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CDCONTENTS Ш Andrea Benzoni Amico Mio .................. """""""""""""""."""""" .. (2:49]

Ш Michael O'Dom

Ш Tommy Emmanuel

[]] Larry Pattis Karla's Song """""""""""""""""""""""""""""". [4:13]

Son of а Gun """""""""""""""""""""""""""""". [2:02] Ш Jody Fisher Тhе

Spirit of Brother Marcel """"""""""""""""""""". [2:23]

[2] Bill Pibum Only Му Heart (performed Ьу Tommy Jones) """". [3:43]

End of the Beginning """""""""""""""""""" [4:02]

Ш Michael Fix Stringin' the Blues """""""""""""""""""""""""" [2:18]

[Q] Preston Reed

Ш JimGoodin

[IJ Colin Reid

Accufuse """"""""""""."""."""""""""".""".""". [3:00]

Celtic Overs """""""""""".""""".""""""""""""" [4:37] Ш Lars Johansson Temptation Rag (Henry Lodge 1909) """"" .. """"" [2:43]

Clover """"""""""""""."""".""""""""".""""""" [3:41]

[!II

Rick Ruskin Тhе Retum of the Flute""""""."""""""""""""""" [1:59]

1 2 3 4 5 6 7 8 9

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©2001 ВУ MEL ВАУ PUBLICATIONS, INC., PACIFIC, МО 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. В.М.1. MADE AND PRINTED IN U.S.A. No part of this puЫication may Ье reproduced in whole or in part, or stored in а retrieval system, or transmitted in any form or Ьу any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the puЫisher.

Visit us оп the Web вt www.melbay.com - E-mail us at [email protected]

;"/н4'tеа '2l~ ............................................................................................................................................... 5 Amico Mio - Track 1 [2:49]

7~&~ ......................................................................................................................................... 9 Son of а Gun - Track 2 [2:02]

flЩ"?~

...................................................................................................................................................... 11

The End ofthe Beginning-Track 3 [4:02]

~ "?t.t= .................................................................................................................................................... 23 Stringin' the Blues -Track 4 [2:18]

...................................................................................................................................................... 29

fltиet;.~ Celtic Overs -Track 5 [4:37]

~aufl~

.............................................................................................................................................. 31

Temptation Rag (Henry Lodge 1909) - Track 6 [2:43]

~()~~ ........................................................................................................................................... 43 Spirit of Brother Marcel - Track 7 [2:23]

~~ 'i1'4Ш4- ................................................................................................................................................... 47 Karla's Song -Track 8 [4:13]

"2ldt 'il'~ ...................................................................................................................................................... 53 Only Му Heart (р erformed Ьу Tommy Jones) - Track 9 [3:43]

'il'~ 'i/i?ed. .................................................................................................................................................. 61 Accufuse - Track 1О [3 :41]

(3,tJ.tt,e 'i/i?e.td. ....................................................................................................................................................... 69 Clover - Track 11 [3 :00]

'ili?~ 'ili?~ .................................................................................................................................................... 75 The Return of the Flute - Track 12 [1 :59]

2

Introduction and Ackno wledgments Ву

accident and intent, volume two of Mel Bay's Master Anthology of Fingerstyle Guitar Solos presents an intemational collection of twelve pieces Ьу both relative newcomers and seasoned world class performers. This eclectic group of compositions should appeal to players and listeners alike, Ье it country, Ыues, ragtime, jazz, Celtic, or gorgeous ballads that suit your fancy. It will require serious practice for most guitarists to master these tunes, but the rewards should Ье commensurate whether you play strictly for your own enjoyment or make your living in whole or part as а guitarist. 1 owe а debt of gratitude to William Вау and the staff at Mel Вау PuЫications for their support in executing this project as well as to Jim Ivler, Dan Libertino, Mark Pritcher, and particularly Bill Pibum who did the bulk of the transcriЬing and music editing for this book. While 1 don 't mean to slight the players who were ready and аЫе to transcribe and notate their own music, it is often the sharp еуе and ear of the transcriber that must Ье credited for bringing guitar music to light. Special thanks to Tommy Jones for his beautiful rendition of Bill Pibum's tune, Only Му Heart. It gave me great pleasure to work with the individual composer/guitarists in bringing this worthy music to press. Hopefully, it was а constructive leaming experience for all concemed. То those who purchase this collection and thereby demonstrate your trust in ту musical instincts and judgment, 1 sincerely hope you enjoy the music in this book and CD. Best wishes, Stephen В. Rekas Editor/Compiler

