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Pierre Bensusan Presents DADGAD Guitar PDF

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Pierre Bensusan Presents DADGAD Guitar PDF

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Leonardo Salgado Pires
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Pierre Bensusan mM nt Copyright © 2000 fohn August Music. 364 Jeanin Bi Pierre Bensusan P PeseMtS ay Z Guitar Like most all guitarists lexrning to ple, | started out in standard tuning. But lke these guitarists who are inspired for whatever rea= son to push the boundaries of the instrument, to carve out their ‘wa territory, and establish their own place within it, | felt moved: ‘0 do something different with this instrument-something that ‘would contribute to the development of my own voice, and somte= As apart of that ney, [ventured inte a variety of altered tunings, easning them how set me apart from the drores of other pla from various English guitarists and blues players. Some time later, I became exposed to the DADGAD tuning. It came through a friend who had learned it from Davey Graham. At the same time, Thad been working d ‘ough a number of Stefan Grossman, One of the books, which covered open tab books and music published by tuning, inchaded some songs in BADGAD.L leamed a few of them, and was happy to have added DADGAD to my growing arsenal of tunings. After a while, though, I found myself stuck in the same stylistic rats, and sill without any clear direction. 1 realize that '¢ have to make up my 0 choese mind about all these tunings cone, and make it my owe, [setled on DADGAD, or maybe I should say it settied on me! Ln any case, when | finally put my sake inthe ground, it ‘was epiphany-a revelation. [felt relieved that my tumblesseed days were over: I had made DADGAD ny standard tuning The jauimey, though, was far Crom over DADGAD was to be my standard tun- ing then that meant Pd have to be able to play anything, st that could be played in stan. dard tuning 17 have to relearn the neck, the chord shapes and positions the sounds, intervals, and the layout. My cognitive sense of the fretboard in standard tuning would have to be recalibrated for DADGAD. ‘And getting back to my original goal of fndinga unique voice. found I was in 2 fight against a ready disposition to fall into allthe predictable trappings of such a modal tuning as DADGAD. ! soon found myself following the same patterns a9 everyone ele who was playing in this tuning! [ was doing the most obvious things ever in DADGAD-open strings, D tonalites, using @ «apo. For along time, I played almost exclusively in the key of D. And if I wanted 2 key change, 'é simply usea capo. But that, too, limited the possibilities for choed voieings, which got me right back tothe point of really earning the fretboard, There is certainly nothing wrong with using « c9po, sometimes you have to. Still, though, with a limited understanding ofthe fingerboard, it was very easy to get stuck in the ruts of standard positions and chords, If you agree to go beyond the obvious, you will like most worthwhile things, find challenges-the first among them being steetches. A more subtle challenge, though, wil be the disposition of the open strings. This tuning lends itself many open, Finging strings-so much so that it ean get in the way of the music. You want to be able to control the sustain and the length ‘ofthe sound. You might need to replace a note on one string-ard that includes open ringing strings-with the same note on another in order to geta different sound. But these difficulties c not entirely the fult of the toning. Is more due to alack of active listening when the music is being played. I youl listen carefull, you'l hear the places where a ringing string is interrupting the musieal ides. On the other hhand, you can also take advantage of the strings’ configuration, which happens to include an open bass string that is one fall step lower than in standard. (t's just a matter of common sense. You can ply any music in DADGAD that yeu can play in standard tuning, There might be sore bigger stretches, but some chords will also be easier to play than in standard, ‘And that brings us 0 the subject of musical genres. DADGAD is very big in Celtic settings, and as such, is gotten typecasted tosome degree, Certainly, the modal nature of DADGAD makes for a hand-in-glove fit for much Celtic music. But remember, DADGAD is not a genre-its a tuning. And once you dive into it, you'l find that you can play any kind of rusic, be it Celtic, Juded in this colletion! 