MEL BAY

POPULAR GUITAR STYLES, REGGAE & MUSIC OF THE ISLANDS. Burkhard Buck Wolters. SHEET MUSIC BOOK WITH CD AND GUITAR TABLATURE .

LIBRO DI MUSICA REGGAE , LATINA, CON CD. 

SPARTITI PER SOLA CHITARRA CON : 

PENTAGRAMMA E TABLATURE. 

Popular Guitar Styles: Reggae and Music of the Islands reflects recent popular styles and transfers them to classical or fingerstyle technique. Guitar players who want to add reggae or Island music to their solo-repertoire will find an original and unique collection of compositions which will give joy to both players and listeners. The playing-level is intermediate to advance. Left-hand difficulties like barres and stretches are minimized as much as possible to make it easy to make the music groove. Written in notation and TABLATURE.

Series: Popular Guitar Styles

Buck Wolters belongs to the very small company of guitar players and composers who are familar with nearly every style. His authentic mix of jazz, world and latin music, combined with a mastery of classical guitar technique is very unique and outstanding. Born in 1961 in Dortmund, Germany, he began to play the guitar as an autodidact at the age of five. After hearing a recording of Big Bill Broonzy he took his first guitar lessons at the age of thirteen, digging into the blues for several years. At the age of sixteen he went to the conservatory in his hometown where he studied classical guitar. The music of Agustin Barrios, Heitor Villa-Lobos and David Qualey were his main influences. After leading the life of a busker in his twenties, he went to the School of Arts in Amsterdam to study jazz guitar and composition and spent most of his time then copying jazz solos from musicians like John Coltrane, Keith Jarrett, Pat Metheny and Wes Montgomery. He completed his studies as a bachelor with distinction. Today Buck Wolters is very busy performing, composing, recording and teaching throughout Europe. His greatest success belongs to his composition "Dshamilja" ordered in commission by the Opera of Frankfurt.

In the following I will give some brief explanations on the pieces that appear in this book and the popular Caribbean styles that they represent. Moreover some techinical and musical insight on how to produce special sounds on the guitar are given. Keep up the sunny Caribbean mood and have fun with it! Buck Wolters

Kingston Feet (Reggae)

The word "Reggae" was coined around 1960 in Jamaica to identify a "ragged" style of dance music, that melted New Orleans rhythm'n'blues and Caribbean music together. Later African elements were also included. The legendary Bob Marley (1944 -1981) made Reggae popular all over the world, and he is still one of the most active influences in recent popular music. Kingston Feet is to be played in even eights (straight, no shuffle). On the recording you will hear some percussion elements, which have been left out of the score for reading matters. Anyway, you should learn the piece first without percussion. If you want to add them later, here is an explanation: There are two sounds: a "bass drum" on count three, and a "rimshot" on count one (imitating the drumset). The "bassdrum" is produced by dropping the right-hand palm on the bridge. (It takes a little practice to drop the palm and hit strings at the same time.) The rimshot is produced by tapping a finger (preferably the little one) on the top. The "muffle" or "etouffe" is produced by holding the notes with the left-hand fingers without pressing them down to the fret.

Pan-Man-Limbo (Limbo)

The Limbo is also known as the "Under Stick Dance," a dance competition which was very popular at beach parties in Trinidad and Tobago, and is still alive today in Caribbean stage shows. The dancer moves under a stick, trying not to touch it, while being accompanied with Caribbean music, often played on the steeldrum ("Pan"). The harmonics in the beginning of the piece imitate the sound of the "Pan" and they are written as notes that would sound if you fingered them regularly.

Friendly Fritz (Reggae)

This Shuffle-Reggae is dedicated to Frit: Rossel, a very good friend of mine and a genius of a special kind. He is an excelent guitar builder, photographer, writer, salesman and last but not least an extraordinary musician. He plays keyboards, bass and guitar like no one I know. The highlight is when he starts to sing: he can imitate any singer from Harry Bellafonte to Mick Jagger, from Stevie Wonder to Bob Marley, that it makes you laugh until you cry. Again you will hear some percussion elements on the recording, which are produced in the same way on the guitar as in Kingston Feet.

