MEL BAY

ATKINS CHET, IN THREE DIMENSIONS VOLUME 1: 50 YEARS OF LEGENDARY GUITAR. TABLATURE

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

By John McClellan and Deyan Bratic. For Guitar (Fingerpicking). Transcribed solos. Country. Book. 208 pages. Level: Advanced.

This tribute contains twenty-two of Chet's greatest solos and duets along with interviews with his daughter, Merle Atkins Russell and close friends such as Jerry Reed, Vince Gill, Eddy Arnold, Don Mclean and many others. This book offers touching insight into the character of an American original, who did much to shape the course of music history and the guitar. Most importantly, Chet Atkins helped thousands of people over the course of his life through kindness and generosity. To quote Jerry Reed, "There is only one." This book is a tribute to a special man, a special artist... a hero to the millions of lives he touched. The Atkins Family has shared many rare photographs which are presented in a special eight-page color insert. Selections include, Heartaches, Caravan, When You Wish Upon a Star (live version), Music to Watch Girls by, Stars and Stripes Forever, Jerry's Breakdown, Nashtown Ville and many others. All music is in standard notation and in tablature.

Introduction to the Music

Thoughts About Chet's Musicianship

In the words of Chet Atkins, "This is my opinion and it oughta be yours!" When you see a legitimate artist, you know it right away. Chet's core musicianship can be summed up succinctly. Rhythm, sound, color, counterpoint, and intonation were everything to Chet. Oftentimes, guitarists that play Chet's material make the mistake of playing too fast, out of tune, and with no regard for timbre or tone. To play Chet's music in this way is disrespectful to his artistry. We have an obligation to his memory to observe the following:

• Play in tune! Chet never played out of tune.

• Relax. Play in time, he never rushed his tempos, even when he played fast, the tempo was relaxed. He rode the beat, rather than pushing it.

• Make a beautiful sound ... the quality of tone is important. Chet always had a beautiful fundamental in his sound. Listen to his old "Gretsch Country Gentlemen" on Chester and Lester, or his nylon sound on Chet Atkins Picks on Jerry Reed or The Night Atlanta Burned! Someone once said, "You will never produce a beautiful sound, if you don't first know what one is." Chet was all about playing pretty. Sound was everything.

He thought it was important to play to the strength of the guitar rather than to its weaknesses. He also felt the need to improve. I think we get set in our ways and stop growing, something Chet never did. Think about it! • Don't arbitrarily make fingerings easier if it destroys the timbre of the phrase. When Chet fingered a passage a certain way, it was because the color of the notes was important to him! He used the color or timbre of the guitar better than any guitarist who ever lived. Chet also conceptualized music vertically and horizontally in a contrapuntal way, this influenced his fingerings, usage of color and his overall musical vision.

• Sing. Chet was always singing! Singing through the guitar! He stressed the importance of knowing the lyrics to the songs you play, as this will help you create a more complete legato in your musical lines or phrases.

• Listen to all types of music as Chet did. For example, he loved the jazz pianist Erroll Garner's Concert by the Sea. (available on CD at most record stores). Chet was very deep musically, he learned from everybody!

Jorge Morel called Chet, "The pure artist of the guitar!" I often think Chet is under appreciated. By considering the points I have just stated, we can all further Chet Atkins' memory and musical legacy.

About the Transcriptions

If you want to really learn from the master, listen carefully to a given piece several hundred times. This is the level of dedication given to Chet and his music within these pages! Every attempt has been made to transcribe " hat Chet really played into notes in a musical score. But how can one accurately translate so many nuances?

• Musical notation isn't enough. It's like trying to explain the secret to producing a painting by Monet or a fine wine. It is impossible! You will find errors, and that is a good thing. It means you're listening and you care. Any mistakes that exist are made because we are human, not because of complacency. Our criteria for transcribing Chet's music was baser upon the diversity of the music and the diversity of Chet's fans. The musical elements that made each piece unique include sound/timbre, phrasing, rhythm, and technique. All these elements were given an extra degree of scrutiny during the transcribing and final proofing. We also used current computer technology to assure accuracy in translating the notes from the recording to the guitar, and finally, to paper...

