ALFRED PUBLISHING

BLUES CHOPS FOR GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA BLUES CON CD.

SPARTITI PER CHITARRA CON

ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA 

Blues Chops for Guitar

Technique Exercises for the Aspiring Guitarist
By Buck Brown
Item: 07-1042
UPC: 630746710422
ISBN 10: 1929395418
ISBN 13: 9781929395415

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more. Develop your chops practicing exercises in the style of music you enjoy! 

Introduction
About the Author

Chapter I-Blues Rhythm Guitar
Moveable Chords
The I-IV-V Progression-The Twelve Bar Blues
Open-Position Two-Note Shuffle Patterns
Closed-Position Two-Note Shuffle Patterns
Two-Note Shuffle Patterns with a b7
Closed-Position Two-Note Shuffle Patterns with a b7
Chord Shuffle Patterns .
New Blues 7 Chords
VOICING IN THE CYCLE OF 4THS
CHORD VOICING IN THE CYCLE OF 4THS - 3RD FINGER ANCHOR
7 CHORD VOICING IN THE CYCLE OF 4THS - 3RD FINGER ANCHOR
The 9 Chord
The 9-Chord Slide Blues
The 13 Chord
More Dominant 7 Chords
Turnarounds
More Shuffle Patterns

Chapter 2- Blues Lead Guitar
Alternate Picking
Finger Independence
Vibrato
The Minor Pentatonic Scale
Strengthening the 3rd and 4th Fingers
String Bending
The Major Pentatonic Scale
String Bending in the Major Pentatonic Scale
Pre- Bends
Pedal Steel-Style Bends
Step-and-a-Half Bends
Hammer-Ons
Pull-OFFs
Combinations with Hammer-ons, Pull-Offs and Bends
Double Stops

Chapter 3- Advanced Blues Techniques
Advanced Twelve-Bar Blues Harmony
Pick and Fingers Blues with a
Walking Bass Line
The Minor Blues
Sliding- The Ring-Finger Slide
More Sliding Exercises
Muted Sweeps
The Blues Trill
Harmonics
Downstroke Sweeps
Upstroke Sweeps
Cross Picking, String Skipping, Finger Rolls

Chapter 4-Slide Guitar
String Damping
Slide in Standard Tuning
Slide in G Tuning
Slide in D Tuning
Postscript

A compact disc is available with each book of this series. Using these discs will help make learning more enjoyable and the information more meaningful. The CD will help you to play the correct notes, rhythms and feel of each example. The track numbers below the symbols correspond directly to the example you want to hear. Track 1 will help you tune to this CD.

To become a better blues guitar player, you need to spend some serious time "learning the moves" -the techniques that blues guitarists employ and the little tricks of the trade that make them sound so good. This book is fJled with exercises that can help you with specific technical problems.
The exercises presented in this book cover all the important blues guitar techniques, such as string bending, pentatonic scales, hammer-ons and pull-offs, double stops, barre chords, advanced chords, pedal-steel tricks, blues changes, and there is even a chapter on slide guitar playing. There are also lots of exercises designed solely to train your fretting-hand fingers to act independently, which is not something they do naturally.
We also cover the picking hand in this book. Alternate picking exercises and pick-and-fingers techniques are examined in detail. Also, there is an extensive look at chords-the best ones to use, how to easily move from one to another, the most common sets of strings on which chords are played, how to recognize when to use anchor fingers and how to employ devices such as harmonics. Technical training is challenging, and may even seem somewhat daunting. But with application on your part, and a willingness to work at each exercise until it is mastered and understood, you will become a much better player. All the exercises follow the philosophical principle of "Occam's Razor," which says that the easiest, simplest way to do things is generally the best way. If you don't like the fingerings I've used, don't use them. But I think they are the easiest and if you give them a chance, you'll probably come to see why rchose them.
There may be some symbols you have not seen before:

I) = Extension 1. Extend (reach) your first finger out of position one fret, but do not move your hand out
of position.

4) = Extension 4. Same as extension 1, except with your 4th finger
I hope this book helps you play cleaner, faster and with better articulation. The goal, as always, is no mistakes. See you at the gig.

