited;

F Scales and Licks;

Applications;

"Red-Haired Boy"

 

Chapter 6 Playing in the Key of D, Open Position

D Scales;

Four-Note Units;

Combining Units to Create Licks;

Applications;

"New River Train";

Syncopations in D;

Double Stops in D;

"Reuben"

 

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 .

 

Afterword.

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ELECTRIC SLIDE GUITAR David Hamburger LIBRO CD TABLATURE TUNINGS-Ry Cooder-MUDDY WATERS-ELMORE JAMES

ELECTRIC SLIDE GUITAR. Hamburger.

LIBRO DI MUSICA PER CHITARRA SLIDE CON CD E TABLATURE

This book/audio method explores the basic fundamentals of slide guitar: from selecting a slide and proper setup of the guitar, to open and standard tuning. Plenty of music examples are presented showing sample licks as well as backup/rhythm slide work. Each section also examines techniques and solos in the style of the best slide guitarists, including Duane Allman, Dave Hole, Ry Cooder, Bonnie Raitt, Muddy Waters, Johnny Winter and Elmore James. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Author: David Hamburger

This book/audio method explores the basic fundamentals of slide guitar: from selecting a slide and proper setup of the guitar, to open and standard tuning. Plenty of music examples are presented showing sample licks as well as backup/rhythm slide work. Each section also examines techniques and solos in the style of the best slide guitarists, including Duane Allman, Dave Hole, Ry Cooder, Bonnie Raitt, Muddy Waters, Johnny Winter and Elmore James. 80 pages

 

INTRODUCTION
The aim of this book is to present you with the essential techniques required to play electric
slide guitar, while providing a hands-on understanding of the variety of slide styles that exist within
the blues idiom. The book begins with the open G tuning, proceeds to open E tuning, and concludes
with playing in standard tuning. While there is material at a variety of levels throughout the book,
important matters of technique are introduced chapter by chapter. E tuning is not "harder" than G tuning,
or vice versa, but as the chapters on open E tuning come later in the book, that is the point at
which more advanced techniques are discussed, whereas basics of right and left hand technique are
covered in the earlier chapters on G tuning.
A Note About the Tunings
There are four tunings that are considered standard for the electric slide guitar: open G, open
D, open A, and open E. Open G and open A offer essentially the same sound as one another, a whole
step apart (open G= D, G, D, G, B, D; open A= E, A, E, A, C#, E, low to high). Open D and open E
likewise offer essentially the same sound as one another, a whole step apart (open D= D, A, D, F#, A,
D, open E= E, B, E, G#, B, E, low to high). For this book, I have chosen to present all of the examples
(except for those in standard tuning) in either open G or open E tuning, rather than distinguish
between various artists' use of G or A tuning, and D or E tuning. I have done this for two reasons. The
first is to enable you to compare examples from different styles of playing within a given chapter
quickly and easily, without having to retune or capo by a whole step, or transpose in your head. The
second reason is that G and E tunings share some familiar fret positions and bar chord locations with
standard tuning. This makes orientation to each of these open tunings a little easier. More importantly,
it makes it much easier to translate what you have learned in open tunings back into standard tuning,
should you wish to play without t::hanging to an open tuning-for instance, if you use a slide for just
part of a song.
Electric slide guitar is at the heart of electric blues, from the pioneering postwar recordings of
Muddy Waters and Elmore James to the blues-rock of Duane Allman, Johnny Winter and Lowell
George, from timeless, genre-busting originals like Earl Hooker and Ry Cooder to contemporary
artists like Bonnie Raitt, Roy Rodgers and Dave Hole. The diversity among slide players is remarkable.
Far from being limited to the generic sound stereotyped in every bar band's version of "Dust My
Broom," the world of electric slide guitar is as broad, deep, and eclectic as the blues itself.


CONTENTS
Introduction

Chapter 1 Slide Essentials
Choosing a Slide .
Guitar Set-Up .
Left Hand Damping .
Left Hand Exercises .
Right Hand Muting .
Fingerstyle .
Right Hand Exercises .
More Right Hand Practice .
Playing with a Pick .
Vibrato .

