Mel Bay Complete Celtic Fingerstyle Guitar

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9780786634330: Mel Bay Complete Celtic Fingerstyle Guitar
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The ancient Celtic repertoire offers the fingerstyle guitarist a tantalizingly wide range of moods and emotions from sad laments to lyrical ballads to vibrant dance rhythms. This collection presents a vast array of fingerpicking guitar solos settings on timeless airs, hornpipes, reels, planxties, set dances, jigs, slip jigs, marches, songs and compositions by the renowned 17th century blind Irish bard, Turlough O'Carolan. The solos are in varied guitar tunings and are presented in notation and tablature. Performance notes and suggested listening guides are also included. ***27 songs from this book are on the CD.

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About the Author:

Stefan Grossman has been recording, performing, and writing about acoustic fingerstyle techniques and styles for more than 30 years. At age 15 he started taking lessons from the legendary bluesman the late Rev. Gary Davis. He also learned music from records by Brownie McGhee and Lightnin' Hopkins. When Grossman was 18, he formed the Even Dozen Jug Band with guitarist Steve Katz, harmonicist/singer John Sebastian and pianist Josh Rifkin. The group recorded the LP Even Dozen Jug Band [out of print] for Elektra in 1964. At the same time, Stefan became more interested in his work as a blues researcher. During the period from 1965-1975 he studied and traveled with some of the legendary figures in the world of blues guitar-- Skip James, Mississippi John Hurt, Son House, Mississippi Fred McDowell, and other great black American bluesmen and songsters. From this experience Stefan authored his landmark five-volume series for Oak Publications that presented these styles to pickers worldwide. In 1973 Stefan co-founded Kicking Mule Records to counter the shortage of good instructional guitar records and music. With a lineup of artists including guitarists Dave Evans, Ton Van Bergeyk, Happy Traum, Duck Baker, Bert Jansch, John Renbourn and Davy Graham, Kicking Mule has been instrumental in promoting and preserving the best in blues, ragtime, and contemporary picking. Stefan has played with bands all over the world and has recorded numerous CDs. He has also written many books that have been published or distributed by Mel Bay Publications. Duck Baker was born Richard R. Baker IV in Washington, DC in 1949 and grew up in Richmond, Virginia. His teenage years were devoted to playing the rock and blues bands before becoming interested in fingerpicking in local coffeehouses. Ragtime pianist Buck Evans was a major influence on Baker's developing interests, which by the time he moved to San Francisco in 1973 included rags, blues, old-time country, Cajun, bluegrass and New Orleans jazz. This variety inspired the title of his first solo record, There's Something for Everyone in America, in 1976. During the next four years, Baker recorded four more solo records, including one devoted to swing, one to modern jazz and one to Irish and Scottish tunes, and appeared on nine others. He also wrote a book of fiddle tune arrangements and toured incessantly throughout America, Canada, Europe and Australia. He changed address almost as constantly, finally winding up in Europe for most of the '80s. He returned to San Francisco in 1987 and finally to Virginia in 1991. Most of his more recent solo recordings have featured his own compositions, an aspect of his work that has drawn particular praise from other guitarists. If Baker's insistence on studying and performing so many facets of folk and related music, from medieval European carols to avant-garde jazz, have made him somewhat difficult for the press to categorize, he certainly has earned the respect of his peers. A check list of musicians with whom he has been associated professionally (in performance or on records) would include blues man Charlie Musselwhite and Jerry Ricks, bluegrassers Tim O'Brien and Dan Crary, traditionalists Ali Anderson and Brian MacNeil, new music icon John Zron, rock legend J. J. Cale, and jug band king Jim Kweskin. Duck Baker has been a seminal figure and influence in the bringing of Irish traditional music to the guitar. Baker is one of those rare musicians who doesn't draw upon the repertoire of his chosen instrument for musical raw material, but rather finds ideas in the broader musical stream, and shapes them to the sensibilities of the guitar. From the application of that talent comes his acknowledged success at translating Irish fiddle, pipe, and harp music for the guitar. His memorable but not widely distributed 1980 album Kid on the Mountain outlined a stylistic approach t

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