... ou doing up here?" I told him. In order for him to sign my book, he had to give me his guitar, there was just no where to put it. He said, "Hold this!" He took the book; he was looking for suitable page to sign; he never did anything in a hurry. He was very careful. As he was looking at the book, he said, "Play me a little something!" So I put my foot up on the rung of the stool, I played, "Quiet Nights," that Jobim tune. He signed the book and we swapped back. All this is happening in a few seconds. He said, "You got a nice touch there ... you want to play on this show with me tonight?" Meanwhile, I could hear them start the introduction of Chet. He is getting off the stool, and I turned and said, "I don't have anything prepared, I better not!" Then, they were saying, "Here he is ... Chet Atkins!!" And walking away he says, "You'll be fine, sit there until I call you." And that was it. So then I got a choice, stay there like he told me to do, because he is going to call me, and if I'm not there, then that embarrasses him. I wasn't so stupid that I didn't know that! I am kind of stuck ... it is ice cold in there, I was freezing, my hands were pouring sweat. I was scared to death, but I didn't dare do something as rude as not play. Eventually, Boyce Hawkins, the host, is holding this cheap Gibson CO classical, asking Chet questions you would ask Chet Atkins. He asked Chet to play another one. Chet said, "Well Boyce, I found a kid out there in the studio. His name is David Conrad, he is from North Carolina ... " He remembered everything I said to him in those few seconds back stage, he just tossed it off! So he said, " Let's get him out here, he'll pick a tune for us!" ow, this Boyce fellow, freaked ... this was a live show shot to tape. He was looking from left to right, right to left, like a dog watching television. There I am, Chet kind of waving to me to come on in. I walked across the front and shook their hands and sat down between them. Boyce proceeds, now he is profesional and he cannot allow dead air space, so he jumps right in and says, "So you're from North Carolina. Are you in school? I said, "No sir, I am about to start college, I am visiting friends here. He said, "Chet says you're a pretty good guitar player, but I need you to play for the folks. You have got to prove it!" He shoves that little neo-classic into my hands, I'm trying to tune while he is asking me what I was going to play! The action was bad, not unplayable, mind you, but not ideal. Chet is sitting there and Boyce is looking at me and I am trying to tune this piece of junk of a guitar, Boyce says, "What are you going to play for us?" I said, "I would like to play "One Note Samba," by Jobim. I like Bossa Nova a lot!" Now keep in mind, As I'm still trying to tune ... something inside of me is telling me this is not what they are wanting to hear. The instant it became awkward, Chet gets up and went around and took the guitar from me and handed me his. Chet said, "I think he would rather play this one." It was a Juan Estruch, a beautiful guitar. I think this one was stolen while he was on one of his tours, it just never showed up at the airport. What a wonderful guitar, and personally at seventeen years old, I had never played a guitar that fine, never held one. The action was really low, perfect for me, of course, it came tuned and it played itself. It was just like velvet! I shouted, "A-flat," the band set up a groove, and away I went. Chet was sitting over there just noodling and tuning that bad guitar. I was very comfortable with the piece. When it came time for the bridge (sings the bridge), I just knew the chord progression there. It dawned on me, I had never done any chord melody there. So when I arrived at the bridge, I yelled, "Take the bridge!" I leaned over into Chet's face and he just ripped on through it, and played the heck out of it. On the bad guitar, of course the tone was all together different with Chet playing. From that point on, we were a duet. When we finished that one, we did "Satin Doll" and "Girl from Ipanema." Man, there were as many people coming up to me after the show as there was for Chet. At this point, I'm thinking, "I am not going home. I am not going to college. Momma can just send all my stuff over here!" We finally made our way to each other. I said, "This was one of the most wonderful things of my life, I'm committed to this! What can I say? Were do we go from here? Chet looked at me, then said, "Well, you're going back home to North Carolina and go to college, and I am going to go get a haircut! [laughs] He could see I was pretty disappointed and said, "Nah!, you go back home, I'm going to be here anytime you want or need me. Stay in touch, I'm not going anywhere! Go to school and come back and I'll be here ... we will pick another one!" Back then, there were a lot of golf tournaments throughout the South, still are, Pro-Am and Pro-Celebrity etc ... Chet, Jerry Reed, Boots Randolph and Floyd Cramer had a show called the All Stars. The whole deal with them, they made X. Cosse [Chet's manager] book these shows around golf tournaments. They would come and play, ...