1 don’t think it’s extreme to say that an audience shouldr't care what tuning you'te using. A non-musician is jus going to lisen to the musi contempors ys classical, countsy-or jazz. Witness the incredible variety of musi Ifa non-musician starts questioning, “What tuning do you use2” then this is the end of the world for me. AS a musician, I want to make DADGAD completely disappear. | don’t want there to be any active consciousness of the particular tuning Lhappen to be using. And I certainly don't want my audiences tobe distracted by it, You have to play the instrument the music-not the tuning. And that'san ethic each of the fine guitarists presented here have ascribed to, as well DADGADis a tool to be used atthe service of the music. Its a tool that hes helped me to be identified, and to identify myself. Ie gives me confidence. But going from there, I still had to do my homework in arder to sound differently, and to find exiting colors, textures, and harmony, And as always, that’s an undertaking that is also going to include my will te be there, and not rest in automatic mode. How you think about these things 2s a musician opens and closes doors. Let me just say that I love DADGAD. | feel the same about it today as I did 25 years ago. Pierre Bensasaar ‘Chateau-Thierry, France, Janucary 6, 2000 Contents ee 615 James Earp tetwis 5 62> Laurence JUbeP Fountain Jumsing 10 8° Doug Smith the rose andthe Pea! 16 45 Bill Mize the siverpiume Wate 22 D> David Surette coast iocoast 28 “6° Eileen Niehouse cacians oun 85 67> Brooks Williams see cotze 37 8° Peppino D'Agostino wo noe 42 95 Adpian Legg cosings coy 49 4D; Phil Keaggy county clare 54 4.0 Pete Huttlinger vecurestancin 64 42 Pierre Bensusan rianorgan tir 68 ___vames Earp ~The Twins I sarted playing guitar in 1973, ater hearing a friend's rendition of Paul Simon’ Cathy's Song. clarinetist for seven years, immediately switched instruments, beginning a ifelong love affair withthe guitar By 1977,1 was so heavily into Leo Kottke that I went out and toughta Bozo 12-string | was also completely absorbed by the music of Bruce Cockburn, who was, and any all-time favorite songwriter, and a constim= rate artist, Throughout the ‘80s, 1 played electric gui- tar-infatuated with Andy Sammers and The Police-and fora time, the acoustic took a back seat 10 the electric guitar, and finally the guitar synthesizer. The real turning point for me came on the bee's of hearing Alex de Gr si’ Slow Cirdle album for the fint time. The power and orchestral quality ofthe sale guitar hit me hard, mach like Leo's work had in earlier guitar rekindled, | wife in open years, With my passion for acousti wrote an instrumental piece for cnttled Catherine (From the CD Rosewood). Incidentally it ended up garnering a semi-finalist spot ina national talent contest sponsored by a Noshville- based Christin label. After returning from the contest, hover | realized that the contemporary Christian _music industry was not very big on acoustic guitarist, and that no Christian labels wore really interested in the Kind of music that I played. Undaunted, however | knew that ny calling wes as an artist and writer, and I knew that I would find my audience later ina local dub [heard a guitarist playing in DADGAD, sla Michoel Hedges. ‘This inspited me to go home and write a picce in the tuning, but soon found that it was affording me nothing further to say. It wasn’ uatil my good friend Joe Mersch-the engineer for Rosewood-performed « Pierre Bensusan piece for me that was entitled Le Voyage Pour Lirlade, that the light came on. That tune devastated me, and DADGAD becamea permanent part of my musical vocabulary I started to write, and the music just kept coming, Harmonically, BADGAD is wonderfully rich, and extremely divers. It sa joy todo 45-minute set of material of consider able variety, ard never have to rene! [find that it allows For tonalities that are somewhat different than those generally hard in the standard country ancl blucs-hased stylings of traditional “American” acoustic guitar. Neo-classial, Celtic, ethnie,and modal idioms scem to flow rather effortlessly from it, possibly because of the 2nd between the Gon the 3rd steing, and the A on the 2nd. Finally DADGAD allows me to speak a language that is quite personal and close to the heart, Solid Air Records-afiiae artist Jim Earp is an award-winning guttarist and singer/songwriter, His solo instrumental CDs Rosewood and Smiles to Go can