SPARTITI PER CHITARRA DI MUSICA COUNTRY e BLUEGRASS

LIBRI, METODI, TABLATURE, TRASCRIZIONI, MANUALI, SPARTITI DI MUSICA COUNTRY & BLUEGRASS

BRESH TOM, THE REAL MERLE TRAVIS GUITAR, Like Father, Like Son. TABLATURE DVD

BRESH TOM, THE REAL MERLE TRAVIS GUITAR, Like Father, Like Son. TAB. DVD

Series: Homespun Tapes
Publisher: Homespun
Medium: DVD
Artist: Merle Travis
Author: Thom Bresh

Thom Bresh, the only son of the legendary guitarist Merle Travis, shows how to get the real Travis sound. He teaches several of Merle's best-loved guitar instrumentals: Guitar Rag, Cannonball Rag and others. A must-have for all serious acoustic guitar students!
90-MIN. INCLUDES MUSIC + TAB LEVEL 3

Prezzo: €33,00
€33,00

BRESH THOM, IN CONCERT. DVD

BRESH THOM, IN CONCERT. DVD


Series: Homespun Tapes
Publisher: Homespun Video
Medium: DVD
Artist: Thom Bresh

Here's a look at a consummate entertainer and powerful guitarist in concert. Thom Bresh performs one of his typically up-beat and musically exciting shows featuring the thumb picking style that he learned from his Dad, Merle Travis. 60 minutes.

Prezzo: €29,00
€29,00

HILAND JOHNNY LICKS & TRICKS VOL.2 LIBRO CD TABLATURE CHITARRA COUNTRY B-BENDER

HILAND JOHNNY, LICKS & TRICKS VOL.2. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON CD E TABLATURE. 


Product Description:
Recorded lessons from one of America's greatest guitarists Johnny Hiland teaches essential Licks and Tricks every great country player should know. Lessons in standard notation and TAB with complete audio instruction.

Song Title:
B-Bender Chord Licks
B-Bender Licks
B-Bender Licks Without Using The B-Bender
Bending Behind The Nut
The Funky Chicken Lick
The Tractor Trailer Lick
Train Whistle Lick

Prezzo: €23,99
€23,99

HILAND JOHNNY LICKS & TRICKS VOL.1 LIBRO CD TABLATURE CHITARRA COUNTRY

HILAND JOHNNY, LICKS & TRICKS VOL.1. CD TABLATURE

LIBRO DI MUSICA, SPARTITI PE CHITARRA CON CD E TABLATURE. 

Product Description:
Recorded lessons from one of America's greatest guitarists Johnny Hiland teaches essential Licks and Tricks every great Blues and Rock player should know. Lessons in standard notation and TAB with complete audio instruction.

Song Title: Composer/Source:
Bending Blues Licks Johnny Hiland
Blues Rhythm Pattern Johnny Hiland
Classic Blues Licks Johnny Hiland
Heavy Metal Style Harmonics Johnny Hiland
Pick-Hand Finger Tapping Johnny Hiland
Slide Licks in Standard Tuning Johnny Hiland
Slide/Rhythm Licks in Open G Tuning Johnny Hiland

Prezzo: €24,99
€24,99

HONKY TONKIN' COUNTRY GUITAR SOLOS, Paul Kramer. CD TABLATURE

HONKY TONKIN' COUNTRY GUITAR SOLOS, Paul Kramer. CD TAB.

Demonstrates and explains how to get the sounds of today's great country pickers. Each solo is full of great licks you can use to build your own solos. Covers 10 tunes, each played once at full-speed, then at slow speed, followed by a phrase-by-phrase lesson. Songs include "Pick Me Up On Your Way Down," "Let It Roll," "Heartbroke," "Ramblin' Fever," "Highway 40 Blues," "Roll in My Sweet Baby's Arms," more. Tab book with CD.

Contents:
Ramblin' Fever
Pick Me Up On Your Way Down
Heartbroke
Two More Bottles of Wine
My Window Faces South
The Race Is On
Roll In My Sweet Baby's Arms
Let It Roll
Highway 40 Blues
I Think I'll Just Stay Here & Drink

Prezzo: €18,00
€18,00

OLD TIME COUNTRY GUITAR BACKUP BASICS, Joseph Weidlich. Hal Leonard TABLATURE

OLD TIME COUNTRY GUITAR BACKUP BASICS, Joseph Weidlich. Based on commercial recordings of the 1920's & early 1930's. TABLATURE
 

Old Time Country Guitar Backup Basics
Series: Guitar
Publisher: Centerstream Publications
Author: Joseph Weidlich

This instructional book uses commercial recordings from 70 different “sides” from the 1920s and early 1930s as its basis to learn the principal guitar backup techniques commonly used in old-time country music. Topics covered include: boom-chick patterns • bass runs • uses of the pentatonic scale • rhythmic variations • minor chromatic nuances • the use of chromatic passing tones • licks based on chords or chord progressions • and more.

Inventory #HL 00000389
ISBN: 9781574241488
UPC: 073999501247
Width: 9.0"
Length: 12.0"
84 pages

In the rural setting of the South the singing of old songs was often unaccompanied. When music was played away from the home it tended to be for dancing or some kind of contest. The" core" instruments used were usually the fiddle and banjo, where the banjo "seconded" the fiddle. This style goes back to the early 19th century minstrel show [ca. 1843] whose standard instrumentation were the fiddle, banjo, bones and tambourine.

Fiddle. The principal instrument of the old-time music genre was the fiddle, seemingly always the lead instrument. The fiddle served several functions: to provide dance music, to provide accompaniment to the voice, or solo fiddle music without a particular social function, e.g., for their own enjoyment. The fiddle was particularly important in accompanying vocal music as it could be used to imitate, i.e., "double" the vocal line, thereby reinforcing the primary contours of the melody or to provide ornamentation, based on the melodic line. As the melodies of the songs became simpler, in the sense of using less vocal ornamentation, the fiddle style likewise became simpler. This transition was aided by the addition of the banjo and guitar, which provided additional decorative elements, thus freeing the fiddle to focus primarily on lead melodic functions.

Banjo. Besides the fiddle, the mountain banjo was the most important ensemble instrument, as it was used to reinforce the main notes of the melodies played by the fiddle. The banjo introduced a steady, strong rhythm to maintain the beat, so important when playing for dances. In fact, the clawhammer banjo style, in particular, was, and still is, highly regarded for this role. While the 19th century minstrel banjoists traditionally used two basic tunings (what today would be equivalent to the natural C tuning and open G tuning) an interesting feature of the Southern mountain banjo was the development of several additional tunings to suit the modal character of the traditional melodies being sung and played. Scholars seem to think that these systems of altered tunings HLP 8005 may have been worked out by the turn of the 19th century, perhaps influenced by open guitar tunings needed for playing certain parlor guitar songs (e.g., the Spanish fandango) and the beginning of the African-American blues guitar styles. These modal melodies would then be accompanied on the banjo so that the principal melodic notes could be played without the need to play harmonic chords or shift up and down the fingerboard, whose chord voicings would not be practical most of the time playing in these altered tunings (the newly introduced guitar would now supply this harmonic accompaniment). Occasionally, the banjo was used as a solo instrument on early commercial recordings (e.g., by Charlie Poole using fingerstyle techniques); however, its usual role was to support the fiddler. Guitar. While guitars had been available in the United States for most of the 19th century, principally in urban industrialized areas, e.g., by c.P. Martin, Ashborn, 55. Stewart, and Washburn, by the end of that century guitars were beginning to become available in even greater numbers, aided in part by a much improved mass transportation system, the advent of the industrial revolution, and mail-order houses like Sears Roebuck. In the last decade of that century the guitar was gaining rapidly in mass popularity due to its usage in mandolin bands, glee clubs, and university banjo bands, thus not just for use in its traditional 19th century environment, the parlor.