Buck Brown knows that guitar playing is the "real job" his mom always told him to get. In the past 35 years, he has been fortunate to play with such great artists as Nils Lofgren, Tony Trischka, Stacy Phillips, Dave Hamburger, Robert Lee Castleman, Mark Egan and all ot the incredible teachers at the National Guitar Workshop (where he taught from 1984 to 1991). Buck has written ten National Guitar Workshop publications (under the name Robert Brown) including Chord ConnectwrlJ, his masterwork on guitar harmony.
As a composer, he has written music for innumerable episodes ofAmerua J MOJt Wanted, has won an Emmy Award in Cleveland, a Bronze Medal at the New York Film Festival and has been nominated twice tor Helen Hayes Awards in Musical Theatre. When he is not on the road, Buck plays and teaches in Washington, D.C., is married to the fabulous chanteuse Rebecca Davis, uves with three dogs, bats right, throws right and plays loud.

Great musical ideas need great chops to back them up. Build your finger strength, flexibility and independence with these exercise books from one of America's leading guitar schools.
Each book addresses skills needed for a specific style. For example, Jazz Chops covers the finger independence needed for smooth, rapid changes between complex jazz chords in the context of important progressions, such as ii-V-I. Blues Chops has exercises for developing bending, the different shuffle rhythm patterns, turnarounds, blues trills and more.
Rock Chops deals with all the important soloing techniques, such as speed picking, sweeping, tapping, harmonics, scale sequencing and so on.
Develop your chops practicing exercises in the style of music you enjoy~or if you are a multi-style guitarist, go through all three!
 

GUITAR ATLAS AFRICA. Chi nel 2003 ha ascoltato il chitarrista classico John Williams in concerto, sarà ancora incuriosito dalle allegre melodie del continente africano. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

By Banning Eyre
SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Banning Eyre, a nationally recognized expert in African guitar music, guides you through a variety of important styles, including congolese, mbira, Malian blues and juju. Explore the history and origin of each style including the pioneering musicians that developed them, and learn the dominant characteristics and techniques necessary to play this remarkable music. All material and examples are presented in standard notation and TAB for both lead and rhythm parts. A CD demonstrating all examples and compositions in the book makes learning easy and trouble-free for all players.

Expand your musical horizons with guitar styles from the African continent.
Banning Eyre, a nationally recognized expert
in African guitar music, guides you through the elements that
are at the heart of the African guitar sound. Explore a variety
of important styles, from the intertwining guitar boogie of the
Congo and the serene, percussive weave of Nigerian juju
music, to the flashy fingerpicking of Mali and Madagascar.
The CD demonstrates ali the examples and compositions
featured in the book.
The author's travels and experiences with guitarists throughout
Africa lend this book unmistakable authenticity, and the
popularity of Afropop makes Guitor Atlos: Africo a must for
every player. This thorough yet concise introduction makes it
fun and easy to explore the fascinating styles of a continent
rich in musical traditions.
Guitar Atlas: Africa

Guitar Styles From Around the Globe
20450

African guitar is a big subject, as big as the continent itself. Africa is 54 countries and
many hundreds of distinct ethnic groups, and while most people think of African music
as principally drumming and singing, there is an astounding number of guitar styles
unique to particular African settings. Paul Simon's breakthrough 1986 album
"Graceland" focused international attention on South African pop music and initiated
a process of discovery for cutious music fans around the world. What they found was
the dazzling array of music styles we now call Afropop. From the tangled guitar boogie
of the Congo-soukous music-to the serene percussive weave ofNigerianjuju music,
to the flashy fingerpickers of Mali and Madagascar, Africa's treasure chest of beautiful
and originaI contemporary guitar idioms seems inexhaustible.
Many of these idioms deserve a book of their own. Some are extensions of ancient
musical traditions that used indigenous instruments for centuries before the first
guitars carne to Africa with Portuguese sailors in the 16th century. These "roots"
genres sometimes have rich, widely inrerpreted repertoires and diverse, demanding
techniques specifically developed to render the sounds of African instruments on
guitar. Even brazenly modern guitar styles, like those in the Congo, have achieved
a remarkable level of depth and rigor within a few short decades of developmenr.
For all the travel and study l've put in, l've only scratched the surface of Africa's
guitar wealth. But l've learned enough to convey a number of important principI es
of some key African guitar styles.
That is the limited objective of Guitar Atlas: Africa. The African guitar styles introduced
here are by no means the only ones worthy of study. They are simply the ones I have been
fortunate enough to discover, and the ones l've become intrigued enough to tackle as a
player. This book would not have been possible without the openness and generosity of
the many guitarists who have shared their wisdom with me. Using the principles and
fundamentals in this book as a starting point, players will be able to approach recordings
of African music with greater appreciation and understanding. Still, mere is no substitute
for sitting down with those who grew up playing these styles, especially ifyou can do so in
Africa. My fondest hope for this book is that it will inspire other players to dig dee per into
this underexamined world of guitar music. I hope others will make their own journeys,
write their own books and articles, and bring as yet undiscovered African guitar geniuses
to international attention.
Guitar Atlas: Africa assumes that you have some experience playing and reading standard
music notation and/or TAB, and that you have some experience with both
fingerstyle and flatpick playing. It also assumes that you have some understanding of
basic music theory-time signatures, rhythms and note values (ranging from whole
notes to sixteenth notes), intervals, harmony (chords and chord symbols), and so on.