Contents:

Preface
Acknowledgements
Introduction to the Music
David Conrad - "It's a Wonderful Life"
Caravan
Black Mountain Rag
Minuet - J.S. Bach
Eddy Arnold - "Make the World Go Away"
Heartaches
Cy Coben on Chet - "Chet's Tune"
Streets of Laredo
Tony Brown - "The King of Nashville"
Lagrima
Johnny Smith - "Walk Don't Run, Chet..."
Take Five
Going Home
Bob Beckham - "I know That's Right!"
Music to Watch Girls By
Vince Gill - "I Was in Guitar Heaven"
Avalon
Minute Waltz
Mainstreet Breakdown
Merle Atkins Russell - "Thank You Very Little"
The Stars and Stripes Forever
Jerry Reed on Chet - "Hail to the Chief"
Drive In
Jerry's Breakdown
Jorge Morel - "The Pure Artist of the Guitar"
Choro da Saudade
Recuerdos de la Alhambra
When you Wish Upon a Star
John McClellan - "A Boy's Tale"
Ray Stevens - "I Haven't Got the Carrot Yet!"
Oh By Jingo
Don Light - "He Nailed it Again!"
Nashtown Ville
Harry Warner - "They Called Him, Sir"
La Vie en Rose
Don McLean - "Starry, Starry Night"
Vincent (Starry, Starry Night)

TARREGA, IN TABLATURE. 25 composizioni per chitarra: Marieta! -Rosita -la mariposa -capricho arabe -recuerdos de la Alhambra, Maria. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

By Francisco Tarrega (1852-1909), edited by Ben Bolt. Guitar solo book (includes tablature) for guitar. Text language English, Spanish, French, Japanese. 125 pages. With guitar tablature, standard notation and introductory text.

The importance of Francisco Tarrega in the history of the classic guitar is immeasurable. With his original compositions and transcriptions, Tarrega brought the classical guitar to new heights by giving it a repertoire of its own and consequently influencing virtually every modern day classical guitarist. In this volume, Ben Boldt presents 29 pieces by Tarrega in standard notation and tablature. Text in English, Spanish, French, and Japanese. Titles include:

Contents:
Prelude In E
Prelude In A Minor
Lagrima
Prelude In G Major
Prelude In D Major
Prelude In D Minor
Prelude In D
Prelude (Endecha)
Prelude (Lento)
Prelude (Moderato)
Prelude
Prelude
Prelude
Prelude
Prelude In A
Prelude In A Minor
Prelude In A Major
Danza Mora
Marieta! (Mazurca)
Mazurca En Sol
Maria
Minuetto
Adelita (Mazurca)
Pavana
La Alborada
Capricho Arabe (Serenata)
The Butterfly (La Mariposa)
Rosita
Recuerdoes De La Alhambra

PAGANINI FOR ACOUSTIC GUITAR. Tutti i pezzi tranne i capricci sono sul CD. Caprice in e no.9, caprice in a minor no.24, allegro, 4 andantinos, 3 allegrettos, andante, 4 sonatas, 3 valtzes, andantino in c, allegretto in a, allegretto in a minor, valtz in c, rondo in a minor, rondoncino, valtz in e, sonata in a, sonata in c.

SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE

Niccolo Paganini, was born in Genova October 27, 1782, and died in Nice on May 27, 1840, was an Italian violinist, guitarist, and composer. Other instruments he played included the viola and mandolin. He is considered to be the World's gift to the violin and his virtuosity and showmanship are legendary. Being a gambler, he was forced to pawn his violin to pay his debts. Perhaps it was his gambling instinct that led to his technical risk taking when performing Although he owned a Stradivarius, his favorite violin was a Guarnerius. Ironically, his Guarnerius was in fact the property of a wealthy merchant who loaned to him and which Niccolo refused to return. Paganini first performed outside Italy in Vienna and his legend spread throughout Germany, France, and England. Although the exact age he started playing the guitar is uncertain, he composed his first pieces for violin and guitar when he was 12. In later years he associated with the most notable guitarists of his day, including Giuliani, Carulli, and Legnani. Carulli remarked that "It is not generally known that Paganini was an excellent guitarist and that he composed most of his airs on that instrument, arranging and developing them on the violin according to his fancy." Niccolo's brother Carlo was also a guitarist. Niccolo once considered bringing his brother to Milan to play the guitar part for his quartets. Paganini lived during the Golden Age of the Guitar. Listed below are the names of great guitarists of the past, all born within a span of 32 years:
Fernando Carulli 1770-1841
Francisco Molino 1775-1847
Fernando Sor 1778-1839
Mauro Giuliani 1781-1829
Anton Diabelli 1781-1858
Niccolo Paganini 1782-1840
Dionisio Aguado 1784-1849
Luigi Legnani 1790-1877
Matteo Carcassi 1792-1853
Zani Ferranti 1801-1878