String Bands. From the 1920s, with the introduction of the guitar into the string band ensemble, the emphasis, at least in terms of recording, shifted from providing music for dances to the accompaniment of vocal songs and fiddle tunes. That necessarily changed the function of the string band instruments, freeing up the ensemble for various duties. The guitar was now used to mark out the...

 

 

TABLE OF CONTENTS
Biography .
A Brief Introduction To "Old-Time Music" .
Introduction to Old-Time Country Guitar Backup Basics .
 
PART ONE: BACKUP BASICS .
Lesson 1 Boom-Chick Patterns .
Lesson 2 Alternating Between Root and Fifth of a Chord .
Lesson 3 6-7-8 Bass Run Connectors .
Lesson 4 Golden Age Lick ,
Lesson 5 Third of the Chord in Back-Ups .
Lesson 6 3-2-1 Bass Run Connector .
Lesson 7 Pentatonic Scale .
Lesson 8 Ascending and Descending Triad Usage .
Lesson 9 Reinforce Melodic Line .
Lesson 10 Scales .
Lesson 11 Chord Progression Lick .
Lesson 12 5-6-7-8Bass Run Connector .
Lesson 13 Varied Golden Age Lick .
Lesson 14 Leading Tone Usage .
Lesson 15 Concluding Thoughts .
 
PART TWO: .
Variations On Backup Basics
Transcribed from Commercial Recordings of the 1920s and Early 1930s
Epilogue.
Song Reference List .
Prezzo: €16,99
€16,99

RAGTIME GUITAR 14 Songs Arranged for Solo-Entertainer CD LIBRO TABLATURE SPARTITI CHITARRA

RAGTIME GUITAR, 14 Songs Arranged for Solo Guitar. Allan Jaffe. BOOK WITH CD & TABLATURE

LIBRO DI MUSICA RAGTIME CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E TABLATURE. 

14 Songs Arranged for Solo Guitar

Series: Guitar Solo
Softcover with CD - TAB
Arranger: Allan Jaffe

14 of Jaffe's fingerstyle arrangements of ragtime favorites and originals in standard notation and tablature with accompanying CD, 80 pages

"As a musical entity ragtime was, and is an instrumental work in 2/4 time composed for the piano that combines a syncopated series of melodies accompanied by an even, steady rhythm."-David A. Jasen and Trebor J. Tichener, Rags and Ragtime. In the first twenty years of the 20th century, an unprecedented phenomenon erupted into the world of Western music. For the first time, a form of popular music which was a true fusion of African-American and Western European musical traditions emerged. Although it began as an oral form played by pianists in the bars and brothels of several major American cities, thanks to the publishing houses, it quickly spread through the United States and eventually Europe. Unlike any other music up until then, this music was completely biracial. Everyone called it "ragtime." In an era before the age of radio and recording, the only way for music to reach the public, aside from the concert hall, was through sheet music. Many homes in the United States had their own pianos, and at least one family member was able to play this instrument, albeit often in a rudimentary fashion. Apart from the classical repertoire, most pianists favored versions of popular songs of the day, notated with a very simple accompaniment. Although ragtime challenged the skill levels of the average amateur pianist, Americans quickly succumbed to the new and unusual syncopations. The music became so popular that schools sprouted up around the country specifically for the purpose of teaching the lay-person how to play this strange and seductive music. The original creators and developers of ragtime were the great ragtime pianists and composers of the period, the three acknowledged masters of the classic rag being Scott Joplin, James Scott, and Joseph Lamb. Eventually the Tin Pan Alley composers, the pop songwriters of the day, recognized the commercial potential of this form and began cranking out ragtime pieces by the score. By the end of the 1920s, over five thousand ragtime works had been published. Possibly due to this rampant commercialization, the quality of the music degenerated and eventually ragtime disappeared from public favor until it was revived as a repertoire form years later. During the twenty or so years of ragtime's heyday, many wonderful pieces of music were born from the pens of its finest composers. Along with the works of the above-mentioned masters, one can find a wonderful assortment of music by other great ragtime artists, such as Tom Turpin, Charlie Hunter, Charles Johnson, and Artie Matthews, among others. Ragtime displayed great melodic, harmonic, and rhythmic invention; each piece possessed its own clear emotional impact. When I was asked by Hal Leonard Publications to do a book of rags for the guitar, comprising eleven arrangements of classic rags and three of my own, I had little idea of the rich musical world I was about to enter. Over the past ten years I had been writing my own guitar rags, originally inspired by the work of the three great blues guitarists, Mississippi John Hurt, Reverend Gary Davis, and Arthur "Blind" Blake. However, apart from Scott Joplin's compositions, I was unaware of the richness of this musical period. Thanks to two excellent literary sources, Rags and Ragtime by David A. Jasen and Trebor J. Tichener and They All Played Ragtime by Rudi Blesh and Harriet Janis, plus the multitude of websites dedicated to ragtime, I steeped myself in this music. Eventually, I chose eleven pieces which I felt were some of the best and most important works of ragtime's great composers. As the statement quoted at the beginning of this intro shows, ragtime has always been associated with the solo piano. In talking with people about this project I often heard the same response, "I have never heard ragtime played on the guitar." Indeed, most of the guitar music that has been called "ragtime" comes from the blues and is associated with the works of blues, folk, or country artists such as Gary Davis, Doc Watson, or Dave Van Ronk. On the surface, this seems to be a far cry from the classical-sounding solo piano compositions of Joplin or Lamb. But in fact, the music produced by these artists all share a syncopated melodic line superimposed on a steady bassaccompaniment figure. I found that with the appropriate key changes this music adapted well to the guitar. The rhythmic, melodic, and multi-timbral nature of the guitar makes it an excellent medium for ragtime. Of course there are challenges. Since this music was developed by pianists for pianists-with thick chords, big octave leaps, and bass lines moving in contrary motion to the melodies-there are few major inherent technical difficulties when played on the piano. This is a different story on the guitar. However, through a process of distillation, careful key selection, register changes, and liberal use of open strings, I was able to create versions of these pieces that retain the lyrical, harmonic, and rhythmic richness of the originals, while acquiring through the translation process a character of their own. The result, I believe, is guitar pieces that are a joy to learn and play.

The Entertainer - Scott Joplin (1902)

Marvin Hamlisch's adaptation of this rag for the movie, The Sting in 1976, was responsible for bringing the music of Scott Joplin and ragtime back to the attention of the public. It was originally dedicated to the vaudeville entertainer, James Brown, and, although I was unable to get any information about this person, in arranging it I had in mind an elegant "soft-shoe" performer. In order to bring out the beautiful melodies I have decided on a slower tempo for this tune.

Maple Leaf Rag - Scott Joplin (1899)

A fitting end to one century and beginning to the next, the publication of "Maple Leaf Rag" by publisher John Stark marks the emergence of ragtime as a popular musical form. By 1909 it had sold over a half-million copies. To the aspiring ragtime composer "Maple Leaf" became the model for this relatively new form of music. My version diverges from Joplin's original in two ways: 1. I have chosen to swing it, and 2. I have left out the standard repetition of the A section after the B section.