Chapter 2 Open G TIming
Tuning Up .
The Fretboard in Open G Tuning .
Scales .
Damping/Muting Exercises on One String .
Major and Minor Pentatonic Licks .
Call and Response .
Combining Major and Minor Pentatonic Scales .
The Blues Form .

Chapter 3 Improvising in Closed Position
Closed Position Scales in G .
Precision Exercises .
Blues Vocabulary .
Transposing: Blues in G .
Combining Open and Closed Positions, ala Muddy Waters .
The Upper Extension: Adding Notes above the 12th Fret .
Transposing the Upper Extension: Blues in C .
The Dorian Mode

Chapter 4 Backup in Open G
The Style of Muddy Waters .
Changing Keys-Using a Capo .
The Style of Bonnie Raitt .
The Style of Ry Cooder .
The Style of Johnny Winter .
The Style of Dave Hole .

Chapter 5 Open E TIming
Tuning Up .
The Fretboard in Open E Tuning .
Scales .
Exercises .
The Style of Ry Cooder .
The Style of Johnny Winter .

Chapter 6 Broom Dusters, House Rockers, and the Closed Position
Scales .
The Style of Elmore James .
The Style of Hound Dog Taylor .
The Style of Duane Allman .
Pulldowns, Escape Notes, and Gradual Slides .
Duane's World .
High Energy Blues/Rock: the Styles of Johnny Winter and Dave Hole

Chapter 7 Backup in Open E
The Style of Elmore James-Elmore's Shuffle .
The Style of Hound Dog Taylor .
The Style of Ry Cooder .
Beyond the Key of E .
Stop Time Boogie .
Double Stops .

Chapter 8 Standard TIming
Translating Open G Tuning to Standard Tuning .
Translating Open E Tuning to Standard Tuning .
Standard Tuning .
Adapting Classic Open Tuning Licks to Standard Tuning .
Combining the Open and Closed Positions in Standard Tuning .
The Style of Robert Nighthawk .
The Style of Earl Hooker .
Standard Tuning Licks .

Chapter 9 What to Do Next .
A Selected Discography
About the Author .
Notation Legend .
 

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acoustic guitar magazine-THE ACOUSTIC GUITAR METHOD COMPLETE-David Hamburger-3 CD TABLATURE

acoustic guitar magazine-THE ACOUSTIC GUITAR METHOD COMPLETE. Learn to play using the techniques and songs of American roots music. David Hamburger. LIBRO CON 3 CD E TABLATURE

LIBRO METODO DI MUSICA ACUSTICA, CON 3 CD.

SPARTITI PER CHITARRA PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 


Series: Guitar Method                       
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: David Hamburger

Ogni titolo è preceduto da esercizi e lezioni.

A complete collection of all three Acoustic Guitar Method books and CDs in one volume! Learn how to play guitar with the only beginning method based on traditional American music that teaches you authentic techniques and songs. Beginning with a few basic chords and strums, you'll start right in learning real music drawn from blues, folk, country and bluegrass traditions. You'll learn how to find notes on the fingerboard, expand your collection of chords by learning songs in various keys, and learn different kinds of picking patterns. When you're done with this method series, you'll know dozens of the tunes that form the backbone of American music, using a variety of flatpicking and fingerpicking techniques.
Songs include: Bury Me Beneath the Willow - Delia - Frankie and Johnny - The Girl I Left Behind Me - House of the Rising Sun - Ida Red - In the Pines - Little Sadie - Man of Constant Sorrow - Sally Goodin - Scarborough Fair - Will the Circle Be Unbroken? and many more. 136 pages.

The Acoustic Guitar Method teaches you how to play guitar using the techniques and songs of American roots music. Beginning with a few basic chords and strums, you'll start right in learning real music drawn from blues, folk, country, and bluegrass traditions. Working in both standard music notation and a special system for guitar called tablature, you'll learn how to find notes on the fingerboard by using them in particular song arrangements. You'll use different kinds of picking patterns and expand your collection of chords by learning songs in various keys. And as your knowledge of the fingerboard expands, you'll solidify that knowledge by picking out the melodies to the tunes you're working on. When you're done with the Acoustic Guitar Method, you'll know dozens of the tunes that form the backbone of American music and be able to play them using a variety of flat picking and fingerpicking techniques.