Mentomania (Mento)

Mento is a style from Jamaican heritage, which had its beginnings in the 19th century and can be seen as the "grandfather" of Reggae. Mento had its golden age in the 1950s. Some of the famous mento musicians of that time were: Harold Richardson, Hubert Potter, and Monty Reynolds. Although Mentomania is notated in even eighths, it has a slight feeling of swing or shuffle. As in many Caribbean rhythms the 3/2 clave is featured. (see Popular Guitar Styles Vol. 1 - Latin & Salsa). To give the piece a light, typical Caribbean mood, I suggest you play it with the capo on the 3rd fret. Near the end of the piece (measures 103 through 124) you will hear the ...

Song Title: Composer/Source:

Children of St. Vincent - Buck Wolters
Friendly Fritz - Buck Wolters
Kingston Feet - Buck Wolters
Les Jardins d'Andre - Buck Wolters
Mentomania - Buck Wolters
Pan-Man-Limbo - Buck Wolters

GETTING TO.... LATIN JAZZ GUITAR, JOHN ZARADIN. Metodo e 26 titoli. BOOK WITH CD & TABLATURE

LIBRO METODO DI MUSICA LATINA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

STUDIO, METODO, MANUALE, DIDATTICO. 

This book is a guide to some of the techniques needed for "getting into latin jazz guitar." There are 5 independent sections: References and definition of terms; exercises and/or pieces which demonstrate various guitar techniques; examples of common Rasgueado patterns; the "Riverboat Suite," studies for developing rhythmic ability and appreciation; and pieces in a variety of different Latin styles. The CD, used in conjunction with the written notation, tablature and chord symbols, gives a clear idea of what is required for players and teachers of all levels. It is assumed that the reader is familiar with guitar and music notation, but glossaries of terms are included for reference. There are a variety of patterns which are employed in the different styles of music; the examples show how to "get into" some basic forms. All the techniques described are playable on the fingerstyle guitar, and the pieces themselves are selected and arranged with performance in mind.

Getting Into Latin Guitar

This book is a guide to some of the techniques needed for "Getting Into Latin Guitar".

There are 5 independent sections:

• References and definition of terms.

• Exercises and/or pieces which demonstrate various guitar techniques.

• Examples of common Rasgueado patterns.

• "Riverboat Suite" - studies for developing rhythmic ability and appreciation.

• Pieces in a variety of different Latin styles.

The CD, used in conjunction with the written notation and tablature, gives a clear idea of what is required for players and teachers of all levels.

It is assumed that the reader is familiar with guitar and music notation, but glossaries of terms are included for reference.

Rasgueados are special strumming techniques which allow the guitar to be used, simultaneously, as a percussive rhythm and harmony instrument. There are a variety of patterns which are employed in the different styles of music; the examples show how to "get into" some basic forms.

The "Riverboat Suite" in the rhythm section deals with permutations of rhythmic attacks without regard to idiom, and each piece within the suite is contains a specific number of attacks per measure. The studies reflect flavors from a riverboat journey made in the Amazon and consequently are not out of context in the book.

The idea behind the studies is to create an awareness of rhythm in the way that we are aware of pitch notes and chords, and being able to read and play them will focus attention on and give an understanding of the rhythmic patterns that are such a feature of Latin music. The studies lay a groundwork for "Getting Into ... " Latin styles.

The final section consists of original and traditional Latin music for study and/or performance.

The music is presented with mainstream, traditional music notation, tablature and chord symbols.

The audio CD tracks are cross-referenced in the text with CD.

All the techniques described are playable on the fingerstyle guitar, and the pieces themselves are selected and arranged with performance in mind.

The guitar is such an individual instrument, rich in its resources, that all its techniques cannot be covered in one volume.

I hope that the reader finds the contents of this book a useful way of "Getting Into Latin Guitar."

My thanks to Bill Bay and Doug for inspiring the project.