Heliotrope Bouquet - Scott Joplin and Louis Chauvin (1907)

This beautifully lyrical piece was a collaboration between Joplin and the legendary genius Louis Chauvin. As Chauvin's music had not previously appeared in print, Joplin suggested that in order for him to get his first publication, they should collaborate on this one. The A and B sections were written by Chauvin, the last two by Joplin. One can get some insight into Chauvin's unusual harmonic sense from the haunting A section.

Frog Legs Rag - James Scott (1906)

Scott is the forgotten genius of ragtime. This tune was his first publication and it was an immediate success. Although the B section is reminiscent of "Maple Leaf," we become aware of Scott's considerable originality throughout. The entire piece dances and is, I believe, an imaginative depiction of the movement of the appendages for which it is named. The D section, with James Scott's characteristic "octave echo," is a challenge technically on the guitar, but I have suggested a fingering which makes it a joy to play.

Grace and Beauty - James Scott (1909)

For me, this is the most lyrical and unusual of the James Scott rags. Scott was known to be the most adept pianist of the major three rag composers, and this is one of his most pianistic, using his characteristic octave leaps and arpeggiated "rips." Consequently, in order to make my arrangement "guitaristic" I have taken some liberties with the melody and bass lines.

Sunburst Rag - James Scott (1909)

This is a joyful and exuberant statement by Scott. Scott's rhythmic clarity and variety is apparent in this composition from one section to the next. The C section, which I find to be a wonderful workout for the left hand, seems to have been echoed, whether consciously or unconsciously, about sixty years later in Herb Alpert's "Spanish Flea." This work is beautifully structured, with the B section reappearing at the end, transformed by its modulation up a fourth.

American Beauty Rag - Joseph Lamb (1913)

This is one of the two rags I have arranged in "dropped D" tuning and is a beautiful, and at the same time, revolutionary work. The first two sections here are yet another example of Lamb's extraordinary lyricism and gift for long, arching melodies. Yet midway through this composition, beginning with the transition between Band C, Lamb takes quite a different direction. Suddenly the focus is on rhythm. The C section is remarkable in that, unlike any of the rags of this period, it seems to incorporate the "swing" rhythmic approach of jazz. Lamb notates the "swing" as a dotted eighth and sixteenth note rhythm and effectively alternates it with a straighteighth rhythm. Also unusual in this rag is the increasing intensity of the piece, beginning with the C section and continuing until the end.

 

1988 - Al's Slow Rag [Jaffe, Allan] 

1913 - American Beauty Rag [Lamb, Joseph] 

1911 - Barber Pole Rag [Johnson, Charles] 

1986 - Delta Rag [Jaffe, Allan] 

1906 - Dill Pickles [Johnson, Charles] 

1906 - Frog Legs Rag [Scott, James] 

1909  - Grace And Beauty [Scott, James] 

1907 - Heliotrope Bouquet [Joplin, Scott] [Chauvin, Louis] 

1990 - Joplin Rag [Jaffe, Allan] 

1899 - Maple Leaf Rag [Joplin, Scott] 

1915 - Ragtime Nightingale [Lamb, Joseph] 

1909 - Sunburst Rag [Scott, James] 

1902 - The Entertainer [Joplin, Scott] 

1916 - Top Liner Rag [Lamb, Joseph]

Prezzo: €24,99
€24,99

ATKINS CHET IN THREE DIMENSIONS VOLUME 2 TABLATURE CHITARRA SPARTITI LIBRO FINGERPICKING

ATKINS CHET, IN THREE DIMENSIONS VOLUME 2. GUITAR TABLATURE

LIBRO DI MUSICA FINGERSTYLE.
SPARTITI PER CHITARRA.
ACCORDI, PENTAGRAMMA E TABLATURE

CON FOTOGRAFIE DI CHET ATKINS INSIEME AL PRESIDENTE DEGLI STATI UNITI D'AMERICA JIMMY CARTER, MARK KNOPFLER, PAUL YANDELL, JERRY REED, E ALTRI, COME RITA PAVONE. 

Rare photographs. Presents the much-anticipated second book in the highly acclaimed series that showcases personal insights into the life and music of "Mr. Guitar." Chet Atkins was a man of many layers: producer, record executive, friend and one of the greatest all-round guitarist in music history. This book is dedicated to the musicians and songwriters that meant so much to him. Interviews include: Dolly Parton, Steve Wariner, John D. Loudermilk, Mark Knopfler, Paul Yandell, Jerry Byrd, Janis Ian, Boots Randolph, Wayne Carson and many more of Chet's closest friends. As in Volume 1, Chet Atkins in Three Dimensions, Volume 2 provides definitive transcriptions (many for the first time) of 26 of Chet's greatest solos and duets such as "Gallopin' on the Guitar," "Liza," "Muskrat Ramble," "Frankie and Johnny," "Mister Sandman," "Smile," "Sweet Georgia Brown," "The Early Dawn," "The Entertainer," "Stump Water," "Dark Eyes," "Winter Walkin'," "Embraceable You," the tour de force piece- Jerry Reed's "Lightning Rod" (a work recorded by Jerry Reed and produced by Chet Atkins) and many other great pieces . Rare photographs, loving tributes and great music are the heart of this wonderful volume-a must for all fans of the guitar.
Song Title: Alice Blue Gown -Autumn Leaves, Joseph Kosma -Black Mountain Rag -Cancion del Viento "Song Of The Wind", arr. by Jorge Morel -Canned Heat, Chet Atkins -Dark Eyes -Embraceable You, George and Ira Gershwin -Estudio Brillante, Francisco Tarrega -Flop Eared Mule (and Other Classics) -Frankie and Johnny -Gallopin' On The Guitar, Chet Atkins -La Madrugada (The Early Dawn), Jerry Hubbard -Levee Walking, Jerry Reed and Henry Strzelecki -Lightning Rod, Jerry Hubbard -Little Music Box "La Alborada", Francisco Tarrega -Liza, George Gershwin -Long Long Ago, Thomas Bayly -Mister Sandman, Pat BallardMuskrat Ramble, Edward "Kid" Ory -Rainbow -Smile, Charles Chaplin -Stump Water, Jerry Reed -Sweet Georgia Brown, Ben Bernie, Kenneth Casey, and Maceo Pinkard -The Entertainer, Scott Joplin (arranged by John Knowles) -Winter Walkin', Jerry Reed. 375 pages. TAB.

By John McClellan and Deyan Bratic. For Guitar (Fingerpicking). Transcribed solos. Country. Book. Level: Advanced. The much-anticipated second book in the highly acclaimed series that showcases personal insights into the life and music of 'Mr. Guitar.' Chet Atkins was a man of many layers: producer, record executive, friend and one of the greatest all-round guitarist in music history. This book is dedicated to the musicians and songwriters that meant so much to him. Interviews include: Dolly Parton, Steve Wariner, John D. Loudermilk, Mark Knopfler, Paul Yandell, Jerry Byrd, Janis Ian, Boots Randolph, Wayne Carson and many more of Chet!s closest friends. As in Volume 1, Chet Atkins in Three Dimensions, Volume 2 provides definitive transcriptions (many for the first time) of 26 of Chet!s greatest solos and duets such as Gallopin on the Guitar, Liza, Muskrat Ramble, Frankie and Johnny, Mister Sandman, Smile, Sweet Georgia Brown, The Early Dawn, The Entertainer, Stump Water, Dark Eyes, Winter Walkin, Embraceable You, the tour de force piece- Jerry Reed's Lightning Rod (a work recorded by Jerry Reed and produced by Chet Atkins) and many other great pieces . Rare photographs, loving tributes and great music are the heart of this wonderful volume-a must for all fans of the guitar.