WHY ACOUSTIC GUITAR? The acoustic guitar is an incredibly flexible instrument. With just a few chords under your fingers you can play dozens of traditional and popular tunes; with time and effort, you can take the same instrument to virtuosic heights. The acoustic guitar knows few stylistic limits: everything from Lester Flatt's bluegrass backup to John Hurt's country blues fingerpicking, from the Everly Brothers' percussive rock strumming to Leo Kottke's supercharged slide workouts, has been done on essentially the same instrument. You can make music on an acoustic guitar all by yourself or use it as a songwriting tool, and since you can play both rhythm and lead, it's a great instrument for bands and jamming as well. The amount and variety of music that's made on the acoustic guitar is staggering. Country, blues, bluegrass, jazz, folk, rock-acoustic guitar lies at the heart of all these styles. You may find yourself wanting to check out a little bit of everything. Or maybe one style will grab your attention and not let go. No matter where your interests lead you, you'll be expanding your ears, strengthening your fingers, and learning more about music and your instrument.

WHY ROOTS MUSIC? The various genres collectively referred to as roots music are all very much alive, and the guitar is very much a part of those traditions. Whether you're revved up about learning fingerstyle blues, bluegrass flatpicking, basic country backup, or western swing, it all starts with the same fundamentals. Learning tunes is a practical and fun way to acquire a chord vocabulary, practice strumming techniques, learn about picking and playing single notes, and apply picking patterns to real-world situations. We've chosen the traditional tunes in this series for their variety and accessibility and because they are great songs and a blast to play. These songs are survivors

 

 

THE COMPLETE ACOUSTIC GUITAR METHOD

CHOOSING AN INSTRUMENT

The dreadnought is the standard acoustic guitar shape, a relatively large, squarish design developed by C.F. Martin around 1916; nearly every guitar company now makes dreadnought-style instruments. There are also numerous smallerbodied instrument styles, often based on older designs by Martin or Gibson and variously referred to as parlor, concert, or simply small-bodied guitars. These are often easier to hold and to wrap your arms around as a beginner than the bulkier dreadnought or the equally large jumbo instruments based on Gibson's various models of that name. Different styles and shapes of instruments do sound different from one another, but right now the most important issue is comfort, so get something that feels like it fits your body. While we're on the subject, keep in mind that you can make music on any instrument. Many musicians use a variety of guitars over the course of their lives or keep a few instruments to change their sound on stage, in the studio, or at home. Much of the earliest country and blues music was made with whatever instruments were available or affordable at the time. People played cheap Stella, Harmony, or hand-me-down guitars because that's what they had, and they made music that's still worth listening to decades later. In our own era, there are more and more good, inexpensive guitars being produced all the time, making it easier than ever to find a comfortable, reasonably priced, good-sounding beginner instrument. Whether you get something new or secondhand, have the shop where you buy it or a recommended repair shop do a setup before you get started. That basically means adjusting the neck for the most comfortable action, or distance between the strings and the fretboard, putting on a fairly light gauge of strings, and checking the intonation (that is, making sure your guitar plays in tune all the way up the neck), which may involve adjustments to the saddle and/or the nut. (Aren't you glad you looked over that illustration on page 5)

HOLDING THE GUITAR

The standard sitting pose for playing acoustic guitar has the guitar resting on your right leg. Your right arm can drape over the lower bout of the guitar, with the instrument fitting snugly in the crook of your arm. That should leave your right hand dangling somewhere between the bridge and the sound hole, or right at the soundhole's edge, when you go to strum or pick. If you're planning to stand up, you might want to have a strap button attached to the heel of the neck. It doesn't have the same Woody Guthrie-esque hobo look as tying a piece of string around the headstock, but it centers the guitar's body on you a bit better and ensures a more stable placement of the instrument. Keep your left-hand thumb along the back of the neck, wherever it feels most comfortable. It can creep up over the top, past the fingerboard, as long as it's not actually touching the low string and keeping it from ringing out when you strum. Be sure to keep your fingers arched, with each joint bent; if they flatten out across the strings they will also flatten the sound when you strum.