John Zaradin's professional life began performing with the violinist, Jan Resek, in Germany and the UK, after which his London debut concert, in 1968, at the Purcell Room, Royal Festival Hall, launched him into the London musical world. Here, he was exposed to a wide variety of music and was called upon to perform in studios, in theatre and on the concert platform. He made, at this time, with the London Symphony Orchestra, the guitar recordings for the television series The Strauss Family.

His London theatre life began at the Royal Court Theatre with Shakespeare's Twelfth Night (director Jane Howells), evolved onto the West End stage at the Piccadilly Theatre with Man of La Mancha and continued into touring with the musicals Hair and Fiddler on the Roof and with the companies Ballet Rambert, London Contemporary Dance and Glyndeboume Opera.

In 1972 Belwin Mills became his (John Zaradin's) first publisher and he made his first solo recording Concierto de Aranjuez by J. Rodrigo (EMI/CFP) which became a Gold Disc. (see An Appreciation of Joaquin Rodrigo by Robert Antecki, saying "my personal favorite is on an LP, with John Zaradin and Guy Barbier conducting the Philomusica of London"). Following a meeting with Peter Brook, in the same year, he was invited to join the Royal Shakespeare Company for the world tour of his production: Midsummer Night's Dream, after which he began to travel in the Latin Americas where and found a focus for his personal musical ideas.

Returning to Europe he recorded Zaradin's Guitar for EMI (1976) and formed "Images of Brasil", which played original compositions and a kaleidoscope of music from Brazil, made television & radio performances and performed in venues ranging from Ronnie Scott's Jazz Club to the Queen Elizabeth Hall, London.

In 1984, he became interested in the computer as a medium for preparing and storing music and this has become an essential tool for him as a composer, arranger and performer.

In 1988 Alby James, director of the Temba Theatre Company, invited him to compose and perform original music for the company's production of Romeo & Juliet, the setting of the play being transposed to Havana from Verona. The music eventually evolved into the Mel Bay publication Caribbean Fantasy for Acoustic Guitar.

The CCGP is an addition to an extensive catalogue of works for Music Sales.

His Latin Suite for Guitar & Orchestra is also a Mel Bay Publication.

Contents:

SECTION 1 GENERAL NOTES AND REFERENCE
Description of "Getting Into Latin Jazz Guitar"
What Is Latin Guitar?
Holding the Guitar
Notation Systems for the Guitar
Glossary of Guitar Symbols
Chord Symbol Reference
The Pitch Range of Notes Found on the Guitar
The Pitch Range of Notes (cont.)
Right Hand Fingering
Left Hand Fingering
Tuning the Guitar

SECTION 2 TECHNICAL EXERCISES & STUDIES
Right Hand Daily Exercise
Left Hand Daily Exercise 1
Hammer Hav'n Fun
Left Hand Daily Exercise 2
Odagil Returns for Ligado
Left Hand Daily Exercise 3
Hammer & Snaps
Ornaments
An Ordinarily Mental Study
Glissando Skat Goes Pating
Étouffée A Dampened Proof Course Study
Ensnared Again!
Harmonics El Vito
Tremolo Canzona
Tambour Thumbling
Barrées No Holds Barred

SECTION 3 RASGUEADOS
The Rasgueado
Rasgueados Patterns
Examples of Useful Rasgueados

SECTION 4 THE RHYTHM SECTION
Notes on Rhythm and the "Riverboat Suite"
Rhythmic Division of the Beat
"Riverboat Suite"
Crepúsculo
Bossa Trinova
Quatoque
Remando
Entardecendo
Carta De Manaus
Chorinho Sem Choros
Amazonegro

SECTION 5 SELECTED PIECES
Bolero Blues 1
Bolero Blues (cont.)
Rumbabarumba
Orientale
Tango Del Camino
Gato
Chacarera
Zamba Argentina
Zamba Andea
Guaracha Chiquita
Puerto Vallarta Mexico
Bossa Nova Bar Tropical
Bossa Nova Mercutio
O Forró Santarém
Carnavalito
Mambo Bay Ride
Mambaixado
Sambaião

SECTION 6 AUTHOR BIOGRAPHY
John Zaradin Biography
Production Details

Method and 26 titles.