Song Title: Composer/Source:
Alice Blue Gown
Autumn Leaves Joseph Kosma
Black Mountain Rag
Cancion del Viento "Song Of The Wind" arr. by Jorge Morel
Canned Heat Chet Atkins
Dark Eyes
Embraceable You George and Ira Gershwin
Estudio Brillante Francisco Tarrega
Flop Eared Mule (and Other Classics)
Frankie and Johnny
Gallopin' On The Guitar Chet Atkins
La Madrugada (The Early Dawn) Jerry Hubbard
Levee Walking Jerry Reed and Henry Strzelecki
Lightning Rod Jerry Hubbard
Little Music Box "La Alborada" Francisco Tarrega
Liza George Gershwin
Long Long Ago Thomas Bayly
Mister Sandman Pat Ballard
Muskrat Ramble Edward "Kid" Ory
Rainbow
Smile Charles Chaplin
Stump Water Jerry Reed
Sweet Georgia Brown Ben Bernie, Kenneth Casey, and Maceo Pinkard
The Entertainer Scott Joplin (arranged by John Knowles)
Winter Walkin' Jerry Reed

Prezzo: €58,99
€58,99

ACOUSTIC GUITAR, RAGTIME CD TABLATURE Jasse James-red river valley-victory rag-blue bell-when the saints go marching in-Gary Davis' pastime-rag in C-great bs' stomp-Blake's rag continuation-G rag journey-raggy blues in E -at a Georgia

ACOUSTIC GUITAR, RAGTIME. CD TABLATURE
Fingerstyle: Jasse James -red river valley -victory rag -blue bell -when the saints go marching in -Gary Davis' pastime -rag in C -great bs' stomp -Blake's rag continuation -G rag journey -raggy blues in E -at a Georgia campmeeting -silver swan rag -grace and beauty -maple leaf rag -the entertainer -solace, a mexican serenade.

"Ragtime" is by nature melodious and nostalgic black piano music which was very popular from the end of 19th century to the early of 20th century. Also in acoustic guitar scene, it has uniquely developed as "ragtime guitar" which is based on its sounds and approaches. And today it has been established as fingerpicking solo music which we can play with one guitar.
In this book, the styles of such "ragtime guitar" are classified into three section; FOLK RAGS where the traditional folk songs are featured, RAGTIME BLIES for which the country bluesmen's ideas are used and CLASSICAL RAG where the melodies of piano rags are arranged for acoustic guitar, and you'll learn the characteristic tunes in each of them. All of the tune are recorded on the attached CD (18 tunes, 47 minutes). The tab/music for every tune is full scored. You can learn "ragtime guitar" infallibly with the detail explanations, the comlete tab/music and the CD. Enjoy the world of challenging "ragtime guitar". 96 pages.

Prezzo: €50,00
€50,00

BEST NASHVILLE GUITAR Richard Kochli CD LIBRO TABLATURE CHITARRA COUNTRY MANUALE COMPLETO

BEST IN THE WEST, NASHVILLE GUITAR. Richard Kochli. LIBRO CON CD E TABLATURE

 

LIBRO METODO DI MUSICA COUNTRY / BLUEGRASS, COUNTRY ROCK, CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

IN ITALIANO

 

MANUALE, METODO, DIDATTICO, STUDIO PER APPRENDERE, TECNICA,

 

CHITARRA COUNTRY IL MANUALE COMPLETO

Autore: Richard Köchli
Pagine: 276
Formato: libro + CD

Descrizione breve

Il meglio della musica di Nashville: country, bluegrass, rockabilly, western swing, honky tonk, cajun. Un libro per diventare un vero chitarrista country: oltre 300 esercizi, fraseggi e brani tradizionali, spiegazioni, analisi e richiami al "mondo reale", cenni storici sugli stili principali, e alcuni dati sui più importanti innovatori. Per tutti i livelli, dal principiante al professionista.
Il country, tra i chitarristi, è un genere largamente apprezzato, ma pochi sono in grado di suonarlo in modo soddisfacente. E tu, quanto ne sai?
Tutti noi abbiamo di tanto in tanto occasione di imbatterci in brani country. Che a proporceli sia il grande schermo, la tv di casa, la radio o un disco l'effetto non cambia: ascoltare musica country è un'esperienza elettrizzante, che ci catapulta testa e cuore negli Stati Uniti, tra praterie e cowboy. Ma il country è molto di più: è un'infinità di esperienze musicali e umane che si incrociano e formano un genere musicale unico e appassionante, è uno dei frutti artistici per eccellenza del melting pot statunitense.
Suonare in modo convincente la chitarra in un contesto country non è affatto semplice, anche perché gli approcci allo strumento più diffusi tra i chitarristi jazz, blues e rock si rivelano spesso almeno parzialmente inadeguati al nuovo contesto. Ogni genere musicale presenta regole e prassi proprie, e il country non fa eccezione.
Purtroppo, rispetto ad altri generi musicali, le pubblicazioni didattiche disponibili in Italia sull'argomento scarseggiano. A colmare questa mancanza giunge oggi Chitarra country, il manuale completo, un libro che vi guiderà passo passo dalle basi a concetti avanzati e di sicura soddisfazione anche per i musicisti più smaliziati.
L'autore, lo svizzero Richard Köchli, affronta nel corso della trattazione tutti gli argomenti fondamentali del genere. Si passa dalle tecniche e dall'accompagnamento di base in strumming all'esecuzione di ritmiche e parti soliste bluegrass, dal fingerpicking allo western swing e all'honky tonk, dal rockabilly al cajun alla nuova generazione di musicisti di Nashville. Tra le tecniche affrontate non mancano il chicken-picking, il bottleneck, il bending da dietro il capotasto. Numerosissimi sono i lick ritmici o solisti proposti e minuziosamente commentati. Ma soprattutto questo libro spiega in modo chiaro e ricco di esempi l'approccio all'accompagnamento, al solismo e all'improvvisazione tipici del chitarrista country. In altre parole, chiarisce in che modo ragiona e quali strumenti ha a disposizione il tipico chitarrista country. Non mancano ampie e appassionanti introduzioni storiche e workshop dedicati ai maestri del genere.
Ogni capitolo è diviso in tre sezioni, corrispondenti ad altrettanti livelli di difficoltà del materiale proposto. Per accedere al livello uno è sufficiente una manualità minima sullo strumento e la conoscenza degli accordi di base. Il livello due è riservato invece a chi può vantare maggiori capacità ed esperienza. Nel livello tre vengono infine affrontati i concetti e le tecniche più avanzati, ed è adeguato ai professionisti o in generale ai musicisti più preparati.
Lo studio di Chitarra country, il manuale completo può veramente aprire le porte di nuovi mondi sonori in modo chiaro e accessibile. Anche qualora il country non fosse il tuo genere musicale di riferimento, i consigli, le tecniche e gli spunti musicali proposti nel libro potrebbero rappresentare un'occasione unica per espandere i tuoi orizzonti musicali; già molti altri hanno utilizzato con successo all'interno di altri generi musicali gli insegnamenti del country.
Insomma, che aspetti a farti conquistare dalla musica dei cowboy?
È adeguato a te se…
cerchi una guida completa, chiara e affidabile per avventurarti nel mondo della chitarra country.
Ti interessa studiare il country per ricavarne idee e spunti musicali da applicare in altri generi.
Hai già sviluppato una manualità anche minima sullo strumento (basta conoscere alcuni accordi e saper passare dall'uno all'altro senza difficoltà).
Non è adeguato a te se...
non hai mai suonato la chitarra, neppure a livello basilare.

