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Stacy Phillips is an internationally acclaimed soloist and author on Resonator Guitar. This comprehensive book took years to produce and is the culmination of Stacy's many years of playing the instrument, studying new Resonator techniques and interviewing other Resonator greats. This book achieves the following objectives: 1. to present an in-depth survey of the styles in which well-rounded lap guitarist should be competent. 2. to examine the playing styles and techniques of some of the world's greatest Resonator guitarists. 3. to catalog many of the licks that are lingua franca in the world of Resonator guitarists. 4. to indicate some of the underlying relationships between notes, keys, and chords by introducing some basic music theory as it relates specifically to the six-string guitar in G tuning. 5. to gain insights into the world of Resophonic guitar stylings and performance through interviews with some of the top players. 6. to demonstrate unconventional concepts in order to stimulate fresh approaches to playing the instrument. Tablature included.The double-CD set presents more than 90 minutes of stereo recording featuring Stacy Phillips on Dobro and Paul Howard on guitar. Play-along tracks are included for several of the tunes.
A chronological guide to bluegrass music that describes and traces the development of the musical genre.
Question: How many bluegrass bass players does it take to screw in a light bulb? Answer: I...V...I...V...This timeless book presents suggested bass lines for dozens of bluegrass favorites, offering the root and the fifth for each chord in the progression in guitar-friendly keys. No music, tab, or lyrics are included in this book, just the song titles and the author's suggestion of a fundamental bass line in his own brand of shorthand. Perfect for the doghouse bassist wannabe!
Documenting the history and development of bluegrass in and around the nation's capital since it emerged in the 1950s, Capital Bluegrass: Hillbilly Music Meets Washington, D.C. is central to our understanding of bluegrass in the United States and its place in our nation's capital.
Reprint. Originally published in paperback: 2006.
Most of the previous critical work on W. D. Snodgrass concentrates on his early period. These new essays, by both established and emerging scholars, constitute a close reading of the later poetry, principally Midnight Carnival, The Death of Cock Robin, Each in His Season, and The Fuehrer Bunker. The collection also contains the first interview with Snodgrass conducted after the publication of the new Bunker in 1995.
This book is an anthology of Jack Hatfield's most successful teaching arrangements, jam session favorites, show tunes and original compositions. Although it is not a teaching method per se, there are many arranging concepts and general tips included in the performance notes. There are also a few drills. Sections One and Two are intended to be a supplement for beginner and intermediate students, especially those who have used Mel Bay's First Lessons Banjo. Additional solos are presented for many of the songs in that book. Section Three is basically a lick and repertoire building resource for more advanced players. This entire section with the exception of two arrangements is previously unpublished material. Hallmarks of Jack's teaching style include melody-oriented arrangements, the use of well-known songs for the beginner, teaching tunes essential to the bluegrass banjo player's repertoire, the use of bold-faced melody notes, and an extremely graduated approach which builds on previously learned techniques and licks. the arrangements in this book adhere to these principles. 112 pages, complete with two audio CDs.
Paul Clayton and the Folksong Revival is the first biography of the folk singer and song collector Paul Clayton (1931-1967). Preeminently a scholar-balladeer, Clayton is credited with the Top-Ten hit "Gotta Travel On" and single-handedly brought hundreds of obscure folksongs to light for the mid-century radio and recording market. He influenced listeners and friends from Dave Van Ronk to Bob Dylan, who considered Clayton a mentor, "mindguard," and well of folksong.