be ordered through Solid Ai 44745, For correspondence andlor information on other merchandive, please write: Jim Farp, PO fox 16284, Sin Diego CA Records at http://www.acoustiemusieresource.com, or (80D) 649- 92175, E-mail hin a [email protected], or visit his website at ww. guitar9.com/tosewoodLhuml. The Twinsis from Earp's 1996 CD Rosewood. -5- DADGAD Jim Eap Capo Ist fret ‘CL 9LROE IE ED Used by permission, All rights reserved. -5- oo Fil ess ata. aoe 3s ountain Jumping This tune has a slightly swung “Ragtime” feel, and is an example of a DADGAD composition in the Key of F major. ft presents that key's primary chords over an alternating bas groove, interspersed with ringing, hap-like fins. DADGAD, by virwe of having 99 strings, Gand A, tuned a major second apart allows for melody notes to sound on adjacent stings creating groups of scale patterns thot can be allowed toring against each other Ts ‘cascading effec is sometimes refered toby the term "Carri "as it duplicates the sus tain that that is generated by acarrillion of hhand bells, for example, The challenge isto practice making smooth transitions from the ‘open and ringing texiure to the snappy and muted phrases. Here are some right hand techniques to observe: I's appropriate to drop the right hand wrist and palm-mute the bas, ightly resting the heel of the hand on the saddle, The walkups and walkdowns can be played. from this position by strings by snapping up the thumb érom underneath the string, the hand tucning toward you as you doo. I find myself resting the side of, ‘my thumb on the guitar top when I do it. The melodic lines, however, should be allowed to ring as long as possible, especialy the “carillion” runs in measures 23, 52-55, 62-63, nd should be excewied with a slight arch to the wrist and with minimal foreurm, iveight on the bass side of the lower bout, Playing in this fashion with maximize the openness of the guitar sound, Some general notes for the left hand: Keep the elbow out and loose, as there is alot of left hand movement, The thumb should be centered on the back of the neck, particularly at measures 17, 23, $2 and wherever else the strings need toring agsint ‘each ether. Remember, aways practice dovly and dynamically-thats the way to build strength. confidence and speed. Video pe formance & analysis of this composiiion isavailable on my CADGAD instructional tape released by Homespun Tapes, Asa solo artist, Laurence Juber has enjoyed a prolific career. A mative of London, Juber entered the music business in bis eens aind quickly established himself as an accomplished and versatile musician. In 1978, Jeber joined Paul MeCartney’s Wings os eud guitarist. He recored and toured with the group for three years, earning rave notices for his work on the ht singles Goenight ‘Tonight andl Coming Up, and on the album Beck to the Ege, winning a Grammy for Best Rock Instrumental for the track Rockestra. He has since worked with two other Beatles, George Karsison end Ringo Starr in addition to The Monies, Air Supply Paul Willams, Belinda Carlisle, and Al Stewart, among other. Juber has also become Hollywood's frst call fingerstyle guitarist; his playing being heard oa soundtracks ranging from Diny Dancing o Goed Will Hunting bis solo work is showcased in numerous CD releases, including Mostic, LJ, Naked Guitar Solo Fight, Winter Guitas ind TV shows from Home Inpproventent to 7th Heaven, Groovemasters Volume 1 (Acoustie Music Resource/Solid Air Records), and in his Narada debut, Altered Reality: “To discover mare about Laurence Jaber, visit the websites www laurencejuber.com and www.acousticmusicresource com. Call or write Acoustic Music Resource, (500) 649-4745, 1610 Crestview Ave, Seal Beach, CA. 90740, Fountains Jumpingis from Laurence Juber's 1999 Narada release Alvered Reality. -10- ____ Laurence Juber fountain Jumping Tuning: DADGAD Laurence Juber mo (Tetd, cLermiva al ‘Composed by Laurence Juber, Published by Amida Music, Inc. (ASCAP)/Juber Music (ASCP), From Narada album Altered Retlity, (p) 1999 Narada Productions, Inc. All Rights Reserved. Used by Permission. -11- =12- =13- -14- =~ € NOSE and Ne rear ‘This piece isa tribute to my grandmother, Rosa Peatl Smith In her house she had a beautiful upright piano that we ll used to gather around, so this tune is sort of “pianistic” The two elements in the A section are like two hands on a piano keyboard. The piece is built around the opening phrase, which continues at measure 5, when the main melody comesin. These two elements should