 

 

 

 

 

 

Prefazione......................................................................................................
Indice del CD.................................................................................................................
Capitolo 1: Le basi della chitarra ritmica country..........................................................
Un po’ di storia.........................................................................................................
Le prime ritmiche.....................................................................................................
Il capotasto mobile................................................................................................................
Il ritmo shuffle......................................................................................................................
Ritmiche country fondamentali.............................................................................................................
Il basso alternato.....................................................................................................................
Bass Run.............................................................................................................................
Il Carter backup lick.................................................................................................................................
Bass run fondamentali..............................................................................................................
Hammer-on........................................................................................................................
Pull-off...........................................................................................................................
Workshop – Jimmie Rodgers............................................................................................................
Note stoppate.................................................................................................................
Combinare le note stoppate con fill e bass run..............................................................
Utilizzo degli accordi con barrè nell’accompagnamento..................................................
Riff................................................................................................
Combinare diverse forme..............................................................................................................
Accompagnamenti di classe con gli accordi in prima posizione........................................................
Discografia.............................................................................................................................
Capitolo 2: Accompagnamento bluegrass.........................................................................................
Un po’ di storia...........................................................................................................................
La chitarra ritmica bluegrass...........................................................................................
G-run..........................................................................................................................
Pennate aggiuntive sugli accordi.............................................................................................................
Meno pennate sugli accordi...................................................................................................................
Finali...........................................................................................................................
G-run e accordi con barrè...............................................................................................................
Discografia.................................................................................................................
Capitolo 3: Lo stile solista di Maybelle Carter.................................................................................
La storia di Maybelle..........................................................................................................
La tecnica di Maybelle....................................................................................................................
Maybelle’s Flower...............................................................................................................
John Hardy.....................................................................................
Will The Circle Be Unbroken.........................................................................................
Farther Along...............................................................................................................
Discografia.................................................................................................................
Wreck Of Old 97............................................................................................................
Capitolo 4: Assoli bluegrass in flat-picking...................................................................................
La chitarra solista nel bluegrass......................................................................................................
Lick bluegrass in SOL maggiore......
Lick bluegrass in DO maggiore.........................................................................
Lick bluegrass in RE maggiore........................................................................................
Solo in SOL.....................................................................................................................
Solo in DO...............................................................................................
Analisi sintetica.

 

Fiddle tune...........................................................................................................
Workshop – Tre grandi plettratori..................................................................................................
Alton Delmore........................................................................................
Doc Watson............................................................................................................
Clarence White........................................................................................................................
Cross-picking...................................................................................................
Discografia..............................................................................................
Capitolo 5 – Finger-picking.....................................................................................................
Un po’ di storia..................................................................................................................
Introduzione al finger-picking...............................................................................................................
Accompagnamento..................................................................................................
Pattern fondamentali...........................................................................................................
Alternare i bassi...........................................................................................
Bass run..............................................
Melodia in finger-picking..................................................................................
Ampliare il pattern di base con degli inserti (fill-in)..........................................
Slide.....................................................
Bending...........................................................................................................................
Pattern in 3/4..............................................................................................................................
Workshop.......................................................................................................................
Sam McGee..........................................................................................
Merle Travis...........................................................
Travis-picking con forme d’accordo trasponibili......................................................................
Workshop – Chet Atkins...............................................................................................
Lick finger-picking da sfoggiare.......................................................................................
Assoli................................................................
Discografia..................................................................................................................
Capitolo 6: Viaggio nel rockabilly...........................................................................................................
Un po’ di storia...........................................................................................................
Basi dell’accompagnamento....................................................................................................
Riff d’accompagnamento trasponibili..........................................................................................................
Espandere i riff d’accompagnamento fondamentali.......................................................
Workshop – Scotty Moore......................................................................................
Combinazione di plettro e dita...........................................................
Lick solisti rockabilly..............................................................
Solo rockabilly............................................................
Una lezione diversa dal solito, per i professionisti..............................................................................
Discografia.............................................................................................
Capitolo 7: Gli stili solisti di Nashville...........................................................
Un po’ di storia......................................................................................................
Workshop: Luther Perkins....................................................................................................
Basi del solismo............................................................................................
Le quattro varianti della scala maggiore pentatonica...........................................................................................
Improvvisare con diverse scale...............................................................................
Armonizzare.........................................................................................................................
Lick basati sugli accordi....................................................................................
Lick a coppie di note....................................................................................
Combinazione dei materiali utilizzati...............................................................................
Lick con hammer-on e pull-off nello stile di Nashville............................................
Bending in stile pedal steel..........................................................................

Chicken-picking..............................................................................
Ghost note...............................................................
Pennate introduttive su corde stoppate..................................
Workshop – James Burton.............................................................................................
Country rock, di cosa si tratta realmente..........................................................
Workshop: Pete Anderson..............................................................................
Avventure sulle corde a vuoto..............................................................................
Parti soliste a due voci....................................................................................
Specialità di Nashville ...................................................................................................................
Slide con il bottleneck.......................................................................................
Bending dietro il capotasto........................................................................................
La magica corsa cromatica.................................................................................................
Armonici.................................................................................................................
Workshop: Albert Lee........................................................................................
Discografia................................................................................................
Capitolo 8: Swing western e honky tonk..............................................................................
Un po’ di storia................................................................................
Accompagnamento in stile Texas..................................................................
Il sock rhythm................................................................................................................
Accordi di passaggio..........................................................................................................
Chitarra solista western swing........................................................................................
Chitarra solista honky tonk.....................................................................................
La scala diminuita..........................................................................................................
Workshop – Eldon Shamblin............................................................................
Discografia..............................................................................................
Capitolo 9: Cajun.............................................................................
Un po’ di storia........................................................................................
Analisi stilistica fondamentale.......................................................................................
Workshop Cajun...............................................................
Discografia....................................................................................
Capitolo 10: La nuova generazione...............................................................
Workshop...........................................................................................................
Danny Gatton..........................................................................................
Brent Mason.............................................................................................................
Altri assi di Nashville..................................................................................................
Ray Flacke..............................................................................................................
Steve Wariner......................................................................................................
Jerry Donahue............................................................................................
Workshop conclusivo...................................................................................
Capitolo 11: Teoria................................................................................................
La tastiera.................................................................................................................
Intervalli e gradi..................................................................................................................
La Nashville lead sheet...................................................................................................................
Le chiavi maggiori più comunemente usate e i loro gradi......................................................
Le chiavi minori più comunemente usate e i loro gradi............................................................
Schemi country ricorrenti.............................................................................................................
Intervalli armonici (due note suonate in contemporanea)..............................................................
Visione del manico per posizioni..................................................................
Legenda dei caratteri speciali....................................................................................