The dream of Andres Segovia (1893-1987) was to take the guitar out of the hands of the Spanish folklore
guitarists, who performed mostly in taverns and place it on the concert stage. He decided
that in order to have the guitar receive the respect that he felt it deserved, it would need to
be taught in the colleges, universities, and conservatories. Because of this intense concert
career and his mature years, for his dream to be fulfilled he had to train teachers, who he
called his disciples. Segovia accomplished his dream. Today the guitar has respect and
credibility because of his vision and work. Bravo to the maestro!
While my performing career began in Miami nightclubs, much like the Spanish folklore
guitarist, I went on to study with Segovia, who personally awarded me a scholarship that
he paid for. I have performed on the concert stage with symphonic orchestras, and I am now
a college professor. I have come to understand the significance of his dream.
Ironically, my dream is the complete opposite to that of Segovia. I believe that for the
acoustic classical style to flourish, it must be put back into the hands of the people. My vision
includes all guitarists, regardless of style or background, becoming familiar with the
classical guitar technique and repertoire. To see my dream fulfilled, I have had to make
learning fun and simple, without sacrificing the integrity of the information. By the mid
1980s my vision came to life in the form of a book entitled A Rock Player's Guide to Classical
Guitar. It was the first classical guitar book that included the notation/tablature/tape
format. I chose the rock market because at that time they were the only guitarists who were
genuinely interested and eager to learn" classical" from me. This, of course, didn't surprise
me, since I too began as a rock guitarist. It was obvious that when classical guitar was
accessible to all guitarists, more people would hear and enjoy the beauty of the pure guitar
style. Since my first publication, thousands of new classical guitarists have surfaced.
All of my books come in notation/tablature/CD format. The recordings prove that all of
my arrangements have been tested and do sound guitaristic. All of the great late composers
were fine musicians, as well as composers. They could play the music they composed.
you can also play the great classics! With the tablature and the recording, great music is
closer to your fingertips than you might imagine.

About the Author
Ben Bolt is credited with being the first classical guitarist to introduce thousands of new people to the classical style of guitar through his videos and books, which use a revolutionary format of learning. In the past, guitar students needed to learn to read music at the same time they were learning to play the guitar, which was complicated. Since the publication of Bolt's book/ recording packages, beginners are able to play immediately. The tablature, using lines and numbers to show where the notes are, and the recording, which is rhythmically self explanatory, empowers all students to play. Bolt's work has been mimicked throughout the publishing world. Because of his vision of making classical guitar accessible to all kinds of musicians, the classic guitar is being experienced by the masses.
Andres Segovia, the father of classical guitar, said, "Ben Bolt is an excellent guitarist with fine tone." Segovia personally paid for a scholarship so that Bolt could continue his studies at the Musica en Compostela, which Segovia had founded. During the Spanish Civil War Segovia had been in exile in Montevideo, Uruguay. He was not concertizing in Europe, due to World War ll. Because of extra time he took on one of this most talented students, Abel Carlevaro. Carlevaro took lessons every other day for over ten years in Uruguay. Because of this historic fact, Bolt sought out Carlevaro in order to attain more information about Segovia. In Paris Bolt studied with Maestro Carlevaro, who wanted to continue teaching Bolt in Brazil at the International Guitar Conservatory. There, under full scholarship Bolt was introduced to more Segovia information, but equally important, the Carlevaro school of technique. During the next several years he went on to Montevideo, Carlevaro's home town, and completed his music studies under the direction of Maestro Carlevaro and Guido Santorsola, the great late distinguished Italian composer and conductor. Several Ben Bolt books have appeared on the best seller list. His video, Anyone Can Play the Classic Guitar has been become a reference for college students as the authority on basic fundamentals concerning classical technique. He also appears in Mel Bay's video of the Modern Guitar Method Grade One, a huge commercial success, selling millions of copies. Bolt divides his time between publishing, performing with orchestras, and teaching at the college level. He believes anyone can play the guitar well, provided they have these three ingredients: a good instrument, a knowledgeable teacher, and music that holds the student's interest. Bolt's work is distri1?uted internationally and has been featured at the yearly NAMM show (National Association of Music Merchants) in California, as well as the International NAMM show in Germany. His influences include Mel Bay, Beatles and Segovia. Ben Bolt is available for concert and master classes.