be distinct, with the notes of the main melody brought out, or played louder, and the opening phrase continuing asan undercurrent. The whole tune should be played as smoethly and with as much sustain as possible, as Grandma loved pretty music, | hope you'll enjoy it. Nationally recognized acoustic guitarist Doug Smith weaves together folk, classical, jazz, and contemporary forms intoa unique, flowing, fingerstyle, as heard on his new CD Alone At Last, and bis earlier albums Deep Heart, Order of Magaitude nd Labyrinsh, with musi recalling the playing of Chet Atkins, Leo Kettle, Michael Hedges, and Alex De Grassi. Doug has studied piano and guitar since childhood, ultimately majoring in classical guitar at Cal Srate Fullerton, After hear- ing John Renbourn, he switched to stesl-string guitar, His music has been heard on radio and TV stations throughout the country, including The Discovery Channel, CNN, TNN, ESPN, and Encore, He also played guitar on the soundtracks ofthe movies Moll Hands and Twister Doug isa well-traveled performer, having served as the opening act for such musicians as Liz Story, David Lana, Strunzand Farah, and Richard Elliot, as well as performing solo in various venues and festivals arouné the country, including The Great ‘American Music Hall and The Freight & Salvage in San Francisco, and McCabe's Guitar Shop in Santa Monica, California Besides his solo albums, Doug has contributed to several of American Gramaphone’s popular DayPars series: Sunday Morning Coffe, Dinner. Romance, and Sunday Morning Coffe I. He hasalso been featured on KINK-FM’s Light's Out IH. & Wa benefit for the Oregon Food Bank. And he has been featured on the rationally syndicated radio shows Echoes, West Coast Liss and River City Folk, Doug curcently resides in Portland, Oregon, where he teaches and performs. For information on his music, and booking, write to him at Doug Smith Musie,717 SE 60th Ave. 47, Portland, OR 97 You can order his CDs from Acoustic Music Resource, (800) 649-4745. For those online, visit Doug's website at http! /avwv:doug- omith.findhere.com, DISCOGRAPHY/RESOURCES: On Honest Records: Deep Heart, Order of Magnitue, and Labyrinth. On Solid Air Records: Alone a Last. Rose and Pear is from Doug’ 1995 CD Deep Heart -16- — Doug Smith the Rose and The Pear! DADGAD Doug Smith Capo 2ne fret J Se e. PTET Om ppm oe r | a SSS (a, f — Copyight © 1995 Doug Sith; ROLE, Msi (Al Rights Reserved. Used by Pemisson afr -18- op T =19- ToCola DS. al Coda 9 -20- ? ht nd tne) of -24- Z ilverplume Wa The Silverpiume Waltz was written by ine Duisit, and was featured on ig by the Fine Acoustic Band, I was immediately taken by its beautiful, lilting feel and delighiful melody. In the mid ‘80s, [ was given the opportunity by Windham Hill Records to record The Silverplume Waitz for their Guitar Sampler. Two years later, | re-recorded a different version for my first solo CD, Sugarlands. ‘This arrangement employs the use of artificial harmonics on the third verse. The technique involves muting the string with the index finger of the picking hand twelve frets from where the now fretted with the left hand, The string is light'y picked with the ring or middle finger of the right hand, Bill Mize is a former Winfield winner and guitarist extraordinaire who hails from the Smokey Mountains. His original compositions and arrangements are universally popular with fingerstyle players. For more information, ot to order Bill's CDs, write to him at Moon Pie in the Sky, P.O. Box 4519, Sevierville, TN 37864. Recor DISCOGRAPHY/RESOURCES: On Windham iuitar Sampler. On Moon Pie in the Sky Music: Sugarlands, Tender Explorations, and Coastin’. His transcription book/CD Tender Explorations is available from John August Music (800) 664-8482, =22- Bill Mi DADGAD Lorraine Dutsit Capo 2nd Fret arr. Bill Mize devs Al Rights Reserved. Used by Permission, -23- = ? fn Gag fan pe =24- -25- =26- -27- -28- javid Surette oast to Coast Coast to Coast is one of the first DADGAD. instrumentals that I wrote, [was frst introduced to the tuning around 1982 through Pierre Bensusan’s fist album, Prés de Paris. Ye it wes only after listening 10 the record extensively for several months that thought about trying the tuning myself. When | finally did | found it to be both very accessible and inspiring, and T soon discovered that many of the British, Irish, and Breton guitarists whose playing admired also used it ye since continued to we DADGAD ‘extensively, and I now use it more than any other tuning, save