Indice8
1 - Ritmica shuffle.......................................................................
3 - Bass run..............................................................................
4, 7 - Carter backup lick................................................................................
9 - Old Smokey (trad.)........................................................................
11 - The Days Of 49 (trad.)................................................................................
13, 15, 17, 18 - Hammer-ons e pull-offs nell’accompagnamento................
20 - We Don’t Forget You, Jimmie................................................................................
21 - Bury Me Beneath The Willow (trad.).....................................................
22 - The Forzen Logger (trad.)..........................................................................................
23, 25, 27, 28, 29, 30, 31 - Stoppato........................................................................
33, 34 - Ritmiche con ghost note, con fill e bass run (DO maggiore).....................................
36, 38, 39 - Ritmiche con ghost note, con fill e bass run (SOL maggiore)..............................
40, 41, 42 - Ritmiche con ghost note, con fill e bass run (LA maggiore)................
44, 46, 47 - Ritmiche con ghost note, con fill e bass run (maggiore)...................................
49, 50 - Ritmiche con ghost note, con fill e bass run (RE maggiore).................................
51, 52 - Due esercizi (accompagnamento con ghost note esteso)........................................
54, 56, 59, 60 - Accordi con barrè nell’accompagnamento, forma di Mi................................................
61, 63, 64, 65 - Accordi con barrè nell’accompagnamento, forma di LA...............................................
66 - Accordi con barrè nell’accompagnamento, forma di Sol................................................................
67, 68 - Accordi con barrè nell’accompagnamento, forma di Do e combinazioni................................
69, 70 - Accompagnamenti di classe con accordi in prima posizione..................................................
71, 72, 74, 76 - G-run (accordo di Sol)..............................................................................................
78, 79, 80, 81, 83, 84, 85, 88, 89 - G-run su Sol, Re, La, Mi.......................................................................
90, 92, 93 - Più o meno pennate........................................................................................................ 
94, 95, 96 - Finale.........................................................................................................
97 - Banks Of The Ohio (trad.)....................................................................................
98 - Roll In My Sweet Baby’s Arms (trad.).........................
99 - Cripple Creek (trad.).................................................................
100 - All Your Good Songs......................................................................................................
101, 103, 104 - G-run con barrè...................................................
107, 108 - Maybelle’s Flower / John Hardy (trad.)........................
109 - Will The Circle Be Unbroken (trad.)..................................................................
110 - Farther Along (trad.)...................................................................................
111 - Wreck Of Old 97 (trad.)..................................................................................
112, 114, 115, 117, 118, 119, 120 - Lick bluegrass in SOL.......................................................................
123, 124, 125, 126 - Lick bluegrass in DO...........................................................................................
128, 129, 130 - Lick bluegrass in RE...........................................................................
132 - Solo bluegrass in SOL......................................................................
133 - Roll In My Sweet Baby’s Arms (trad.)...................................................................
134 - Solo bluegrass in DO.............................................................................................
135 - Banks Of The Ohio (trad.).........................................................................................................
136 - Fiddle tune “Turkey In The Straw” (trad.).......................................................................................
137 - Blues For Alton.....................................................................................................................
138 - Billy In The Low Ground (trad.)..............................................................................
139 - Nine Pound Hammer (trad.)....................................................................................
144, 146, 149 - Semplici schemi finger-picking..............................................
150, 151 - Pattern fondamentale 1a....................................................................................................
154, 157 - Pattern fondamentale 2a.......................................................................................
159, 160, 162 - Pattern 3 e 4 ed esercizio.........................................................................................
163, 164, 165 - Basso alternato e bass run...................................................................................... 
167 - Jesse James (trad.).....................................................................................................
168, 169, 171, 172 - Pattern estesi (H e P)...................................................................................
173, 174 - Pattern estesi (SL, B.)...............................................................................
indice del cd

Traccia Contenuti (Esempio – Argomento) Pagina
Indice del Cd9
 - Esercizio con varie tecniche...................................................................................................................................
 - Pattern in 3/4...............................................................................................................................
- I Never Will Marry (trad.)..............................................................................................................
- For Sam....................................................................................................................................
 - Travis-picking “Take This Hammer” (trad.)........................................................................................
 - Travis-picking “Worried Man” (trad.)..............................................................................................
 - Schemi di accompagnamento in stile Travis..........................................................................
 - Travis-picking “I’m A Pilgrim” (trad.)...................................................................................................
 - Travis-picking con accordi trasponibili “Careless Love” (trad.).......................................................
 - Mister Chetman......................................................................................................................
 - Lick da sfoggiare............................................................
 - Finger-picking solista........................................................................................................................ 
 - Riff boogie................................................................................................................................
 - Esercizio con accordi di settima................................................................................................
 - Varianti di boogie ed ending run..................................................................................
 - Riff d’accompagnamento trasponibili.................................................................................
 - Riff boogie estesi.............................................................................................
 - Esercizio “La terza blues”..............................................................................................................
 - The Scotty-Beam...............................................................................................................................
 - Lick solisti rockabilly..........................................................................
 - Nashville Cats Don’t Stray.................................................................................................................
 - Workshop Luther Perkins......................................................................................................... 

 - Variante fondamentale della scala pentatonica 1.....................................................
 - Esercizio pentatonico..............................................................................................................
 - Variante fondamentale della scala pentatonica 2...........................................................
 - Varianti fondamentali della scala pentatonica 3 e 4.........................................
 - Improvvisare con diverse scale.........................................................................................
 - Lick basati sugli accordi.........................................................................................
 - Esercizio in stile Hank Snow.................................................................................................................
 - Lick a doppie note.........................................................................................
 - Tom Dooley (trad.)............................................................................................................... 
 - Solo a “pacchetti”................................................................................................................................
 - Nashville lick con hammer-on e pull-off parte 1........................................................
 - Nashville lick con hammer-on e pull-off parte 2..........................................
 - Nashville lick con hammer-on e pull-off parte 3....................................................... 
 - Nashville lick con hammer-on e pull-off parte 4.............................................
 - Nashville lick con hammer-on e pull-off parte 5..................................................
 - Lick pedal steel parte 1............................................................................
 - Lick pedal steel parte 2...........................................................................
 - Lick pedal steel parte 3..................................................................
 - Esercizio pedal steel......................................................................................
 - Varie tecniche chicken-picking................................................................................
 - Tecniche chicken-picking con ghost note e note stoppate introduttive...
 - James’ Hote Tele............................................................................................
 - Nothing To Prove........................................................................................................................
 - Esercizio con bending pedal steel con corde a vuoto......................................................................
 - Hot lick sulle corde a vuoto...............................................................................
 - Roll melodici........................................................................................................... 
 - Esercizio a due voci soliste.................................................................................................
 - Jenny In Hawaii................................................................................................................
 - Lick con bending dietro il capotasto, corsa cromatica......................................................
 - A Little Bell – Waltz...............................................................................................................
 - Wizard Albert....................................................................................................
Indice del Cd10
- Sock rhythms, accordi di passaggio......................................................................................................
- Will The Circle Be Unbroken..........................................................................................................
- Honky-Tonk-Heartaches.......................................................................................................................
- Playboy Eldon...........................................................................................................................
- Lo stile Cajun...............................................................................................................................
- Les Jolies Filles De Louisiana.............................................................................................................
- Danny’s One-Man-Band.................................................................................
- Master Mason’s Turbo!..................................................................................................................
- Slick Country......................................................................................................................
Jamtrack 1 (SOL, “Roll In My Sweet Baby’s Arms”; bluegrass, country classico)
Jamtrack 2 (DO, 12-misure binario, country rock, -blues, -pop)
Jamtrack 3 (LA, 16-misure rockabilly shuffle) 

 

 

 

The History, the Players and the Technique of Country Guitar by Richard Kochli

276 pagine di esempi di Country, Rockabilly, Swing, Nashville, blues, Rock. CD TABLATURE


A comprehensive analysis of American country music from a European perspective, this massive 275-page book comes with a companion CD with 97 tracks. Everything from basic rhythm accompaniment to blazing bluegrass solos is addressed including: Carter lead style, fingerpicking, rockabilly riffs, Nashville lead styles, Western swing and honky-tonk, country blues and rock, Cajun history and styles, and a forecast of the future of country. The book is carefully structured with progressively arranged exercises, theory lessons and original and traditional tunes.