Mel Bay Publications, Inc. has been a driving force in music performance, education and instruction since 1947. Our tradition of quality music, carefully arranged and edited for maximum ease in learning, has received international acclaim. We are dedicated to providing the best in all styles of guitar performance, acoustic instruments such as banjo, mandolin, dulcimer, harp, harmonica, recorder, tinwhistle, and fiddle, as well as keyboard, wind and percussion instruments. We also offer CDs, concert and instructional DVDsof all stylesand instruments. Mel Bay offers an extensive catalog covering most musical styles-from classical to jazz to celtic to bluegrass to blues.

Song Title: Composer/Source:

Allegro
Andantino
Allegretto Paganini Arr: Ben
Allegretto In A Paganini Arr: Ben
Allegretto In A Minor Paganini Arr: Ben
Allegro Paganini Arr: Ben
Sonata
Sonata
Allegro
Andante Paganini Arr: Ben
Andantino Paganini Arr: Ben
Andantino In C Paganini Arr: Ben
Andantino Paganini Arr: Ben
Sonata
Caprice In A Minor, No:24 Paganini Arr: Ben
Caprice In E, n.9 Paganini Arr: Ben
Rondo In A Minor Paganini Arr: Ben
Rondoncino Paganini Arr: Ben
Sonata Paganini Arr: Ben
Sonata In A Paganini Arr: Ben
Sonata In C Paganini Arr: Ben
Valtz Paganini Arr: Ben
Valtz In C Paganini Arr: Ben
Valz In E Paganini Arr: Ben
 

BAROQUE MUSIC FOR ACOUSTIC GUITAR. TABLATURE

Product Description:
A comprehensive volume of musical selections from the masters of the Baroque period. Pieces chosen for this book required little alteration from the original manuscript and so do not stray from the composer's original musical intent. Left-hand fingering has been included extensively whereas right-hand fingering is left up to the performer. Requirements for altered tunings and suggestions for the use of capo are indicated at the beginning of each piece where applicable. Contains suggested barres, natural harmonics, and ornamentation. Written in standard notation with a separate tab selection. 294 PAGES

The musical selections in this book come from some of the greatest composers of the Baroque Period. Since none of these individuals wrote for the guitar, these pieces are arrangements of works originally intended for other instruments. In selecting material for this book, I was careful to choose pieces that could be played on the guitar without straying too much from the original versions. The most frequent alterations I made were either to change the key, change the register of the bass line, or occasionally revoice a chord. A very important aspect of the performance of Baroque music is the use of ornamentation. Though often represented by symbols in the score, ornaments are sometimes implied by the musical context. The most common types are trills, though there are many others. Their execution is flexible and open to the interpretation of the performer. For the purposes of this book (and after doing considerable research), I have written out all of the ornaments in conventional notation. As such, these realizations have been subject to my interpretation. In some cases, where a particular ornament is prohibitively difficult on the guitar, it has been either modified or omitted.About the Composers

Johann Pachelbel (1653-1706) was a German organist and composer who is best known today for his "Canon in D." The fugues that are included here were written for the organ but work well on the guitar. The early Baroque style of writing in these pieces is less chromatic than in the fugues of Bach, and is reminiscent of the ricercares and fantasies for lute that were popular in the Renaissance.

The most famous composer of late 17th-century England was Henry Purcell (1659-1695). His influence can be heard in the music of Handel, who spent the better part of his professional life in England. Purcell is perhaps best known for his choral works though he wrote music of all types. The pieces here are taken from his miscellaneous keyboard compositions.

Francois Couperin (1668-1733) was an internationally famous French composer and

harpsichord virtuoso. He was one of the first proponents of the rococo or "gallant" style which

was simpler and more elegant than mainstream Baroque music and ultimately helped pave the

way for the early Classical composers.