FLUID SOLOING BOOK 4, String Skipping & Wide Interval Soloing for Guitar, Quinn. CD TABLATURE

Product Description:
String Skipping & Wide Interval Soloing: 212 Melodic Studies and Patterns for Guitar is a much-needed guitarist’s guide to mastering wide interval soloing.

This collection of repeating, continuous motion studies shows the guitarist how to develop melodic patterns that are characterized by large intervallic jumps in pitch, from one note to the next, in constant succession. This book presents four unique approaches to developing wide interval soloing, all of which utilize string skipping: 1) double pentatonic scales, which are three-note-per-string pentatonic scale patterns; 2) octave sliding, which uses sliding octave shapes in a variety of ways; 3) stacked fifths, which are wide interval shapes derived from pentatonic scales; and 4) wide interval arpeggios derived from the diatonic major scale.

The sound that results from these techniques is exciting and unpredictable because it is such a departure from conventional melodic flow, which tends to be scalar, moving stepwise from one note in a scale to the next. By contrast, wide interval soloing is angular and skewed with big skips and sudden directional changes, creating a complex and fascinating sound. All of the studies in this book are designed as melodic etudes that can be applied directly to soloing in rock, jazz, fusion, and blues music.

This book is ideal for serious guitarists in any style who want to break out of typical soloing patterns and create a more explosive, radical sound! CD included. 152 Pages.

introduction
STRING SKIPPING & WIDE INTERVALSOLOING is designed to be a guide to mastering wide interval soloing; a complete method for developing melodic patterns on the guitar that are characterized by large interval lie jumps in pitch, from one note to the next, in constant succession. The sound that results from this type of playing is exciting and unpredictable because it is such a departure from conventional melodic flow, which tends to be scalar, moving stepwise from one note in a scale to the next. By contrast, wide interval soloing is angular and skewed with big skips and sudden directional changes, creating a complex and fascinating sound. Wide interval soloing is naturally more difficult than conventional soloing because of the disorientation that occurs when the fingers continually jump around on the fretboard in big melodic skips and octave shifts. This type of melodic motion does not rely on conventional guitar scale patterns as vehicles for improvisation. Rather, it requires a different system of fretboard visualization. STRING SKIPPING & WIDE INTERVAL SOLOING establishes a complete and organized matrix of wide interval melodic patterns and shapes for guitarists, and presents 212 repeating, continual motion exercises that use these shapes and patterns. These repeating melodic exercises are ideal because they can be played over and over to establish muscle memory of the patterns and shapes, which will be quite helpful in overcoming the disorientation associated with wide interval soloing. By establishing pathways of motion for the hand, the guitarist's mind is freed up to listen to what he's playing,and to imagine where he (or she) is going next. STRING SKIPPING & WIDE INTERVALSOLOING focuses on four unique approaches to developing whole neck wide interval soloing, all of which utilize string skipping: I) double pentatonic scales, which are three-note-per-string pentatonic scale patterns; 2) octave sliding, which uses sliding octave shapes in a variety of ways; 3) stacked fifths, which are wide interval shapes derived from conventional pentatonic scale fingerings; 4) wide interval arpeggios from the diatonic major scale. What results is a complete and thorough system for mastering string skipping and wide interval soloing. This book is the fourth book in the 'FLUID SOLOING SERIES',a unified set of books that explain different aspects of whole neck fluid motion on the guitar. The two "Comprehensive" soloing etudes at the end of this book are included to demonstrate some of the techniques from the other three books, as well as the techniques used in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns.