Banning Eyre has played guitar professionally since me mid1970s,
working in genres as diverse as jazz, flamenco, dancerock,
and reggae. Since 1990, he has specialized in guitar
styles from Mrica, making six trips to the continent to research
guitar music. Over the years, Banning has played in a
series of Congolese soukous bands in Boston, in the West Mrican
folk ensemble Cora Connection, and with a variety of
musicians performing Zimbabwean mbira music. He teaches
Mrican guitar styles, both privately and in workshops at Tribal
Soundz in New York City.
During travels in Mrica, Banning has performed with the Super Rail Band of Bamako
and Sali Sidibe in Mali, and with Thomas Mapfumo and the Blacks Unlimited in
Zimbabwe. He plays on two Thomas Mapfumo albums, "Chimurenga '98" and
"Chimurenga Explosion," and on a track from Taj Mahal and Toumani Diabate's
"Kulanjan" (Hannibal, 1999), voted the Folk Roots Album of the Year in the UK.
Banning has written about international music, especially Mrican guitar styles, since
1988. He comments and reporrs on music for National Public Radio's All Things
Considered and contributes regularly to the Boston Phoenix, Guitar Player, Rhythm,
Folk Roots, The Beat, CM] New Musie Monthly, and the Musie Hound and All Musie
Guide series of books. He has traveled extensively in Mrica and produces regular
programs for the public radio series Afropop Worldwide.
In 1995, Banning co authored AFROPOPf.- An Illustrated Guide to Contemporary Afriean
Musie with Sean Barlow. His critically acclaimed book In Griot Time: An Ameriean
Guitarist in Mali (Tempie University Press, 2000) recounts his seven-month apprenticeship
with DjelimadyTounkara of the Super Rail Band of Bamako, Mali. He compiled a
companion CD, In Griot Time: String Musie from Mali (Stern's Mrica, 2000), including a
number of his own recordings of musicians in Mali. Banning is currently at work on a
book abour Thomas Mapfumo and the contemporary history of Zimbabwe.
Banning is the senior editor.

Amponsah
Balafon
Chimurenga
Clave
Diaoura
Dosongoni
Griot
Guirare etouffée
Hosho
Kaira
Kamelengoni
Karigamombe
Karagnan
Keme Burema
Kwaito
Kwassa-kvvassa
Marabi
Marche militaire
am-POHN-sah
BAH-lah-fohn
CHI-mur-EHNG-ah
CLAH-vay
jah-OO-rah
DOH-soh-NGOH-nee
GREE-oh
gih-TAHR AY-too-fay
HOH-shoh
KIE-rah
KAH-meh-leh-N GO H -nee
KAH-tee-gah-MOHM-bay
KAH-ran-YAH(n)
KAY-mayBRAH-mah
KWIE-toh
KWAH-sah KWAH-sah
mah-RAH-bee
MARZH mee-lee-TEHR
Marovany
Matonge
Mbaqanga
Mbira dza vadzimu=
Mi-solo
Ngoni
Pidigori
Seben
Son monruno
Songhai
Soukous
Sungura
Sunjata
Taireva
Ukapika
Valiha
Wassoulou
Yoruba
MAH-roh-VAHN
MAH-tohn-gay
mbah- KAHN -gah
MBEE-rah DZAH-vah-DZEE-
MEE-soh-loh
NGOH-nee
PIH -dee-goh-ree
SEH-ben
SOHN mahn-TOO -oh
SOHN-gie
SOO-koos
soon-GOO-rah
soon-JAH-tah
tie-RAY-vah
OO-kah- PEE-kah
vah-LEE
WAH-soo-loo
yoh-ROO-bah