Like Couperin, Jean-Philippe Rameau (1683-1764) was a famous French composer who wrote in the "gallant" style. He is considered by many to be the father of the study of harmony because of his many writings on the subject. His three collections of harpsichord pieces are the source for the arrangements in this volume.

The keyboard sonatas of Domenico Scarlatti (1685-1757) have long been a favorite with guitarists. He wrote over five hundred of them, many of which fit well on the guitar. Though he was born in Italy, he spent his last years in Spain where the sonatas included here were written.

George Philip Telemann (1681-1776), was a very prolific and successful German composer who was friends with both Bach and Handel. The pieces here are taken from his 36 Fantasias for Harpsichord. The style of writing in these pieces varies from the Baroque to the Rococo.

Johann Sebastian Bach (1685-1750) and George Friedrich Handel (1685-1759) are often mentioned in the same breath as representing the pinnacle of Baroque music. Although Handel, like Bach, was born and raised in Germany, he spent most of his life in England where he became a citizen and wrote his most famous works. His keyboard pieces offer an interesting contrast to those of Bach and often fit nicely on the guitar.

Contents:

Foreword

Johann Pachelbel (1653-1706)
Fugue in C
Fugue in G
Fugue in G
Fugue in Dm
Fugue in D

Henry Purcell (1659-1695)
Air in Em
Hornpipe in Em
Prelude
Prelude
March in D
A Ground in G
Air in Em

Francois Couperin (1668-1733)
Le Petit-Rien (Rondeau)
Le Trophie
La Flore
La Morinete
Les Tambourins
La Badine (Rondeau)
Les Bacchanales
La Bourbonnoise (Gavotte)

Jean-Philippe Rameau (1683-1764)
Menuet en Rondeau
Menuet
Sarabande 1 & 2
Gavotte en Rondeau
Les Tendres Plaintes (Rondeau)
Menuet 1 & 2

Domenico Scarlatti (1685-1757)
Sonata in G (K 431)
Sonata in Dm (K 434)
Sonata in D (K 414)
Sonata in A (K 428)

George Philip Telemann (1681-1776)
Fantasia in Em
Fantasia in D
Fantasia in D
Fantasia in Dm
Fantasia in Am
Fantasia in C
Fantasia in Em

George Friedrich Handel (1685-1759)
Sonatina in C
Allemande
Sarabande (with variations)
Allegro (from Great Suite #7 for Harpsichord)
Sarabande (from Great Suite #7 for Harpsichord)
Passacaille (from Great Suite #7 for Harpsichord)
Allegro (from Partita in G major for Harpsichord)
Courante (from Partita in G major for Harpsichord)
Sonata in C

Johann Sebastian Bach (1685-1750)
Prelude (from Suite #1 for Violoncello)
Menuet 1 & 2 (from Suite #1 for Violoncello)
Gigue (from Suite #1 for Violoncello)
Gavotte 1 & 2 (from Suite #6 for Violoncello)
Gavotte en Rondeau (from Partita #3 for Violin)
Menuet 1 & 2 (from Partita #3 for Violin)
Bourée (from Partita #3 for Violin)
Sarabande & Double (from Partita #1 for Violin)
Tempo di Bourée (from Partita #1 for Violin)

COMPLETE COUNTRY BLUES GUITAR BOOK. STEFAN GROSSMAN. SHEET MUSIC BOOK WITH 2 CD & GUITAR TABLATURE

LIBRO DI MUSICA BLUES ACUSTICO, CON 2 CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA E TABLATURE. 

260 pagine per chitarra, 57 classici di blues rurale, come "Crow Jane", "monday morning blues". Delta blues, ragtime blues, alternating bass & open tunings, Texas blues, bottleneck blues. 

Tutte le versioni strumentali delle famose canzoni di Blues Acustico registrate da Stefan Grossman.

Product Description:
Over 50 fingerpicking guitar solos in notation and tablature in country blues, Delta blues, ragtime blues, Texas blues and bottleneck styles. An extremely comprehensive blues solo collection. 2 CD's included.