Contents:

Introduction

Section One: Double Pentatonic Scales and Shapes
A) Basic Non-Shifting Scale Exercises

Double Pentatonic Scale Fingerings
Wide-Interval Shapes
Basic Sequencing Exercises
Non-Shifting String Skipping Exercises
Stacked Fifth Exercises
B) String Skipping Shapes and Position Shifting

String Skipping Shapes
String Skipping Shape Sets
Shift Patterns (for horizontal position shifting)
Motion Exercises (using the shift patterns)
Non-Shifting Exercises (using shape sets)
C) Melodic Studies

Six Studies, presented in one scale fingering that combines All Of The Above
How to apply each melodic study to a different scale fingering

Section Two: Octave Sliding
A) Identifying Octave Shapes within Pentatonics
B) Octave Sliding Exercises

23 exercises showing all of the possible ways to slide octaves within one pentatonic scale fingering area
How to apply octave scale sliding exercises to other scale fingerings
C) Melodic Studies (Fifteen Studies)

Section Three: Pentatonic "Stacked Fifths"
A) The Concept
B) Wide Interval Shapes (in 5 fingerings)
C) Shape Connection Exercises

Non-Shifting (Positional)
Shifting (Whole Neck)
Combining Shifting and Non-Shifting Motion
Section Four: Wide Interval Diatonic Arpeggios
A) Diatonic Arpeggios in 5 Fingerings
B) Wide Interval Arpeggio Sets

Due to the large volume of exercises in this book, only selected examples are represented on the CD. It is in the student's best interest to study all the exercises for any given subject, including those that are not represented on the CD.
Breaking up the predictability
Exercises playing Sets 2-5 in all 12 keys
C) Licks Using Arpeggios

Section Five: Soloing Etudes
Appendix: "Guidelines For Using This Book"
Tablature Symbols Key

FLUID PENTATONICS Book 2. 84 Melodic Studies for Guitar, Tim Quinn. CD TABLATURE

MBGU Rock Curriculum: Fluid Pentatonics, Book 2
84 Melodic Studies for Guitar
by Tim Quinn

Product Description:
Fluid Pentatonics for Guitar: 84 Melodic Studies for Rock Guitar is a comprehensive manual for developing blistering pentatonic motion that moves freely over the entire fretboard, using position-shifting slides, hammer-ons, and pull-offs for speed and fluidity. Emphasis is on overcoming the restrictive nature of traditional pentatonic "box" scale fingerings by developing pathways that continually shift between and connect the five pentatonic “boxes”. Complete whole-neck control is developed through an extensive series of repeating melodic exercises and etudes. Section One presents 35 sequential whole-neck studies, each of which spans the range of twelve frets, thus unlocking virtually every possible position shift. Section Two develops complete non-shifting control through a series of 15 interesting and useful sequential patterns, applied to each of the five pentatonic "boxes". Section Three presents 10 whole-neck/position-shifting studies that are non-sequential in design, in order to develop unpredictable melodic flow. Then, in Sections Four and Five, two vital extensions/variations of the pentatonic scale are fully explored; the Hexatonic and Dominant Pentatonic scales.

The result is a complete matrix of pentatonic moves and connections that allow the guitarist to float freely across the entire fretboard without being locked into any single particular pentatonic "box". The resulting sound is definitely NOT bluesy (very little string bending), but closer to a modern jazz-rock fusion style; fluid and unpredictable. Great for all guitarists in rock, jazz, fusion, blues, country, and pop styles who want to unlock complete whole-neck freedom and develop a fast, modern pentatonic sound. CD included. Presented in standard notation and tablature.

Aheartfelt thanks goes out to all the teachers who profoundly impacted my own playing and ~ learning ... thank you jack Petersen, Dan Haerle, Rich Matteson, and Tom johnson at the University of North Texas, as well as to my teachers at Berklee College of Music.To the musicians who have been so inspiring ... Steve Morse, Pat Martino. john Coltrane, Eric johnson, Chick Corea, jimi Hendrix, Frank Zappa, Barney Kessell, Wes Montgomery, Stevie Ray Vaughan, Albert King, jeff Beck, Steve Vai, Dexter Gordon, Cannonball Adderly, joe Satriani, Igor Stravinsky, EddieVan Halen, AI DiMeola, Greg Howe,joe Pass, Robben Ford, Vinnie Moore, Allan Holdsworth, and Carlos Santana; for the teachings of Paramahansa Yogananda; also to Bill Bay and the fine staff at Mel Bay Publications, Inc.;to Bruce Saunders for his caring engraving; to Dave Austin and George Sanchez for their generous assistance; to josquin DePres at Track Star Studios for much inspiration and guidance; to the many students who have been indispensable in helping me streamline these materials; to my parents who provided the music education and encouraged the young performer; and especially to my wife, Mari, who lovingly tolerated the thousands of hours with me at the guitar while I formulated these concepts ... thank you.