EADGBE.I believe itisespecially versatile, as I've come up with arrangements and compositions in the keys of D, Dm, G. Gm, A. Am, and Bm. I've abo explored twe other related tunings, both of which feature a suspend: ed 4th-DADGCD and EADEAE (occa- sionally reerted to a8 “Sawmill” or “Mountain Minor. and “Scottish pipe tuning’) ve stuck with standard for d= dle tune accompaniment, however, which makes mea bit of an oddball in Celtic iusiccieles,as most players seem to have taken to DADGAD. Coast to Coust was written sometime in‘86 or'87. Itwas inspired by the movem immigrans lives, as they crossed the Atlantic to settle here yeas ago. Here in New England, our musical traditions owe much to Irish, Scottish, and French roots. and thisis my homage to them, its aso a less conscious nod to the influence of Pierte Bensusin, ‘whose music f stil love afeer having been turned on to DADGAD y nt of music, as well as other elements of sare ago, Long known as one of New England's finest acoustic guitarists, David Surette is starting to gain wider recognition for his critical- Jy acckimed solo recordings Trip te Kemper and Back Ronds In addition to his solo performances, Surette has worked since 1988 with Susie Burke, a wonderful singer of contemporary folk. He's also in demand as a studio musician and free-lance accompanist, ‘working with nationally known acts such as mandblin virtuoso Peter Ostecushko, guitar champ Harvey Reid, and irish fle master Martin Hayes. Inaddition to performing and recording, Surette maintains an active taching schedule, and is head of the folk depactment a the Concord (NE) Community Music School. He was awarded an NEA travel grant in 1994 to study the traditional music of Britany, France,and was a 1993 recipient of an Individual Artist Fellowship Award from the NH State Council on the Ants. He has released two albums on the Madrina Music label and has authored a book/CD of Celtic guitar arrangements for Joh: August Music,emttled Dow the Brae. For more information on David Surette, contact Portsmouth, NH 03802, DISCOGRAPHRY/RESOURCES: On Madrina Music: Trip to Kempor and Back Reads, His Book/CD Dow te Brae ia avail sble from Jobin Augast Music, (800) 664-548: Coast to Coast i from David's CD Back Roads. at: (207) 384-8151, or write 1o him at Madrina Masic, PO. Box 4225 -29- DADGAD David Surette d=10 Copyright ©1995 David Sareite Used by permission. Allrights reserved. -30- -31- ni Repeat Meas. 56-62 wat ot dew os Repeat Meas. 66-72 (2x) eI Sil II) aT ei wi a sil) ~ “ol } shh : Repeat Meas. 39 arolans Draught 1 vas raised in the Irish community in Denver, attending wakes and finerals at an impressionable age, and falling aseep at Irish partes while grown-ups fiddled and sang. By the age of 12, Thad been to Ireland vice, visiting my Mother’ family in Ireland. During the “folk seare” of the “Os, met and fel in love with the guitar, and became pretty good blues and ragtime plyer. Leven played mandolin in aJocal Irish band, butit wasn't until heard Pierre Bonsusans Pats de Pars that I realized I could play Irish music on guitar. then tuned my guitar toDADGAD, sole my violin, and never Looked back. Subsequent to that experience, spent quite afew years phying backup, occasionally fingerpicking Irish tunes, bur it wasn’ until'94 that I got serious about sole gui- tar Since that time, the other members of the Mother Felkers (a Denver-based yearly ga athering of female acoustic musicians) have come to realize that { have learned to play music other than Irish in DADGAD. Teurrently tesch DADGAD classes through the Masic Association of Swallow Hill, and love it, Many of my students have become blocked, or bored, or both, with standard tun- ing. My response has been to ty to wavaken their sense of adventure and excitement about guitar. There are no rules in DADGAD-no limits o the creativity they can unleash, and no chance that they'll end up sounding just ike everybody ese Currently, am Istening toa lot of pipers, most notably Liam O'Flynn and Davy Spillane, My challenge is to make pipe tunessound at home on guitar, yet stil have that Irish fel. ama alseays Binding new ways to ornament notes and translate shurs and triplets to guitar. The great fun is finding ways to fit guiter techniques unique to DADGAD into the music. earned Carelan’s Draught from a De Danaan recording, Al the end of each A part is amoment of silence that [fst felt 1 should fil, but now consider integral, as nothing rings ike DADGAD. In the B section, there isa down-scale run that