Contents:

Columbus Stockade Blues
Careless Love
Get Along Home, Cindy
Sally Goodin
Ida Red
Darling Corey
Hot Corn, Cold Corn
East Virginia Blues
In the Pines
Banks of the Ohio
Scarborough Fair
Shady Grove
Man of Constant Sorrow
Stagolee
The Girl I Left Behind Me
Shady Grove
Shenandoah
Will the Circle Be Unbroken?
Sail Away Ladies
I Am A Pilgrim
Bury Me Beneath the Willow
Alberta
Sugar Babe
House of the Rising Sun
Frankie and Johnny
Delia
Gambler's Blues
Banks of the Ohio
Crawdad
New River Train
Little Sadie
Omie Wise
That'll Never Happen No More

 

CONTENTS - Book 1

 

Welcome

Tune-Up

Lesson 1.: First Chords, First Song .

Columbus Stockade Blues .

 

Lesson 2: New Chord, New Strum .

Careless Love .

 

Lesson 3: Tab Basics and Your First Melody .

Get Along Home, Cindy .

 

Lesson 4: Reading Notes .

Sally Goodin, Part I .

 

Lesson 5: The G Chord .

Ida Red .

Darling Corey .

 

Lesson 6: The C Chord

Hot Corn, Cold Corn .

 

Lesson 7: More Single Notes .

Sally Goodin, Part /I .

 

Lesson 8: Country Backup Basics 

East Virginia Blues .

 

Lesson 9: Seventh Chords .

East Virginia Blues .

 

Lesson 1.0: Waltz Time .

In the Pines .

 

Lesson 1.1.:Half Notes and Rests .

Banks of the Ohio .

 

Lesson 1.2: Minor Chords .

Scarborough Fair .

 

Lesson 1.3: A Minor-Key Melody .

Shady Grove .

 

Lesson 1.4: The B7 Chord .

Man of Constant Sorrow .

 

Congratulations .

 

 

CONTENTS - Book 2

Welcome

Tune-up Track .

 

Lesson 1: The Alternating Bass

Columbus Stockade Blues

 

Lesson 2: Blues in E

Stagolee .

 

Lesson 3: Major Scales and Melodies .

The Girl! Left Behind Me .

 

Lesson 4: Starting to Fingerpick .

Shady Grove .

 

Lesson 5: More Picking Patterns .

Shenandoah .

will the Circle Be Unbroken? .

 

Lesson 6: The G-Major Scale .

Sail Away Ladies .

 

Lesson 7: Bass Runs .

I Am a Pilgrim .

 

Lesson 8: More Bass Runs .

I Am a Pilgrim .

Bury Me Beneath the willow .

 

Lesson 9: Blues Basics .

Alberta .

 

Lesson 10: Alternating-Bass Fingerpicking .

Sugar Babe .

 

Lesson 11: Fingerpicking in 3/4 .

House of the Rising Sun .

 

Congratulations

 

CONTENTS - Book 3

Welcome

Tune-up Track .

 

Lesson 1: The Swing Feel .

Frankie and Johnny 

 

Lesson 2: Tackling the F Chord .

Delia .

 

Lesson 3: More Chord Moves .
Minor moves, 

Gambler's Blues .

 

Lesson 4: Introducing Travis Picking .

Banks of the Ohio .

 

Lesson 5: Travis Picking, Continued .

Crawdad .

 

Lesson 6: Hammer-ons .

New River Train .

 

Lesson 7: Slides and Pull-offs .

Sail Away Ladies .

 

Lesson 8: Alternate Bass Notes .

Little Sadie .

 

Lesson 9: The Pinch .

Omie Wise .

 

Lesson 10: All Together Now .

That'll Never Happen No More .

 

Congratulations 

About the Author

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