introduction

FLUID PENTATONICS is a scientific manual for developing fast and fluid pentatonic motion on the guitar that connects and constantly shifts between the traditional five pentatonic "box" scale fingerings, using position-shifting slides, hammer-ons, and pull-offs.Traditional pentatonic scales on the guitar consist of five "box-like" scale fingerings, each fingering having two notes on every string, which creates their box-like nature. These traditional patterns are extremely important and useful, but they can be very restrictive. This book is all about overcoming the restrictive nature of pentatonic boxes by developing fast and flowing whole neck fluidity and freedom that continually shifts between and connects the traditional five pentatonic box scale fingerings.

FLUID PENTATONICS develops fast pentatonic motion that defies stylistic categorization, which can be applied to all styles of music without sounding "bluesy". Blues-style pentatonic soloing is extremely useful, but it can also sound rather dated if that's all you do with pentatonic scales. This book unlocks an almost magical way of moving through pentatonic scales that is fast and flowing, which could perhaps be better described as "modern-age" pentatonic motion, because it is definitely NOT bluesy in its sound. In addition, FLUID PENTATONICS also has two chapters that develop interesting alternative takes on the pentatonic scale. These studies, in the sections on "Hexatonic" and "Dominant Pentatonic" soloing, offer two vital extensions/variations on the traditional pentatonic scale. These chapters present two collections of extremely powerful and practical melodic studies that are indispensable for developing a modern pentatonic sound. By playing the patterns and studies herein on a regular basis, for weeks, months, and years, the player's control over the instrument will continue to unfold and grow ever more ferocious and powerful. This book is the second book in the 'FLUID SOLOING SERIES',a unified set of four books that develops different aspects of whole neck fluid motion on the guitar. The two "Comprehensive" soloing etudes at the very end of this book are included to demonstrate some of the techniques from the other three books, as well as the techniques in this one, all used in combination to create an exciting soloing style that is flowing and varied in its melodic patterns. Ifyou like the content of this book, check out the other books in the series as well. Happy pentatonics, friends, and may the force be with you!

Contents:

Introduction

Section One: HORIZONTAL SHIFTING STUDIES
This section develops 7 different sequence patterns, showing each sequence pattern applied in 5 whole neck studies.

Section Two: NON-SHIFTING SEQUENCING
15 Non-shfiting sequence patterns for continual motion within a single "blues-box" pentatonic scale fingering.
How to Apply a Sequence to All Five Pentatonic Fingerings

Section Three:WHOLE NECK MOTION STUDIES
5 Side-Shifting Studies
5 Whole Neck Motion Studies

Section Four: HEXATONIC STUDIES
5 Melodic Etudes
5 Scale Sequencing Exercises

Section Five: DOMINANT PENTATONIC RUNS
Section Six: SOLOING ETUDES
Appendix: "Guide For Using This Book"
Tablature Symbols Key

86 PAGES.

EMMANUEL TOMMY, THE MYSTERY. GUITAR TABLATURE

LIBRO DI MUSICA ACUSTICA PER CHITARRA .

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E CON TABLATURE.

Quanta italia in questo album, IL COMPLEANNO DI ANTONELLA, CANTINA SENESE, Ciao Emmanuele.

TOMMY EMMANUEL C.G.P. (Certified Guitar Player) 

Product Description:

The Mystery, Tommy Emmanuel's sixth US album, was inspired by Emmanuel's travels; each of the album's compositions is a musical snapshot or sojourn - a journey that brings us together with places and people - a journey into self discovery.