Format: Book/2-CD Set
Series: Complete

INTRODUCTION

There are many ways to approach fingerpicking blues guitar and this is indeed what makes this study so interesting, challenging and exciting. I was lucky. In the early 1960s I began to hear various recordings by Rev. Gary Davis, Big Bill Broonzy, Brownie McGhee and Lightnin' Hopkins. I was hooked! Their energy, sound and feel made it obvious in what direction of guitar playing I was going to travel. I began to hunt for LPs of any bluesman. This expanded to searching for collectors of old 78s. The music of Robert Johnson, Charlie Patton, Son House, Willie Brown. Tommy Johnson, Blind Boy Fuller, Blind Willie Johnson, Blind Willie McTell and others could only be heard via their old 78s and these were quite rare, to say the least. During this exploration I made friends with other guitarists and blues lovers (Nick Perls, Steve Katz, Rory Block, John Sebastian, Marc Silber, John Fahey, ED Denson. Dick Waterman and Tom Hoskins). We jOined together into what Chris Strachweiz (owner of Arhoolie Records) dubbed "the Blues Mafia "!We hunted for old blues records. exchanged ideas on how these bluesmen played their guitars and even started to search for some of these legendary artists.

1963 and 1964 were important years for the country blues. Tom Hoskins, a "Blues Mafia" friend from the Washington, D.C., area, travelled down to Avalon, Mississippi. and rediscovered Mississippi John Hurt. Dick Waterman, Bill Barth and Nick Perls jumped into their old Volkswagen bug in New York City and began their search for Son House by travelling down to Mississippi, only to have his trail end up in Rochester. New York, where Son was alive and well. John Fahey and ED Denson sent a telegram to Aberdeen, Mississippi, addressed to Bukka White - "blues singer." Before long, they received a call from Bukka, who was living in Memphis, Tennessee. John Fahey, along with several friends, started to get tips regarding the whereabouts of Skip James, and after some searching they found themselves standing by Skip's bedside in a Mississippi hospital. Within a 12-month period the bfues exploded. The giants from the 1920s- 1930s were being rediscovered and presented to a new audience of blues lovers.

This was a time of country blues abundance. At a festival you could hear Rev. Gary Davis, Mance Lipscomb, Fred McDowell, Son House, Mississippi John Hurt, Skip James, Bukka White, Furry Lewis, Brownie McGhee, Robert Pete Williams, Lightnin' Hopkins, Jesse Fuller, Gus Cannon, Big Joe Williams, Lonnie Johnson and others. Many missing pieces of the blues jigsaw puzzle were being put together. I was in seventh heaven as far as learning blues guitar. I had been a student of the great Rev. Gary Davis since 1962. He had patiently guided me into blues and ragtime techniques and styles.

He was a master musician and a wonderful teacher. After spending two years with Rev. Davis I became very close to many of the newly rediscovered bluesmen, and they patiently explained and taught me their approaches to playing the blues. Fingerpicking blues guitar spans a wide area: from the gentle pulsating sounds of Mississippi John Hurt to the hard rhythmiC variations of Charlie Patton to the ragtime sportin' right hand of Blind Blake to the complexities of Rev. Gary Davis to the melodic ....

Shake That Thing --
Nobody's Dirty Business --
It Won't Be Long --
Fare Thee Well Titanic --
You Got the Pocketbook, I Got the Key --
Ragtime Mama Blues --
Salty Dog --
Blues Ain't Dry --
Old Country Rock --
Take A Whiff On Me --
A Tribute To Lonnie Johnson --
Crow Jane --
One Kind Favor --
Easy Rider Blues --
Ragged And Dirty --
Return To Little Rock --
Monday Morning Blues --
Spoonful --
Weeping Willow --
Mississippi Blues --
Just A Closer Walk With Thee --
Working On The New Railroad --
Juicy Lucy --
Easy Street --
Vestapool --
Kassie Jones --
John Henry --
Sitting On Top of the World --
Police Dog Blues --
New Pony Blues --
If You Haven't Any Hay Get On Down The Road --
Yonder Comes The Blues --
Moon Goin' Down --
Belzona Blues --
Special Rider Blues --
Hard Time Killin' Floor --
Buck Dancer's Choice --
Bill Bailey --
Ton of Blues --
Blake's Breakdown --
Franklin Blues --
Sister Kate --
Struttin' Rag --
Twelve Sticks --
Man of My Own --
Strange City Streets --
Come Back Baby --
Mourning Blues --
Charley James --
Country Line --
Tickle Dew --
Banty Rooster --
One Kind Favor --
Someday Baby --
Wake Up Mama --
Good Morning Little Schoolgirl --
God Moves On the Water --