This book provides a master source for building agility, flexibility and speed while playing with a flatpick, as well as a repertoire source for the plectrum-style guitarist. the studies are designed to build reading ability and clarity of sound in a variety of styles, as well as agility in cross-picking and the playing of rapid linear passages. Includes over 100 original and jazz etudes, fiddle tunes, and a great number of classical guitar pieces transcribed for plectrum guitar. Written in standard notation and tablature.

When it comes to right-hand picking technique, serious guitarists have waited patiently for a comprehensive book to address these specialized skills. Until now, rock, blues, and jazz players have not had a book devoted entirely to right-hand picking. The Serious Guitarist: Right Hand Picking fills this gap with a unique, dedicated approach to pick playing that you've always been looking for. You'll learn the most efficient way to hold and use a pick, and discover ways to increase efficiency when moving from string to string. Lessons are organized by the number of strings---beginning on a single string, then progressing to two-string exercises, then three, all the way up to six strings. The featured exercises have been thoughtfully developed into musical ideas and licks to give a clear example of how you can incorporate the exercises into your own playing. This way, you will be playing music, not just exercises. Right Hand Picking provides the tools you need to become a better guitar player, but more importantly, it will help you become a better musician. The included online audio features demonstrations of the examples in the book.

2004 Silver Award Winner for Best Instructional Materials by Acoustic Guitar Magazine.Correct Practice is what all good players do, whether they know they are doing it or not! That's how they get to be good players. Whether you are a beginner or a player with the usual problems, here is your Foundation book, "The Principles of Correct Practice for Guitar!"- for ALL styles and ALL levels. "The Principles of Correct Practice for Guitar" is composed of three elements:Understandings: Concepts which you must understand in order to begin to practice effectivelyTools: Practice Approaches to be used to solve problems in playing. These approaches are based on certain key Understandings, such as Muscle Memory and Sympathetic Tension, as well as Attention and Awareness.Exercises: Specific routines to be done during practice, that will build technique, (playing ability) in a step by step fashion, each step building on the previous one, and preparing for the next.

Miscellaneous Percussion Music - Mixed Levels

In a remarkable memoir written with insight and humor, Glenn Kurtz takes us from his first lessons at the age of eight to his acceptance at the elite New England Conservatory of Music. After graduation, he attempts a solo career in Vienna but soon realizes that he has neither the ego nor the talent required to succeed and gives up the instrument, and his dream, entirely. But not forever: Returning to the guitar, Kurtz weaves into the narrative the rich experience of a single practice session. Practicing takes us on a revelatory, inspiring journey: a love affair with music.

Guitarskole.

(Guitar Collection). There has never been a collection of fingerstyle repertoire like this one. Beginning with the roots of fingerstyle and artists like Robert Johnson and Reverend Gary Davis along with works of 20th century masters like Chet Atkins and John Fahey and a legion of modern pioneers like Andy McKee and Tommy Emmanuel the sheer scope of this collection makes it a must-own for all fingerstyle guitarists. This truly one-of-a-kind book covers an expansive and eclectic variety of styles and techniques, including modern innovations like percussive gestures and two hands on the fingerboard. Over 50 artists are featured, each represented by a single, characteristic piece. All songs are shown in standard notation and tab and include special historical and performance notes, making this book an incredibly valuable tool for any student of fingerstyle guitar. Artists featured include: Chet Atkins, Pierre Bensusan, Alex de Grassi, Tommy Emmanuel, Mississippi John Hurt, Robert Johnson, Jorma Kaukonen, Adrian Legg, Andy McKee, Jerry Reed, Doc Watson, and dozens more.

World-class classical guitarist and well-respected educator Scott Tennant presents the most comprehensive technique handbook available for classical guitarists. This complete edition combines all three volumes of Scott's best-selling Pumping Nylon series. In addition to technical information not available elsewhere, it includes classic etudes by Carcassi, Giuliani, Sor, and Tarrega; musical examples by Bach, Turina, and Rodrigo; and original compositions by Andrew York and Brian Head. Learn easy to advanced repertoire pieces that are selected and designed to work with the various techniques addressed, including arpeggios, tremolo, scale velocity, and more. The included DVD features Scott Tennant, and the MP3 CD features the playing of Scott Tennant and Adam del Monte. --

Music teacher Arnold presents a method to develop fast, pain free right hand technique for guitarist. Common right hand picking techniques for scales, cross string jumps and sweeps are discussed and 24 exercises are presented with free accompanying audio examples found online.

This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.