DescriptionThe ability to improvise and create variations within a song is the essence of the guitar work of the great traditional acoustic blues guitarists such as Blind Blake, Robert Johnson, Big Bill Broonzy, Rev. Gary Davis, and Blind Lemon Jefferson. By exploring the ways that chords, melodies, and rhythms work, Woody Mann presents practical and simple ways to create variations in your playing. Woody teaches a new approach to seeing the fretboard and techniques for ´breaking down´ chord blocks into smaller ´pieces´ and connecting them throughout the fretboard. As he teaches the repertoire of the masters of acoustic blues, he demonstrates how melodies and harmonies can be derived from simple, moveable chord shapes. The Logic Of Fretboard is a method for relating the entire fretboard to the basic first position chord shapes that we all learn as beginners and using them to create new chords, melodies, and variations in your music. Studying the songs and concepts that Woody presents in this program will help students to break out of ruts and begin playing up-the-neck without relying on bar chords or scale patterns. Woody´s approach to varying melody and bass lines against each other will also help students to develop a more syncopated and stronger picking technique. This simple and effective method allows students to increase their chord vocabulary by relying on logic instead of memorization.Woody Mann had his first schooling as a teenager in the living room of Rev. Gary Davis, the now legendary gospel and ragtime guitarist. Mann soon went on to perform and record with blues masters Son House and Bukka White as well as contemporary innovators including John Fahey. He has recorded extensively, performed throughout the world, and is widely recognized as one of the world´s leading teachers and transcribers of acoustic blues music, having taught countless guitarists through his popular books and videos.
The Guitarist´s Repertoire, Vol. 1The guitar music of Ferdinando Carulli (1770-1841) is often associated with didactical material and with a large number of mass-market editions destined for home music making by amateurs. The resulting, often unflattering, image of the composer is at once dispelled by reading a superb virtuoso power house, such as the present composition by him. The edition is datable to circa 1817.The tune on which this work is based is the famous Nel cor più non mi sento, a duet from Act 2 of Giovanni Paisiello’s opera La Molinara (1788). Nel cor più occupied one of the most prominent positions in the hierarchy of nineteenth century hit parade. The tune was arranged for many different instruments and instrumental ensembles, by literally hundreds of arrangers, Beethoven and Hummel being the most prominent among them. Guitarists are well familiar with the variations by Fernando Sor (his Op. 16) on the same theme, and those by Mauro Giuliani, (his Op. 4 for solo guitar and Op. 65 for guitar and string quartet). What sets Carulli’s work apart from the more known ones, is the extensive solo introduction, beginning with a majestic Largo, and concluding with an Allegretto section which presents itself as an orchestral overture. The theme and variations proper finally begin on page 4. Another unique aspect of Carulli’s Solo with Variations Op. 107, is the arch-like structure of the piece where the last variation leads into a recapitulation of the initial phrase of the opening Allegretto, which then transforms itself into a dazzling display of fireworks, including one scale run that extends all the way up to a6 on the first string (fret 29!). Obviously, Carulli, far ahead of his time, was aware of the fact that the actual pitches and tone quality of these beyond-the-fretboard notes, particularly at the sheer velocity required, were not as important as the display of a unique virtuosic gesture.
(2011/Fantastic Voyage) 30 tracks Country music icon, businessman, theme-park owner and fast-food chain founder, Conway Twitty, also happened to be a rock & roll singer. For some reason, this latter talent has tended to lag behind in the man´s career overviews, which is nothing short of a travesty. Good that Conway´s country sides from the late sixties onwards are, they don´t have the testosterone and the kinetic energy of his MGM recordings from the late fifties. During this shoulder-shakin´ stage of his career, the man had fire in his belly, ambition in his eyes, and hope in his heart. He could roar like the lion on the MGM crest head, and he couldn´t get enough of the rock & roll stuff that drove his desires. What follows is the cream of Conway Twitty´s Metro Goldwyn crop, all of which was captured on tape at the Owen Bradley studio in Nashville twenty-eight month period beginning in May 1958. 01. Tell Me One More Time (Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM K12918 (August 1960) Conway was one busy guy right from the outset. As a case in point, ´Tell Me One More Time´ had to be recorded in between trips to Hollywood. Following a crash course in a New York drama school, the rookie rock & roller was cast in Platinum High School followed by the analogous College Confidential. However, his role as a would-be matinee idol was short-lived and he concentrated instead on developing his career as an album and singles artist. `Tell Me´, with its 2/4 time signature, featured the twin lead guitars of Hank Garland and Al Bruno. 02. Hallelujah, I Love Her So (Ray Charles) Carlin Music Corp. MGM 5E3744, MGM X 1640 (March 1959) It didn´t take long before the rock & roll fraternity began investigating the works of Ray Charles. Elvis Presley was quick off the mark with his version of Got a Woman´ and the Everly Brothers gave a new lease of life to `Leave My Woman Alone´. Conway was clearly at home with `Hallelujah, I Love Her So´, and his arrangement threw the spotlight on two key members of the Jordanaires. Gordon Stoker enforced each hook line with a florid ´Halleluh!´, and bass singer Ray Walker intro-ed the outro with an impassioned `Man, I gotta hear that again. 03. I Vibrate (From My Head to My Feet) ´I Vibrate´ ranks as one of the toughest rockers Conway cut during his MGM tenure. The song unashamedly took license from ´Great Balls of Fire´ which happened to be top of the charts when Conway and Jack Nance proffered their pens. Cut at Conway´s first session for the label, the track featured the unmistakable sound of Joe E Lewis´s Gretsch Duo Jet. Joe was a seasoned road player (he´d previously worked with Sonny Burgess) and, as can be heard here, he employed a thrashing rhythm style built around a 9th bar-chord. 04. You Win Again Wishing (UK) Ltd. MGM SE3786, MGMX 1679 (September 1959) If Conway owned a copy of Jerry Lee´s ´GBOF´, then it´s fair to say he was inspired to cut `You Win Again´ - the song that dwelt on the flipside of the record. He did though raise the key, and he allotted no less than sixteen measures for a double-length solo from Al Bruno. One of eight siblings, this pint-sized fret-boarder hailed from Ontario, Canada, where he was born Albert V. Bruneau. His arrival in the Twitty band was marked by his boss purchasing a pair of matching Gibson ES-335´s. In due course Al went on to work with Buck Owens, Duane Eddy, T. G. Sheppard and, most recently, Dale Watson. 05. Hey Little Lucy! (Don´tcha Put No Lipstick On) Chappell Music Ltd. MGM K12785 (April 1959) Jim Vienneau, the A&R head at MGM´s pop and country department, was often spoiled for choice when it came to scoping out material for the Twitty sessions. Conway happened to be an extremely inventive composer, particularly in the songs he crafted with his drummer Jack Nance. But after ´It´s Only Make Believe´ topped the charts, producer Vienneau found himself inundated with demos arriving on a daily basis from the publishing houses of New York. The delightful ´Hey Little Lucy!´ was dispatched from Aaron Schroeder with a lyric by Sharon Silbert, a writer who´d recently scored with `Schoolboy Crush´. 06. Easy To Fall In Love (Conway Twitty, Jack Nance) Warner Chappell Music Ltd. MGM SE3818 (February 1960) To his eternal credit, Conway Twitty was the recognized inventor of the ´beat ballad´. With a solid backbeat and a growled vocal to convey the message, the format stood apart from the heart-on-sleeve ballads that so often sank in a sea of