has a big, part or my right hand ring finger to pkey; it aso has a wonderful workout for my thumb in the final phrases, This arrangement was a good challenge to me to get my fingers working independently. | Hope you'll enjoy it! Eileen Nichouse isa performer and teacher in the Denver, Colorado area, Her CD, Mad Grace, is available for $1650 at: Eileen Nichouse, PO Box 12223, Denver, CO £0212-2229. You may also contact her at eileen [email protected] Carclan’'s Draught is from Nichouse's CD Mad Grace. ~35- Eileen Niehouse Carclan’s Draught = DADGAD Turlough O'Carolan Capo Sth fret arr, Eileen Niehouse D.C. al Fine (1st 8 2nd Ending) Copyright ©1993 Barbh Music. All Rights Reserved, Used by Permission, -36- rooks Williams Clore LOTEE [first became acqusinied with DADGAD while listening to Pierre Bersusan’s records, and later, from groups lke Nightnoise and singer- songysiters ike Paul Brady. composed Before Coffer while thinking bout the anticipation T feel ‘when waiting for that first cup of coffse of the day (true caffeine addicts will know what mood T'm going for). Its meant to be approached whimsical Posh and pull agains the time signa- ture, eile eoping steady time on the repetitive phrases (the head), and letting the single note riffs slow coven, and speed up asthe mood strikes. Since 1990, guitarist Brooks Wiliams hhas been touring clubs in North America and abroad, plying such major festivals as Newport, Rellast, and Winnipeg, and inga devoted fellowing along the way, He has recorded sight CDs to date, and has been praised by the critics for his stellar guitar playing. Brooks taught himself to play guitar listening to rock records. “I had no idea they were overdubbing two or three different guitar partsy"he says. "I figured that what 1 was hearing was one guitarist playing all the parts at one time on one guitar ‘Thats what Lead to copy” Like his influences-Joseph Spence, Ernest Ranglin, Michael Bloomiield, and Boubacar ‘Traore-Williams’ music covers a stag- geting amount of ground. He ean go effortlessly from fiery latpicking to delicate Fingerpicking, to stinging side, to full-tlt rock ingeal in the course of one song. Brooks makes his home in Northamption, Massachusetts, For the latest information on his CDs or concert schedule or to coatact him via e-mail visit his web ste at http:/wwwebrookswiliams.com, DISCOGRAPHY/RESOURCES: On his own: Red Guitar Pays Blue. On Red Gultar Blue Musie: North from Statesboro and Hew the Night-Tinme Sings. On Green Linnet: Eack to Mercy, Inland Sailor, Knife Rage, and Seven Sisters. On Signature Sound Recording: fim Henry + Brooks Williams: Ring Some Changes, Litle Lin, and Hundred Year Shadow. Before Coffe is from Brooks’ 1992 releose Back 9 Mery, available from Green Linnet Records at (203) 730-0333. Write to them at 43 Beaver Brook Rd, Danbury, CT 06810. -37- DADGAD ir Copyright ©1992 Red Guitar BlueMusic (BMD. ‘All Rights Reserved. Used by Permission. -38- o 8 play 3 times 3 epee EE “ROE 5 5 ; = Opt -39- Repeat Measures 25 thr 31 oy =40- -H- y No This arrangement of Why Not has a stiong “sing” feel, Occasionally I damp the bass with the palm of my right hand to emphasize the chrthm {see measures 90 through 93), Pay «lose attention to the left and right hanel fingering throughout the entice song, but especielly on measures 99 and 109. Also notice that | play the bass line with my right hand index finger on measuce 101, while holding the bent note on the 2nd string Whew I play this tu ‘le egg-shaped maraca) in the palm of my right hand to mimic the sound of the brushss playing on a snare drum, while simultaneously playing the melody: You can sce me perform this tune sol on my instructional video The Guiter of Peppino D'Agostino (Homespun Tapes), or The Ali Star Guitar Night (Homespun Tapes). The main thing to kesp in mind while you play this tune asa solo piece sto forget that youre holding the chicker shake. Your right hand should maintaina typical lassical postion so that your fingers are curved and close to the strings 1 solo picce,1 hald a "chicken shak” (a li- lt’sbeen twelve years since guitarist Peppino D’Agestino immigrated to America to pursue his dream as both a composer and performer. Those carly day sand vegetable seller) in Son Francisco now seem far behind him. a sruggling stecet musician (and sometimes house painter The adventurous gultarst has since elased four ecally acclaimed albums in the US,and two in Europe. Maintaining a busy touring schedule, D'Agostino has gigged at such venues as