ABOUT THE AUTHOR
PRONUNCIATION GUIDE
INTRODUCTION

CHAPTER l-Palm Wine Piekers
Two-Finger Pieking
Palm Wine Basies
Parallel 6ths
Making It Swing

CHAPTER 2-Highlife and Juju
Rhythm Guitar
Juju IO
Juju Slow 1 O

CHAPTER 3-Congolese, Rumba, and Soukous
The Clave Rhythm
Congolese Rhythm Guitar
Matonge
Congolese Lead Guitar
Soukous Bass
Congolese Seben 1
Congolese Seben 2.

CHAPTER 4-Music of the Manding Griots
Kora Style
Balafon Style
goni Style
Keme Burema
Diaoura
Lydian Mode
Manding Swing
Manding Groove

CHAPTER 5-Malian Blues .
Major Pentatonie .
Songhai Piece .
Minor Pentatonie .
Minor Pentatonic Duet .
Dorian Pentatonie .
Dorian Desert Blues .
Wassoulou Musie .
Two-Guitar Wassoulou Piece .

CHAPTER 6-South African Piekers
and Strummers .
Zulu Fingerstyle Guitar .
Walking Song .
Zulu Song .
Mbaqanga .
Mbaqanga Song .

CHAPTER 7-Zimbabwe Rumba .
Sungura Stomp .

CHAPTER 8-Zimbabwe Mbira .
Mbira Fingerstyle .
Karigamombe Fingerstyle .
Flatpiek Mbira Guitar .
Pidigori .
Lead Mbira Guitar .
Pidigori Extended Lead .
Taireva .
1àireva (version 1) .
1àireva (version 2) .

CHAPTER 9-Miracles of Madagasear .
Sammy's Vamp .
Variation on Sammy's Vamp .
Malagasy Song .

Track
A compact disc is included with this book. This disc can make learning
with the book easier and more enjoyable. The symbol shown at the left
appears next to every example that is on me CD. Use me CD to help
ensure that you're capturing me feel of me examples, interpreting me rhythms
correccly, and so ono The track number below the symbol corresponds directly
to me exampleyou want to hear. Track l will help you runeyourguitar to this CD.
Have fun!

COMPLETE FINGERSTYLE GUITAR METHOD, MASTERING. Eckels. CD TABLATURE

Complete Fingerstyle Guitar Method: Mastering Fingerstyle Guitar
By Steve Eckels
Item: 00-17814
UPC: 038081158594
ISBN 10: 0739016555
ISBN 13: 9780739016558

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
This advanced volume in the comprehensive method for fingerstyle guitar is perfect for experienced players who want to add greater variety, refinement, and creativity to their playing. Develops skillful tone production and dynamic control, and covers the free-stroke, rest-stroke, shifting, tremolo, planting, and inventive techniques used by contemporary fingerstyle masters like left-hand tapping, right-hand tapping, drumming, and "the scrape." Also includes unusual alternate tunings, ideas for creating your own new tunings, and arranging. All music is shown in standard notation and TAB, and the CD demonstrates all the examples in the book. 96 pages. 

ABOUT THE AUTHOR

Steve Eckels received his Bachelor's degree in guitar from Berklee College of Music and his Master's degree in guitar and jazz at New England Conservatory. His teachers have included Robert Paul Sullivan, Gene Burtoncini, William Leavitt, Chuck Wayne, Barry Galbraith, Gary Burton and Pat Metheny. In addition to concert and public engagements, he now teaches guitar at New Mexico State University at Las Cruces. He is the author of seven guitar folios, and has recorded 18 albums and Cds.

