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.