Carnegie Hall, \Wolfimp, and the Vancouver Festiva, where he's shared the stage with such noted guitaists as Leo Kottke, Dee Watson, Chet Atkins Laurinds Almeida, Michael Hedges, David Bromberg, David Grisman, Join Lee Hooker, and Egberto Gismant Recent years have been full of professional satisfactions for D'Agostino. In 1987, Warner Bros. published the long awaited songbook Acoustic Guitar, containing some of Peppiro’s most well-known corapositions. Within a few months, Pepping wrote, composed and proxluced a soundtrack for a feature-length Ialian movie entitled Ardena, This new and exciting musical adventure started in Rome P wg ‘where Luca Barbaresch, the ltaian diretor, attended one of Peppino’s performances, Captuued by the memorable and pessionate melodies, Luca decided to contact Peppino # few months later to ask him to compose the soundtrack, The distinguished Italian lbel New Sound Multimedia then released the CD Arden, which contains the entire soundtrack. Peppino feels fortunate to have been given so many opportunites to express himself musically. He continues to expand his musical horizons, and to stretch the limitations ofthe guitar. The adventure that Peppino started many rots ago in Ialy as aboy strumming his first chords on an old guitar continues today in Armerca,as he searches for the balance between virtuosity and finesse and refines his persoval ical approach that is reminiscent of his Mediterranean heritage. “To order Peppino’s CDs. or for booking information, write to him at PO. Box 1656, Benicia, CA 94510. You can fax him at (707) 147-50 ‘or e-mail him at [email protected]. DISCOGRAPHY RESOURCES: On Drurns: lrba. On Lizard: Si arud Ste. On Schanachie: Acoustic Spirit end Sparks, On Mesa/Bluemoon: Clove to the Heart and Venus Over Venice. On New Sound Multimedia: Antena, L1sola Che Now C'E: On Acoustic Music Reconds: A Glimpse of Times Past. His books inchude: New Acoustic Guitar, available from Warner Bros. at (800) 327-7643 for 24,95 (plus $5.00) shipping and handling, and Motodo per Chitarra Flapicking Country Bluegrass (Berben| Videos: The Guitar of Peppino D'Agostino (Kiomespun Tapes) and AllStar Guitar Night (Homespun Tapes), bath of which are avaiable from Homespun at (800) 33-TAPES, He also has authored Fingerstyle Guitar Vol. 1 & 2 (Mel Bay Publications) aveilabl from Mel Bay at (800) 8-MELBAY. Why Not is from Peppinio's 1994 CD Close tothe Heart (Mesa'Bluernocn Records) =42- _____ Peppino D'Agostino Why Not? DADGAD Peppino D'Agostino J 200 ight ©1994 Peppino D’Agestino. AIL Rights Reserved. Used by Permission. =43- f —s (ote: meas, 67 trough 70 are played only on the repedi,) fe =45- all C Fi ge =}— see§———y 1 rattt rrTe rrr, tree eT = 48- oging’s Glory I got the idea for Caging’s Glory along time ago fom an ol-time banjo fraderby the name of Don Coging. He sported great lft hand hammer onsand pull-offs ard he possessed a wonderfully percussive technique that allowed bis banjo to stand alone, yet fel complete ‘his tune is devoid of drop-thumb. There's no shor: high string on thebas sie ofthe guitar neck, but an approximation ofa drop-thurnb rai its head in measures 1 and 3 in section D. If you're used 10 regu- laralternating thambpicking you might teip up abit here, asthe thumb is thrown off on the of-beat. ‘The frst four burs arean introduction, This passage i exible; treat itfreely,and lengthen it if you need more time to get attention. Sections A, B,C,and Dall repeat, incuding the ietemnal repeats, and coustitute what might be ealled a verse. The recording contains two verses, middle, and verse again, The end tag simply repeats the as lire, Inthe lst verse, extend the fist attack of every two bars to indude a fall whack om al the strings. You'l also notice pulls here and there in the recording, where 4 haltasgueado leads in from the last beat ofthe preceding bar tothe actual first finger hit on the on-beat. For the sake of clarity haven't written them out All right hand strokes ae on the back of the fir finger-nail, unless otherwise indicated fprecticing this piece makes you sore, you can substitute the buck of the mide finger nei. W's 4 good idea to learn to-do that any- ‘way in case you have anal pair on one night that catches poorly. You can see these strokes are very much on the or-beat; other notes are covered by left band hemmer-ons or pull-off This is what gives the pice its solid rhythmic quality. | damp with the hee of my right hand in this piece. If you exe your right hand up so the hes hits the bige asthe