ACKNOWLEDGEMENTS

I would like to express a special thank you to those authors from whom I have learned so much: Joseph Schillinger, Yehudi Menuhin, Ivan Galamian, George Van Eps, Vincent Persichetti, Lee F.Ryan, Mark Hanson, Mick Goodrick and John Stropes. Special thanks to my violin teacher, Dr. Frank McDonald, to my friend Joe Mancilla for assistance with alternate tunings and to my editor, Nat Gunod, for his meticulous attention to detail and pedagogy.

INTRODUCTION

Greetings, and welcome to Mastering Fingerstyle Guitar. Most of you have already traveled the trail of Beginning Fingerstyle Guitar and Intermediate Fingerstyle Guitar, and are ready for the next step in your fingerstyle adventure. This book will introduce you to new musical ideas and subtle techniques that will help you reach your potential as a fingerstyle player, arranger and composer. To help guide you along your way, I have prepared examples that are musical, educational and enjoyable. Since my approach is based in art and nature, which are things common to us all, you may find yourself saying, "Of course, why didn't I think of that?" Don't worry, you don't have to reinvent the wheel. Contained in the following pieces of music are gems of wisdom that I have gathered from studying the masters of guitar, violin and composition for the past thirty years. One of the most satisfying parts of this book was composing the examples for the sections on alternate tunings and modern tapping and drumming techniques. If your background is in the traditional approach to guitar, as mine was, you might find yourself a bit hesitant about venturing into these areas. The good news is that the learning approach presented here is based on what you already know. You can and should learn to perform in alternate tunings and incorporate drumming and tapping into your playing. Primordially speaking, I think we are all drummers at heart. These modern techniques are satisfying and can greatly expand your creative potential. Another component of this book that I feel will be very helpful to you is the chapter on developing your sense of touch. In learning guitar, touch is one of the most neglected areas of discussion. It is assumed that you just press down on the fret, and that's it. There are some subtleties involved can make your playing more effortless and flowing. One of the advantages of studying out of a book such as this is that you can make steady progress, page by page. Nevertheless, be open to the idea of making a giant step forward in your playing. It can happen.

TABLE OF CONTENTS:

About the Author 

Introduction .

Review .

CHAPTER 1-Tone and Balance .

Fingernail Care .

The Free Stroke .

The Rest Stroke .

The Thumb .

Alternating Rest and Free Stroke .

Planting .

Balanced Control .

CHAPTER 2-Exploring the Harp .

Harp Finger Pattern on Individual String .

Harp Finger Pattern Using Two Strings .

Harp Finger Pattern Using Three Strings .

Harp Finger Pattern Using Four Strings .

Harp Finger Pattern Using Five Strings .

Harp Finger Pattern Using Six Strings .

CHAPTER 3-Chord Formulas .

Chords in 2nds .

Chords in 3rds .

Chords in 4ths .

Mixed Intervals .

Drop-Two Voicings .

Drop-Three Voicings .

CHAPTER 4-Sense of Touch

Gray Tones .

Gray Tones Into Clear Tones .

Relaxing The Left Arm .

Shifting Technique: Impulse and Momentum .

Pussy Footing .

Square and Diagonal Frames .

Vibrato .

Bending Vibrato .

CHAPTER 5-Fingerstyle Speed .

Right Hand Preparation for Tremolo .

Coordinating Left-Hand Patterns With Right-Hand Tremolo .

Four-Note Left-Hand Patterns With Right-Hand Tremolo .

Three-Note Left-Hand Patterns With Right-Hand Tremolo .

Two-Note Left-Hand Patterns With Right-Hand Tremolo .

One-Note Left-Hand Patterns With Right-Hand Tremolo .

Speed Bursts .

Sequences .

CHAPTER 6 -Modern Techniques

Expression And Invention .

Left-Hand Tapping .

Left-Hand Tapping With Pull-Offs .

Left-Hand Tapping With Right-Hand Drumming .

Left-Hand Tapping With Left-Hand Drumming .

Left-Hand Tapping In Double Stops .

Left-Hand Tapping In Double Stops With Pull-Offs .

Left-Hand Tapping In Double Stops With Right-Hand Drumming .