This book should prove to be an important resource for country music enthusiasts. All 387 musical examples appear in both standard notation and tablature. Complete lyrics are provided when applicable. Köchli's love and mastery of the entire spectrum of country music is evident throughout.

To me, country music, or just "country" is one of the basic, high voltage,
artistic movements of the 20th Century. It's a movement and a style that, like
jazz, grew out of the huge melting pot of the United States. Country jumps,
it's alive, it's down home - and it comes from the heart. Those who don't
know it may reduce it to the cliches of "Marlboro-Country" or cowboy movies.
But, they couldn't be more wrong: the country sound is a rich mix of musical
influences, and the innovations of some brilliant instrumentalists. And, best
of all, its approachable, hands-on music; if you play the guitar, you've got to love it.
"Best In The West" is not only my humble attempt to close a gap in the
sector of European instructional literature, but also a way to pay my dues.
When I was in your shoes a couple of years ago, I benefited from some
terrific musicians who reached out to me with their music and instruction
books. Now, I'm honored to be able to make my won contribution by helping
you learn this great style. I also hope, through these chapters and exercises,
that your guitar will become a little more personal - and more exciting.
The book intends to give you a far-reaching overview covering all of the
major guitar styles and techniques to be found in country. Over three
hundred exercises, licks, and traditionals, as well as explanations, styles,
analyses, and hints from the "real world" are meant to inspire you on your
way to becoming a true country player. But country is a lot more than
technique, so I try to give a brief historical background for each major style,
and a little bit about the people who made it happen in the first place.
Therefore, each of the ten chapters starts with some information meant to
put you in the right mood, while the individual workshops contain examples
of the great pioneers of each particular style.
Playing country music is meant to be enjoyed by all sorts of people, so this
book wasn't written with just professionals in mind; it offers something for
everyone. Every chapter is separated into three levels of difficulty:
• Level 1: For newcomers: basic introductory playing as a prerequisite.
• Level 2: For the more advanced: some experience in playing country music and emphasis on variety and specific styles.
• Level 3: For the pros and country-cats: specific techniques, styles, and new horizons.
Of course, there is no strict borderline between the different levels. They
can't be more than a guideline for your selection of exercises. Learning is an
individual thing, so if you're ready to move before I am partner, take off.
The final chapter, "Theory", offers a summary of the most important basics,
scales, chords, and so on. It's meant to help you understand concepts more
easily, and to support and accelerate your learning process.
Originally, country music was a simple form of expression, which was deeply
rooted in the human spirit and spoke to people where they lived. So, it's
important to keep in mind that technical skill is secondary to the "feel" of the
music, its emotion. Because of this, the enclosed CD helps you get started
by introducing you to the sounds, and wide variety of nuances, in country

 

Table of Contents
Preface .
CD Index .

Chapter 1: The Basics Of The Country Rhythm Guitar .
Some History .
The First Rhythms Level 1 .
The Capo .
The Shuffle Rhythm .
Basic Country Rhythms .
The alternating bass .
Bass runs .
The Carter backup lick .
Basic bass runs .
Hammer-on Level 2 .
Pull-off .
Workshop - Jimmie Rodgers .
Ghost Notes Or Dead Notes Level 3 .
Ghost Notes With Fills And Bass Runs .
Barre Chords In Backup Playing .
Riffs .
Combination of various types .
High Class Backups With Open Chords .
Discography .

Chapter 2: Bluegrass Backup .
Some History .
Bluegrass Rhythm Guitar Level 2/3 .
G-run .
Additional chord strokes .
Fewer chord strokes .
Ending .
Barre - G-run .
Discography .

Chapter 3: Carter Lead Style .
Maybelle's Story Level 1 .
Maybelle's Technique .
Maybelle's Flower .
John Hardy .
Will The Circle Be Unbroken Level 2 .
Farther Along .
Discography .
Wreck Of Old 97 Level 3 .

Chapter 4: Bluegrass Flat-Picking 50105 .
The Lead Guitar In Bluegrass Level 1 .
Bluegrass licks in G major .
Bluegrass licks in C major .
Bluegrass licks in D major .
Solo In G Level 2 .
Solo In C .
Short Analysis .
Fiddle Tunes Level 3 .
Workshops - Three Great Flat Pickers '" .
Alton Delmore .
Doc Watson .
Clarence White .
Cross- Picki ng .
Discography .

Chapter 5: Finger-Picking .
Some History .
Introduction To Finger-Picking Level 1 .
Backup Picking .
Basic patterns .
Alternating bass .
Bass runs .
Melody Picking .
Expanding The Basic Patterns With Fill-ins Level 2 .
Sliding .
Bending .
3/4 Time Patterns .
Workshops .
Sam McGee .
Merle Travis
Travis-Picking With Moveable Chords Level 3 .
Workshop - Chet Atkins
Finger-Picking Licks To Show Off "
Lead Picking .
Discography

Chapter 6: A Rockabilly Trip
Some History
Backup Basics Level 1 .
Moveable Backup Riffs .
Expanding The Basic Backup Riffs Level 2
Workshop - Scotty Moore .
Plectrum and finger-picking combination
Rockabilly Lead Licks
Rockabilly Solo Level 3
The slightly different lecture for the pro
Discography

Chapter 7: Nashville lead Styles
Some History
Workshop - Luther Perkins Level 1 .
Lead Basics .
The four variations of the major pentatonic scale .
Improvising with different scales .
Harmonizing .
Chord licks .
Double note licks .
Combinations Of The Used Material. .
Nashville Hammer-on And Pull-off Licks Level 2 .
Pedal Steel Bending .
Chicken-Picking .
Ghost otes / Muted Trills Lead-ins .
Workshop - James Burton .
Country Rock - What It Really Is .
Workshop - Pete Anderson .
Open String Adventures Level 3 .
Twin Leads .
Nashville Specials .
Bottleneck slide .
Bend behind the nut. .
The magic chromatic race .
Harmon ics .
Workshop - Albert Lee .
Discog raphy .

Chapter 8: Western Swing And Honky Tonk .
Some History .
Texas Style Camping Level 1 .
The sock rhythm .
Passing chords .
Western Swing Lead Guitar Level 2 .
Hanky Tonk Lead Guitar .
Diminished Scale Level 3 .
Workshop - Eldon Shamblin .
Discography .

Chapter 9: Cajun .
Some History .
Quick Style Analysis Level 1 .
Cajun Workshop Level 2/3 .
Discography .

Chapter 10: The New Generation .
Workshops .
Danny Gatton .
Brent Mason .
More Nashville Hot Shots .
Ray Flacke .
Steve Wariner .
Jerry Donahue .
Final Workshop .

