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Fiddle Tunes in DADGAD shows how fingerstyle guitarists can use DADGADtuning to play traditional tunes, including twenty-four complete arrangements ofcommon American, Irish and Scottish ballads, airs, jigs and reels. The bookexplores techniques and patterns for playing melodies across the strings, producing a harp-like effect that adds a distinctive and beautiful character to traditional melodies. In addition to building repertoire, the material demonstrates ways to arrange your own melodies or even write your own tunes based on thetechniques provided. This is a perfect follow-up for guitarists who have studiedUnderstanding DADGAD for Fingerstyle Guitar and are looking for tunes to learn, or for those who want to go deeper into harp-style playing. It is also an excellent introduction for those who prefer to just dive head-first into DADGAD by learning some classic tunes
Understanding DADGAD is a complete introduction to using the DADGAD tuning for fingerstyle acoustic guitar. the book systematically explores the tuning, starting with simple chords and scale patterns, ultimately showing how DADGAD can be used to play in nearly any key and in many different musical styles. Topics include moveable and open-string chords and scales, intervals, the harp-effect, common chord progressions in DADGAD and more, all in the context of either short musical examples or complete tunes.Rather than just providing scales, chords, or tunes, this book guides the reader through the process of understanding the guitar from the perspective of DADGAD tuning. Topics are organized as a series of small self-contained sections ideal for a single study session or lesson. After exploring extremely easy ways to get started with DADGAD, involving as little as a single finger on the fretting hand, the book progresses to examples that will interest even more advanced players. 200 musical examples, including several full performance-quality pieces, demonstrate each concept. the companion recording features the author playing many of the examples.A complete introduction to DADGAD tuning for fingerstyle acoustic guitar. Begins with simple chords and scale patterns and progresses to more complex musical examples in many different keys. Topics include moveable and open-string chords and scales, the harp-effect, intervals, common chord progressions in DADGAD and more.
Rob MacKillop presents 20 wonderful fingerstyle blues arrangements andcompositions in DADGAD tuning. The styles covered in this book include country blues, boogie woogie left-hand piano blues, early jazz blues, gut-bucket blues and modal blues. Great traditional songs are included such as St. James Infirmary Blues, St. Louis Blues, C. C. Rider and more, alongside 15 full-length studies. The book begins with easy arrangements, progressing to intermediate and more advanced ones - in short, these blues studies will improve your technique through playable 12-bar tunes. A wide array of chord and scale fingerings are also provided, including pentatonic minor and major scales, blues scales, diminished arpeggios and scales, 7th chords, whole-tone scales and the super Locrian mode and much more! All the tunes presented have accompanying audio recorded by Rob MacKillop and are available to download
Tuning your guitar to DADGAD compliments Celtic guitar music perfectly. It is easy to create drones and overlapping notes that sound reminiscent of a harp or bagpipe. The 30+ tunes represent some well-known Celtic session tunes and songs. There are jigs, reels, songs, hornpipes, waltzes plus instructions on how to read tablature and note rhythms. There are also some DADGAD chords, Celtic strumming patterns, major and minor scales, and a full DADGAD fingerboard chart. I hope you enjoy this collection! Please visit my website for audio and related books and sheet music: https://brentrobitaille.com/product/dadgad-guitar-celtic-flatpicking/ https://brentrobitaille.com
This book offers a large number of essential chords and scales for the DADGAD tuning of the guitar. the material assembled here opens up a multitude of possibilities to expand and improve your playing in this unique tuning. Chords are shown in their customary harmonic contexts, instead of just listing them (as is done in most other chord-books). Skim and skip around in the book as you like, experiment, and linger where ever you find your musical inspiration. Have fun with this new, unique DADGAD book.
Celtic Flatpicking in Open D Guitar Tuning Tuning your guitar to DADF#AD or "Open D" compliments Celtic music brilliantly. The open tuning allows the strings to vibrate easily, creating drones and overlapped notes that sound reminiscent of a harp or bagpipe. The 30+ tunes represent a good selection of well-known Celtic session tunes including, jigs, reels, hornpipes, waltzes and songs. Each tune shows notation, tablature and chords. Some of the tunes are arranged with chords added in with the melody, while the faster tunes just have the melody line. Go to my website (KalymiMusic.com) to play along with the accompaniment tracks to help learn the tunes quickly. If you are new to this style, then check out my twelve useful tips for Flatpicking. There are also some examples of how to use ornamentation to further embellish the tunes. For further study in Open D, I have included a series of chord and arpeggio charts with fingerboard diagrams. These charts will help you learn the DADF#AD fingerboard and allow you to accompany in Open D with Major, Minor and Dominant 7th chords. Campanella (overlapping) scales in Major and Minor are given plus Mixolydian and Dorian modal scales, which are common in this style. Use these scales as a technical practice to help master the fingerboard and to help achieve a flowing legato-sound to authentically play the tunes. There is also a small selection of common chords in Open D, some Celtic strumming patterns in 4/4 and 6/8, and note charts and DADF#AD fingerboard charts. If you are new to reading tablature, there is a page on how to read tablature and how to read rhythms. Some audio tracks are available here: Celtic Flatpicking Open D Guitar Tuning - Kalymi Music (brentrobitaille.com)
Forty beautiful Celtic melodies arranged for solo fingerstyle guitar. All the songs are arranged to be easily playable. Most of the songs are in standard tuning plus there is an additional section in DADGAD tuning. A CD is included featuring all the songs.
This book is an extension and expansion of the previously released Mel Bay book, DADGAD Tuning. It includes a number of additional instrumental solos in DADGAD for beginning-intermediate guitar players, while introdtucing DGDGCD, a related open tuning. Although many of the selections are traditional Irish dancetunes, the book also includes an American dance tune, two traditional Irish songs, and original instrumentals by Frederick Boyce, Jake Schumacher, Gilles le Bigot,and the author. The book is written in tablature and standard notation
World traveling fingerstyle guitarist Pat Kirtley presents 17 solo guitar arrangements of traditional Irish tunes including a few original compositions in the same vein by himself, Pierre Bensusan, and Duck Baker. As all of the tunes in this 1997 recording were arranged in altered tunings (DADGAD, EADEAE or DADEAD), each appears in both standard notation and tablature with insightful performance notes. In general, these transcriptions from Pat Kirtley's 1997 album of the same title are extremely accurate; the Red-Haired Boy, however, played as a duet with Steve Rector on the album - appears as a solo arrangement in this book. Recommended for the intermediate to advanced player, the author provides insightful performance notes for each tune.
From the author’s preface: “This book was conceived four years ago, almost to the day, at a time when I was teaching fiddle and mandolin in New York City. It was my idea then, with my students in mind, to compile a book of the most often played, most important and most interesting fiddle tunes from the various Celtic and North American traditions. The tunes were chosen by cataloging a large number of recordings by tune title. A tally was taken to find out which had been recorded most often. This established a foundation of material that could not be left out. To this list I added the names of other pieces which had not been recorded as frequently, but which I knew were played regularly and with respect. I admit to sprinkling the collection with a few lesser known tunes which happen to be personal favorites, but I am sure they will hold their own when placed next to the old war horses of the fiddler’s repertoire. . . . Although I started out with my students in mind this book has turned out to be the book that I’ve always wanted and I hope that it will serve the advanced player as well as the beginner.”