RespectfUlly dedicated to the memory of Chet Atkins 1924-2001

3

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4

Born in ltaly in 1961, Andrea Benzoni began taking private guitar lessons at fourteen and was playing in dance bands within two years. At eighteen he graduated from high school in the US and met Howard RoЬerts who introduced him to jazz. Andrea then spent а year in Paris playing music at the famed Hot Club of France. On returning to ltaly he studied classical guitar, piano, composition and electronic music at а conservatory in Milan. Andrea also studied jazz guitar with Tomaso Lama and fingerstyle guitar with Giovanni Unterberger, and somewhere in the mix, he found the time to study with Joe Pass, John AbercromЬie, Jim Hall, Joe Diorio and other outstanding guitarists. Andrea embarked on his solo career in 1998 creating а unique synthesis from various resources and styles. Не has worked as а studio guitarist, arranger, and producer and perfoпns in concert worldwide. Не also writes articles for Guitar Club and other guitar magazines and maintains an active teaching schedule. Andrea Benzoni endorses Lowden Guitars and J. Pears strings. Не has released several CDs.

In Мау о/ 1999 1 was playing in а guitar festival in Soave (Verona, Italy) where 1 had the chance to тееt and peiform with Тотту Еттапиеl. Afterwards, Тотту asked те how to say "ту friend" in Italian and 1 answered, "атiсо тiо." After the final concert, during the four-hour drive hоте, 1 was thinking about how lucky 1 ат to have the God-given talent о/ тusic. 1 was also thinking about two guitarists and friends who are iтportant in ту тusical life, Тотту Еттапиеl and Didi Maglioni- who played in а duo with те for few years. While 1 was driving, а тelody began to form in ту тind. Ву the tiтe 1 arrived hоте at 4 а.т., the tune was virtually finished. 1 took out ту guitar and there was Amico mio. 1 recorded the tune оп а Lnwden jazz тodel nylon-string guitar custoтized to ту specifications.

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Hailed Ьу Chet Atkins as "Without а doubt, one of the greatest guitar players on the planet," Tommy Emmanuel has electrified audiences from Steve Kaufman's diminutive Palace Тheater in Maryville, Tennessee to the closing ceremony of the 2000 Olympics in Sydney, Australia. Having concertized throughout much of the civilized world, this dynamic performer who, in his words "happens to Ье а pretty good guitarist," made his way to the faЫed competition in Winfield Kansas as а guest artist for the first time in 2000. Shortly before Tommy's performances there, parking lot pickers were said to have ceased jamming and moved trance-like in droves to а venue designed to hold perhaps 500, now packed with three times that number all to hear Tommy Emmanuel play an acoustic guitar ! Although he has acted as а mentor to а dedicated few young guitarists in his native Australia, Tommy seems destined to make his mark performing on the world stage. His impeccaЫe taste, flawless technique, and engaging personality have inspired fans and critics alike.

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This tune comblnes Atkins-Travis style thumbpicking with Lenny Breau-type pull-offs in the intro and ending. These elemeпts comblпed with the very f ast tempo preseпt а coпsideraЫe challeпge to the fiпgerstyle player. Тотту опсе called his good friend Will Ноlтап апd played this tипе over the рhопе for him. After heariпg it, all that Will could say was "Sоп of а gип!" providiпg the perfect title. Тотту has siпce dedicated the tипе to Thom Bresh. Iп

the iпtro, the cascadiпg pull-offs апd hammer-oпs lead to а rapidly arpeggiated Ет7 chord played Ьу with the thumbpick, index, апd middle fiпger апd theп pluckiпg апd brushiпg upward with the riпg fiпger from the first through sixth striпgs. The priпcipal theme at measure 1О is theп iпtroduced with а lightly muted 4 bar rijf based оп ап А chord. Small arr~;-vs iп the score indicate slight beпds and the letter "Т" iпdicates пotes to Ье fretted with the left-haпd thumb. The аЬипdапt horizoпtal left-haпd movemeпt throughout is iпdicated Ьу liпes trailiпg from affected пotes. pickiпg

Through measure 43, Тотту beats his f oot at four beats per measure but at measure 44, he shifts the feel to cut time with two "taps" per measure. At measure 52 he retums to а 4-соипt f or the third segmeпt of the tипе. Не theп plays the iпtroductory riff agaiп ( with а few miпute chaпges) at measure 56 апd theп races f or the finish liпe, agaiп with the priпcipal melody. Iп measure 72, it's back to the hammer-oпs and pull-offs leadiпg iпto the hamюпics iп measure 73. Тhеп, holdiпg his thumbpick like а plectrum, Тотту tears through the fiпish with ап iпcrediЫe eпdiпg. While this passage is written iп triplets, listeп to the song carefiдly and emulate the fluid way Тотту puts the пotes together. Wheп уои hit the last chord, уои too сап take а breath апd say, "Sоп of а Gип!"