back ofthe nail hits the string. the bridge can receive quite a beating. ‘Also watch the sum withthe back ofthe right hand lite finger across the treble strings during the midele section. This is simply togeta different tonal color to an off-beat rhythm chop where the on-beat meéody notes ae pitched very close; the pinki will hit lighter and closer tothe bridge. You may find other places where you prefer this tone o using the other mis or you may lke it o color a repeat a lie diferent, The ite half-rasgueado in measure 2 of the middle section isan example of how the beat can be palled a Title Finally you can phy thison pretty much any weight of strings if your harmer-ons and pall-ofs are in shape Have fun! [Adrian Leggis one ofthe most enigmatie guitarists, songositers, and peeformers on today’s scene, Seamlessly blending fell, country, 22 and wit to boot, heis one ofthe most excling guitarists to witness. He has gi publiationsin the busines, and has amased numerous awards, among ther Guitar Players coveted Best Acoustic Fingerstlit forthe e018 1995 through 96, For more information on Aérian’s touring schedule and ltest news call toll-fee (800) 695-4687, or write 10 Legghsads International clo Hasselberger Associcts, 112 W, Broad St, Burlington, NJ. 08016, Those online can aso find out more about Adrian at htp:/twww.e.ac-uk/mnpwrow/ Lege, DISCOGRAPHY/RESOURCES: On Relativity Records, he has released Guiters and Other Cathedrals, Gitar jor Mosta Mrs. Gis’ Ble Walz. Wine, Women, ¢ Waltz, and High Strung Tall Tales. On Red House Records, he has released Waiting for « Dancer and Fingers and Thunb. For information on Adrian’ instructional videos Beyond Acoustic Guitar, contact Hot Licks a (800) 388-3008 Lege’s most recent video (1999), How 19 Cheat at Guiza, isavailabe from Homespun Tepes, (€00) 33-TAPES. Cogings Glory is from Adrian's 1992 release Guitar for Mortals, andiis avalable from Hasselberger and Associates at (609) 386-0749. You can fax them at (609) 385-0749. nered accolades from some of the most prestigious music = 49- DADGAD ‘Adrian Legg, Jecao = « « oo. Copyright ©1992 Advan Less Used bY permission Al sighs sve. =50- -51- DS. al Coda ounty Clare (Over the years, I have found DADGAD to lend itself to a great variety of musical possibilities. County Clare is, in a way, a little brother to County. Down, which was recorded on my Beyond Nature album in 1984, Courtty Clare’s tempo is similar to that of Canty Dawn, and the style is deliberately familiar. When I was asked to put a piece together for this, project, this tune came out very naturally and quickly. The intro is played in a standard D position at the 2nd fret, giving the song a 7th feel, The piece starts slowly, then gradually picks up in tempo, as does County Down, There is, | hope, an Irish flavor to the piece-hence the title. incorporate left hand pull-ofis dusing the main theme, and right hand tappings on the lower strings. | play fingerstyle throughout, spicing it up at points with some runs and string bending, The performance isn't preci ; Twas going for the feet thing. Enjoy! Phil Keaggy is a legendary guitarist, composer, songwriter, and recording artist. Author of some of the word's finest acoustic work, Keagg} DISCOGRAPHY/RESOURCE also a dynamic performer. : Among Phil’s numerous CDs are Wind and the Wheat, Beyond Nature (Myrrh), and Acoustic Sketches and Ox the Fly (Canis Major). Some of his finest acoustic moments are cap- tured in the tab books Acoustic Soles, and Acoustic Sketches. His videos include Pil Keagey-Electric Guitar Style and Phil Keagey-Acoustic Guitar Style. All of Keaggy’s products are available from the PKC, (800) 664- 48482. For further details, interviews, and sound files, visit Keaggy’s website at http:/fwww,philkeaggy.com Couuty Clare was composed exclusively for this project. -54- ____ Phil Keaggy county Clare DaDGAD J, Phil Keaggy Copyright ©1998 Phil Keaggy Used by permission, All rights reserved. =55- T| | | ad||finie aH} L ws [line ||| ( | ane ah || +) ie 4 sp [fen / os | &. | | z lig 9 BBs 9 eel ae oy). UN Balla tel Jo Hl | ||| ole THe Sg | | 5 a fe g Is 7 | Pe a -56- -57- eho eh rigs wth Jerrnpi hind den fer mote I ch BP , b ~~ SSS SS SSS "ESE SRRTER OF FEE EPTFE es * Repeat Meas. ‘89 thru 94 -61- — = Se = E t ae 7 p B f aa D he p cai p i cE T = fa ———=" ay] si] ddd, FEET So ~~) [re prs ss “F EPELERERErY GPF PRP Se fF Ef ephty pe J =. BErFHEPPPEEEE 239 9- Se £8. $ = = é AS Ss eee ta et oe te ar :

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