Chapter 11: Theory .
The Fret Board .
Intervals and Degrees ,
The Nashville Lead Sheet. .
The Most Commonly Used Major Keys And Their Degrees .
The Most Commonly Used Minor Keys And Their Degrees .
Popular Country Schemes .
Simultaneously Played Intervals .
Position Oriented Overview .
Special Character Reference ,


CD INDEX
Contents (Example - Topic)
1 - The shuffle rhythm .
3 - The bass run .
4,7- Carter backup lick .
9 - Old Smokey (trad.) .
11 - The Days Of 49 (trad.) .
13,15,17,18 - Hammer-ons and pull-offs in backup playing .
20 - We Don't Forget You, Jimmie .
21 - Bury Me Beneath The Willow (trad.) .
22 - The Forzen Logger (trad.) .
23, 25, 27, 28, 29, 30, 31 - Muting .
33,34 - Ghost note rhythms with fills and bass runs (C major) .
36,38,39 - Ghost note rhythms with fills and bass runs (G major) .
40,41,42 - Ghost note rhythms with fills and bass runs (A major) .
44,46,47 - Ghost note rhythms with fills and bass runs (E major) .
49,50 - Ghost note rhythms with fills and bass runs (0 major) .
51,52 - Two exercises (expanded ghost note backup style) .
54,56,59,60 - Barre chords in backups, E-type .
61,63,64,65 - Barre chords in backups, A-type .
66 - Barre chords in the backups, G-type .
67,68 - Barre chords in the backups, C-type and combinations .
69, 70 - High class backup with open chords .
71,72,74,76 - The G-run (G chord) .
78, 79, 80, 81, 83, 84, 85, 88, 89 - G-run over G, 0, A, and E .
90,92,93 - Additional or less chord strokes .
94,95,96 - Ending .
97 - Banks Of The Ohio (trad.) .
98 - Roll In My Sweet Baby's Arms (trad.) .
99 - Cripple Creek (trad.) .
100 - All Your Good Songs .
101, 103, 104 - Barre G-runs .
107,108 - Maybelle's Flower / John Hardy (trad.) .
109 - Will The Circle Be Unbroken (trad.) .
110 - Farther Along (trad.) .
111 - Wreck Of Old 97 (trad.) .
112, 114, 115, 117, 118, 119, 120 - Bluegrass licks in G .
123,124,125,126 - Bluegrass licks in C .
128,129,130 - Bluegrass licks in 0 .
132 - Bluegrass solo in G .
133 - Roll In My Sweet Baby's Arms (trad.) .
134 - Bluegrass solo in C .
135 - Banks Of The Ohio (trad.) .
136 - Fiddle tune "Turkey In The Straw" (trad.) .
137 - Blues For Alton .
138 - Billy In The Low Ground (trad.) .
139 - Nine Pound Hammer (trad.) .
144, 146, 149 - Simple classical picking patterns .
150,151 - Basic pattern 1a .
154, 157 - Basic pattern 2a .
159,160,162 - Pattern 3 and 4 as well as exercise .
163, 164, 165 - Alternate bass and bass runs .
167 - Jesse James (trad.) .
168,169,171,172 - Extended patterns (H and P) .
173,174 - Extended patterns (SL, B) .
175 - Exercise with different techniques .
176, 177, 178, 179 - 3/4 time patterns .
180 - I Never Will Marry (trad.) .
182 - For Sam .
184 - Travis-picking "Take This Hammer" (trad.) .
185 - Travis-picking "Worried Man" (trad.) .
186,188,190 - Travis-backup patterns .
191 - Travis-picking "I'm A Pilgrim" (trad.) .
192 - Travis-picking with moveable chords "Careless Love" (trad.) .
193 - Mister Chetman .
195,196,197,199,200/202,201,203,204 - Licks to show off .
206, 208 - Lead picking .
209 - Boogie riff .
211 - Exercise with strokes using seventh chords .
213,214,217 - Variations of boogie runs, ending run .
218,220 - Movable backup riffs .
224,225, 226, 227 - Extended boogie riffs .
229 - Exercise "Bluesy Third" .
231 - The Scotty-Beam .
232,234,235,236,237 - Rockabilly lead licks .
238 - Nashville Cats Don't Stray .
239, 240 - Workshop Luther Perkins .
242,243 - Pentatonic basic scale variation 1 .
246 - Pentatonic exercise .
247, 248, 250, 252 - Pentatonic basic scale variation 2 .
255,257,260 - Pentatonic basic scale variations 3 and 4 .
261 - Improvisation with different scales .
262,265, 268, 269, 271, 273 - Chord licks .
274 - Exercise in Hank Snow style .
275, 277 - Double note licks .
279 _ Tom Dooley (trad.) .
280 - Exercise solos in sectors .
281,284,286 _ Nashville hammer-on and pull-off licks part 1 .
287,288,289, 290 - Nashville hammer-on and pull-off licks part 2 .
292, 293/294 - Nashville hammer-on and pull-off licks part 3 .
296,298,299,301 - Nashville hammer-on and pull-off licks part 4 .
302,304, 305 - Nashville hammer-on and pull-off licks part 5 .
307,309,310,311,313 - Pedal steel licks part 1.. .
316,318,319,321,323,324 - Pedal steel licks part 2 .
326,327,329,330 - Pedal steel licks part 3 .
331 - Pedal steel exercise .
332 - Different chicken-picking techniques .
333,334,335 - Chicken-picking techniques with ghost notes and trills .
336 - James' Hate Tele .
337 - Nothing To Prove .
338 - Exercise with pedal steel bending using open strings .
341/342,344 - Open string hot lick .
349,350,352 - Melodic roll patterns .
354 - Exercise twin lead .
355 - Jenny In Hawaii. .
356,358,360 - Bend behind the nut licks, chromatic race .
361 -A Little Bell- Waltz .
362 - Wizard Albert .
363,364 - Sock rhythms, passing chords .
376 (inc!. 375) - Will The Circle Be Unbroken .
377 - Honky- Tonk-Heartaches .
378 - Playboy Eldon .
379 - Cajun style .
381 - Les Jolies Filles De Louisiana .
382 - Danny's One-Man-Band .
383 - Master Mason's Turbo! .
387 - Slick Country .
Jamtrack 1 (G, "Roll In My Sweet Baby's Arms"; bluegrass, oldtime country)
Jamtrack 2 (C, 12-bars binary, country rock, -blues, -pop)
Jamtrack 3 (A, 16-bars Rockabilly shuffle)
 

A Little Bell - Waltz R. Kochli
All Your Good Songs R. Kochli
Banks of The Ohio Arranged by R. Kochli
Billy in The Low Ground Arranged by R. Kochli
Blues for Alton Written & Arranged by R. Kochli
Bury Me Beneath The Willow Arranged by R. Kochli
Careless Love Arranged by R. Kochli
Cripple Creek Arranged by R. Kochli
Danny's One-Man-Band R. Kochli
East Virginia Arranged by R. Kochli
Farther Along Arranged by R. Kochli
For Sam Written & Arranged by R. Kochli
Honky-Tonk-Heartaches R. Kochli
I Never Will Marry Arranged by R. Kochli
I'm A Pilgrim Arranged by R. Kochli
James' Hote Tele R. Kochli
Jenny In Hawaii R. Kochli
Jesse James Arranged by R. Kochli
John Hardy Arranged by R. Kochli
Les Jolies Filles De Louisiana R. Kochli
Master Mason's Turbo! R. Kochli
Maybelle's Flower R. Kochli
Mister Chetman Written & Arranged by R. Kochli
Nashville Cats Don't Stray R. Kochli
Nine Pound Hammer Arranged by R. Kochli
Nothing To Prove R. Kochli
Oh When The Saints Arranged by R. Kochli
Old Smokey Arranged by R. Kochli
Playboy Eldon R. Kochli
Roll In My Sweet Baby's Arms Arranged by R. Kochli
Slick Country R. Kochli
Take This Hammer Arranged by R. Kochli
The Days of 49 Arranged by R. Kochli
The Frozen Logger Arranged by R. Kochli
The Scotty-Beam R. Kochli
Tom Dooley Arranged by R. Kochli
Turkey in The Straw Arranged by R. Kochli
We Don't Forget You, Jimmie Written & Arranged by R. Kochli
Will The Circle Be Unbroken Arranged by R. Kochli
Wizard Albert R. Kochli
Worried Man Arranged by R. Kochli
Wreck of Old 97 Arranged by R. Kochli

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