9

Son Of а Gun

Track 2

Transcribed Ьу, Mark Pritcher

Tommy Emmanuel

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10

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16

Jody Fisher's multi-faceted career in.cludes all styles of music from straight-ahead and contemporary jazz to rock, рор and country. Working in the orchestra pit of many live shows as well as backing countless wellknown artists have also been mainstays of his experience in the music business. Jody has performed and conducted clinics throughout the United States, Canada and Europe. As an author, Jody Fisher has puЫished more than а dozen books and several instructional videos that are distributed worldwide. Most of these puЫications have to do with various aspects of playing jazz guitar along with several reference works. Нis articles have appeared in Guitar Player magazine as well as Fingerstyle Guitar and Just Jаи. Guitar. As а teacher, J ody was а professor of jazz studies and jazz guitar at the University of Redlands, the University of La Veme and the ldyllwild School of Music and the Arts, and has served as the associate director of the National Guitar Workshop. Jody Fisher can Ье reached via his website: http://www.Jodyfisher.com.

7~ &шt tlj tk ~~ The "А" sectioп of the soпg lasts for 21 тeasures (41, iпcludiпg the repeat). There are two iтportaпt to rететЬеr here: First, try to preseпt the тelody iп four-bar phrases, especially wheп playiпg rubato. Wheп playiпg iп tiтe, this seeтs to occur naturally. / should тепtiоп that wheп уои are leamiпg а tипе that уои рlап to play with а rubato feel, it is usually а good idea to leam it "iп tiтe "first. This will give уои the freedoт to iпterpret it апу way уои like later оп. Secondly, dоп 't таkе а Ьig deal of the dissonaпce iп the harmoпy. Play the chords smoothly апd do поt ассепt the "fиппу" iпtervals found iп sоте of the chords. Уои 'll waпt to approach theт as if they were the most пatural souпdiпg harmoпies уои could play - апd they are - wheп уои treat theт that way. lf they souпd а little straпge to уои, just give theт sоте tiтe. Sоте people пееd to "grow" iпto these souпds before they begiп to love theт passioпately. coпcepts

Sectioп "В" starts off usiпg а сотЬlпаtiоп of пatural пotes and artificial harmoпics siтultaпeously. lfyou have пever played artificial harmoпics before, уои тау waпt to explore this techпique before tryiпg it iп this piece. / play the harmoпic Ьу frettiпg the поtе with ту left haпd, тakiпg sure /'т pressiпg firmly and placiпg туfiпgertip directly behiпd the appropriate fret. Lightly touch the striпg at the fret twelve frets higher thaп the fretted поtе with your right haпd iпdex fiпger, and pluck the striпg with your thuтb. Maiпtaiп а good distaпce betweeп your index fiпger апd your thuтb. The поп-hаrтопiс поtе is siтultaпeously played with the thirdfiпger of the right hand. At first, уои тау fiпd that the поп-hаrтопiс поtе is тисh louder thaп the harmoпic. Strive to таkе the voluтe ofboth пotes ideпtical. The little тelody that occurs iп тeasures 3-4 апd 7-8 is based оп the augтeпted scale.

Utilize the sате natural пote/harmoпic techпique iп sectioп "С" with the additioп ofthe Ыиеsу third-fiпger bend iп each тeasure. /п sectioп "D," try тakiпg the bass liпe the тоrе рrотiпепt ofthe two parts. Give section "Е" а "classical" feel. / recorded this tune using а Кlein electric guitar with а chaтbered body. The Кlein is headless and has а zero fret. lt is outfitted with EMG pickups. The strings are douЫe-ball end GHS Booтers, 1046. / played the piece through а Fender Twiп атр.

17

~TrackЗ

The End of the Beginning

Transcribed Ьу, Jody Fisher

Jody Fisher

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18

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Noted for his two-handed tapping technique and а rhythmic approach to the acoustic guitar that doesn't obscure the other essential elements of music making, Preston Reed has been а major creative force in the acoustic guitar world for better than twenty years. Since his first album in 1979, he has issued more than а dozen recordings and several videos. While virtually any special effect or track can Ье added in the studio, in а Preston Reed concert, listeners often find it hard to believe that they are hearing а single player in real time. For Preston, it's all in а tune's work to create the illusion of а drummer, bass player, and keyboard player, not to mention more than one guitarist. Preston's early influences included John Fahey, Leo Kottke and jazz pianist ВШ Evans, but these musicians were not so much copied as emulated before moving on to uncharted territory. Preston studied classical guitar for а time but there is virtually no precedent for his first paid job as an accompanist to Allen Ginsberg at the Smithsonian Institute- at age seventeen. With this auspicious beginning, Preston worked hard to get beyond the traditional confines of the acoustic guitar and succeeded in coming up with а highly original' self-evolved style. Al DiМeola and the late Michael Hedges have described Preston as "phenomenal" and "inspiring." Preston's composition efforts extend beyond the solo guitar. Не has contributed to film soundtracks and his Groovophrenia, а four-movement suite for classical guitar quartet, was debuted Ьу the Minneapolis Guitar Quartet in September of 1999. Не also presents workshops in which he shares his technical innovations and discoveries.