Left-Hand Tapping In Double Stops With Left-Hand Drumming .

Right-Hand Tapping .

Left- And Right-Hand Tapping in Triple Stops .

TappingTriple Stops With Right- and Left-Hand Drumming & Introducing "The Scrape" .

Tapping Triple Stops in Triplets With Pull-Offs .

Tapping And Slapping The Blues In E .

Tapping And Drumming An A Minor Blues .

Tapping A Walking Bass Line For A Blues In E .

The Ostinato Pattern, Right-Hand String Stopping

and Slap Harmonics .

Tapping With Pull-Offs In Triplets .

Tapping With Pull-Offs In Sixteenth Notes .

Harmonics Combined In Intervals With Non-Harnmonics .

Artificial Harmonics .

Harmonics In Alternation With Non-Harmonics .

CHAPTER 7-Alternate Tunings .

Dorian Tunings: C, G, Eb,A, D .

Phrygian Tuning: C, G, Db, F,G, C .

Lydian Tuning: C, G, D, E, F#, B .

Mixolydian Tuning: C, G, Bb, E, G, C .

Major #5Tuning: D, G, D, G, B, D# .

Pentatonic Tunings: C, F,C, G,A, D .

Creating Your Own Arrangements In Altered Tunings .

Alternate Tunings Summary .

Alternate Tuning Note Guide .

CHAPTER 8 - Arranging And Composing .

The Creative Process-The Seed Metaphor .

Methodology .

A "To Do " List For Composers And Arrangers .

Arranging Scarborough Fair .

Rhythmic Variations .

Motivic Variations .

Melodic Elasticity .

Same Rhythm, Different Melody .

Harmonic Variations .

Modulation .

Structural And Rhythmic Mapping .

Playful Melodic Variation .

A compact disc is available for this book. This disc can make learning the examples in this book easier and more enjoyable. The symbol will appear at the beginning of every example or song:

Use the CD to make sure that you are capturing the feel of the examples, interpreting the rhythms correctly, and so on.

The track number below the symbol corresponds directly to the example or song you want to hear. Track I will help you tune to the CD. 

MASTERING FINGERSTYLE ECKELS

MASTERING FINGERSTYLE

ALL THREE BOOKS ARE LOADED WITH:
- Examples in standard music notation and TABLATURE
- Tons of fingerpicking patterns
- Plenty of complete songs in a variety of styles for you to learn
- Lessons on alternate tunings
- Lessons on every imaginable fingerstyle technique
- Techniques and theory for making your own fingerstyle arrangements

BEGINNING FINGERSTYLE GUITAR
by Lou Manzi
With this comprehensive book, you will enjoy getting started on fingerstyle guitar.
It's also great for more experienced players who want to "fill in the gaps" and enhance their knowledge. It teaches everything from basic chord theory and pattern picking to putting the melody in the bass, alternating bass, modes, "drop D" tuning and more. Loaded with fun examples to play,the final chapter also provides a selection of complete pieces in a variety of styles.

INTERMEDIATE FINGERSTYLE GUITAR
by Lou Manzi and Nat Gunod
The perfect continuation of Beginning Fingerstyle Guitar, this book is great for fingerstyle guitarists who know the basics and are ready to take the next step. Topics include alternate tunings, modes, fingerpicking patterns, barre chords, diatonic harmony, special techniques, bass lines and an exploration of styles ranging from Celtic and country blues to contemporary "new age" styles.
Also included is an essential chapter on arranging with a clever step-by-step approach.

MASTERING FINGERSTYLE GUITAR
by Steve Eckels
This advanced method for fingerstyle guitar is perfect for experienced players who want greater variety, refinement and creativity in their playing.You will start with an in-depth look at essential techniques such as tone production and dynamic control, free-stroke, rest-stroke, shifting, tremolo and planting. Moving on, you'll discover all the inventive techniques of the contemporary fingerstyle masters such as left-hand tapping, right-hand tapping, drumming and "the scrape." Topics also include unusual alternate tunings and ideas for creating your own new tunings. The arranging section from Intermediate Fingerstyle Guitar is continued with even more creative and interesting ideas. This one-of-a-kind book is a must for any serious fingerstyle player.
BooK and CD