This transcription book shows all twelve tunes on the CD note-for-note in standard notation and tablature. Also included are detailed performance notes of each tune. 136 pages.

Product Number: 22000
Format: Book
ISBN: 0786681691
UPC: 796279109970
ISBN13: 9780786681693

INTRODUCTION

Tommy's compositions and aITangements cover many styles and techniques. If you have studied the Mel Bay books for Tommy's CD's Only and Endless Road, you already have a head start in learning his mu ic. The tunes for this project are heard on the CD The Mystery. Also you can study the Mel Bay project, Emmanuel Labor with Tommy's discussions of pieces from the above three CD's. From The Mystery Tommy play and discusses "The Mystery", "Gameshow Rag/Cannonball Rag", "The Diggers' Waltz", "Lewis and Clark", and "Antonella's Birthday". There will be some slight variations between the video performance and the recorded tunes. Although he may not playa tune in performance exactly the same way each lime, these transcription will allow you to learn the recorded version, and will give you insight into his methods. These tunes range in difficulty from intermediate to very difficult. There are a few difficult stretches and also Tommy's technique involves some innovative moves, such as fretting the 5th string with the thumb. But whether or not ou perform these tunes, most of the enjoyment comes from understanding them and playing them for their beaut). Some tunes are played with a thumbpick, and others are played without a pick, resulting in a softer sound. Others are played in a hybrid style, using a flat pick, allowing for strong rhythm and interwoven melody note With this style, the right-hand index finger is no longer available for melody. The melody is produced by the pick and the middle and ring fingers. This technique may be difficult for you if you are based in traditional fingerpicking, but it is well worth the effort to learn it. If you read musical notation, the tablature will still be helpful as it points toward left-hand position on the guitar neck. And if you are relying on tablature, remember that left-hand fingering is found in the notation. Learning the hybrid style requires understanding the information given in the tablature. I have tried to indicate the pick stroke directions that are most important, while trying to avoid repeating the stroke directions to reduce the amount of clutter in the tablature. In the hybrid tyle, the thumb and first finger hold the pick, and in accord with classical notation this is shown by a "p". The middle finger will be "m" and the ring finger will be "a". These letters will be stacked when the middle and/or the ring finger pluck notes at the same time as the pick. At other times the pick (thumb and first finger unit) and ... 

TOMMY EMMANUEL C.G.P.

photo by Sara Corwin

Two-time Grammy nominee Tommy Emmanuel has a professional career that spans over four decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to pick up the guitar as a child. Decades later Atkins himself became one of Emmanuel's biggest fans. In 1999, Chet honored Tommy Emmanuel with the title of "Certified Guitar Player" for his lifetime contribution to the instrument, a rare honor shared by only three other people in the world (Jerry Reed, Steve Wariner and John Knowles). Atkins eventually recorded with Tommy in 1996 on 'The Day the Finger Pickers Took Over the World", for which Emmanuel received his first Grammy award nomination. This was also Atkins last recording.

After a recent recuperative rest, resulting from an exhausting touring schedule, Tommy is now completely rejuvenated and embarking on a full tour schedule in 2008. A new double live CD and DVD, "Center Stage" filmed in High Definition and recorded at the Sierra Nevada Brewery in Chico, California will be commercially released in Spring '08. The DVD portion will also air on Public Television affiliates all over the United States. Every element of modern technology was used in the production of both the DVD and CD. Tomm's record producer, Kim Person, recorded and mixed the audio tracks, while long-time Sierra Nevada video producer/ director Peter Barlow tied the entire package together in state-of-the-art quality. It makes for a stunning package, both aurally and visually. The double disc Live CD "Center Stage" contains many fan show-stoppers, including Emmanuel's BeatIes Medley, Mombasa, and Initiation - the aboriginal tribute song that has evolved over the years and never sounds the same on any recording - or during any show. Tommy also introduces four never-before recorded tracks, "Ruby's Eyes", "Lenny Bro''', "The Jolly Swagman" and "Papa George" (inspired by George Harrison). Also, included are several arrangements of popular traditional tunes like "House of the Rising", "Nine Pound Hammer", "Amazing Grace" - and for his Japanese fans, "Sukiyaki" This new CD is a great mix of the rare, the new, the traditional and the favorites. Emmanuel's music and life are legendary in Australia. He began playing guitar at age 4, by learning to play by ear without any formal instruction. Emmanuel and his older brother Phil were child prodigies, starting their professional career in the 1960s. By the age of six, Tommy was already working as a professional musician. Shortly after his father's death in 1966, the Emmanuel family was approached by Australian country music star Buddy Williams, who took the family on the road until they were forced by the Australian child welfare department to stop traveling. The Emmanuel children were then sent to a regular school. During these years, Tommy was playing in "The Trailblazers" (with siblings Chris on drums and Virginia on slide guitar) on weekends. He also taught guitar and made numerous television appearances in musical competitions. Emmanuel's first brush with fame came when The Trailblazers won two televised talent contests and produced an EP. He and his siblings worked hard ... 

ANTONELLA'S BIRTHDAY
Antonella is one of my dearest friends from Soave, Italy and I wrote it early one morning as the golden sun
streamed through the windows onto my bed. Antonella was making breakfast downstairs and when I found out
it was her birthday, I dedicated it to her, with all my heart. She's a true friend.

Tune the 5th string down to G and the 6th string down to D. The tune is played with a flat pick in a hybrid
style, using the pick ("p") and the middle finger ("m"), and the ring finger ("a"). These letters will be stacked
over the corresponding strings in the tablature. Natural harmonics are used extensively. With your left-hand
finger lightly touch the string at the fret indicated in brackets, <7> for example. In the notation the notehead
will be diamond shaped. Then strike the string with the pick to obtain the harmonic or chiming sound.
Remember that the harmonics should always ring freely, creating a "cascade" effect. In order to notate the tune
correctly, the first note of the song is played as the last half of the last beat of the first measure. That is necessary in order to be in the right place when you play the last note of measure 9. That harmonic on the 5th string
could be considered the first real note of the melody, but it continues into the next measure with an eighth note
rest. There is another way to think of it. If you are tapping your foot, you start just after the first note of the
tune, and by the beginning of measure 10 you will be tapping on the the tied note, and the melody will fall in
place "in time" throughout the rest of the tune. As usual with this style, pay attention to the pick strokes, 
for downstroke and "V" for upstroke. Sometimes, as in measure 11, a downstroke can play many strings in a
strum motion. In measure 21, the right-hand finger letters are stacked over the notation in the first beat. meaning
that the pick plays the third string, the middle finger plucks the second string, and the ring finger pluck
the first string. For the last beat of that measure it is understood that the pick plays the slide on the fifth string.
and it is written that the middle and ring fingers play the other two strings. On the lowest string of a chord.
there is not always room to show the downstroke symbol. (And that is the case throughout the book.)
 

Song Title: Composer/Source:

And so it Goes - Tommy Emmanuel
Antonella's Birthday - Tommy Emmanuel
Cantina Senese - Tommy Emmanuel
Cowboy's Dream - Tommy Emmanuel
Footprints - Tommy Emmanuel
Gameshow Rag / Cannonball Rag - Tommy Emmanuel
Keep it Simple - Tommy Emmanuel
Lewis & Clark - Tommy Emmanuel
That's the Spirit - Tommy Emmanuel
The Digger's Waltz - Tommy Emmanuel
The Mystery - Tommy Emmanuel
Walls - Tommy Emmanuel

Every day we experience "The Mystery." It's in our love for each other, it's in our feelings ofr others, in our music, it's in the kindness of strangers, in the parade of people who seem to appear at the right moment to help or to encourage us through tough times, in the wonders we see around us when we travel or just the feeling we are doing something good for our brothers and sisters. It's all around us, in us, ahead of us and lighting our way. It's God's awesome love for his children. Get it? Got it? Good!