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Accufuse is а rhythm-iпtensive fiпgerpickiпg piece iп drop-D tuпiпg featuriпg а thumb ostinato оп the bass lt is bothfип to play and а great workout for the left and right-hands. While employiпg conveпtional techпiques, it has very much of а two-haпded feeliпg owiпg to the frequeпt use of left-hand pull-offs апd hammer-oпs.

striпg.

Much of the movemeпt iп Accufuse ceпters arouпd the bottom three striпgs. At the end the piece орепs ир with cross-striпg runs usiпg а comblпation of right haпd pickiпg, thumb-chunkiпg (strummiпg the bottom strings aggressively with the thumb and immediately dampiпg them), left haпd pull-offs, and ореп striпgs. Until уои have achieved а level of comfort with the busy left-haпd, this piece should Ье played slowly with ап emphasis оп rhythmic smoothпess.

61

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Accufuse Preston Reed

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Hailing from Belfast, Ireland, Colin Reid launched his career with his eponymous debut album in January of 1999 on а)} unknown cottage industry record label called Veesik Records. Since then he has performed at many of the top UK Festivals and made successful debut tours throughout the UK, Spain, Australia, New Zealand, Hong Kong and North America.

sit and make that noise on а guitar thought 1 was blding behind it."

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Colin comЬines various styles including ragtime, classical, jazz, country and folk to create а music all his own. The seminal fingerstylist Bert J ansch has said, "Colin reminds те of myself and John Renboum fused together." Oddly enough, when that comment was made, Reid had only recently been exposed to the music of Jansch and Renboum. Astute listeners will likely notice the influence of Marcel Dadi (and indirectly, Chet Atkins and Merle Travis), about whose music Colin has said, "When 1 first heard it, 1 had no idea that one man could blmself. . . 1 wanted to get away from technology. 1

Seemingly too, Colin has few technical limitations. While he has done his homework, coming up through rock bands and then having studied at the Musicians' Institute in London, it appears as if his academic experience only helped him build up his speed and name the techniques he was already employing intuitively

Usually 1 play this with а саро at the secondfret,for по other reasoп thaп 1 like the sound ofthe piece iп that register. lt's а relatively straightforward tипе to play, albeit with а syпcopated melody, so hittiпg the right mood is esseпtial - slow and easy does it. The piece starts with а favorite of тiпе - the use of ипisоп пotes, iп this case the ореп top Е striпg апd the fretted at V, played together. Play the fretted поtе with the fourth fiпger, апd the rest of the left-hand fiпgeriпgs for sectioп А will Ьесоте appareпt. The right-hand should follow the "пever the same fiпger twice iп а row" rule. В striпg

Sectioп В coпsists of опlу the chords Ет and В7, with the melody оп the В striпg - simple is best. Play Ат at the fifth positioп at rehearsal letter С, and theп back to the begiппiпg. Тhе sectioп at letter D is а little trickier requiriпg as it does the use of three fiпgers and the thumb at the same time for the right haпd; the chord chaпges (Ат - F#(W), Ат - Ediт7) take а little gettiпg used to as well. The sectioп eпds with afretted/harmoпics G major at the teпth positioп. Letter Е is straightforward, 1 thiпk, with its use ofthe ореп striпgs апd siпgle-striпg melody. Agaiп, simple is best.

After all that, various sections are reprised - 1 purposefully didп 't retum to the it does reprise, it's а little like тeetiпg ап oldfriend.

wheпever

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© 1999 Colin Reid (MCPS). Used Ьу permission. All rights reserved.

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74

Rick Ruskin began playing the guitar in 1962 and in the span of just one year became а respected professional musician in his native Detroit, Michigan. In 1964 while still in junior high school, he was chosen to open the bill f or the Reverend Gary Davis at Detroit's legendary Retort Coffee House. This engagement resulted in а fast and long-standing friendship with the master Ыues, ragtime, and gospel guitarist. Rev. Davis was so taken Ьу the young Ruskin's skill and eagemess, that he invited Rick to spend that summer with him at his Long Island home. Ву the end of the summer, Davis stopped teaching Rick new material saying, "lt's time you started paying attention to your own music." Ruskin has Ьееn doing just that ever since. Rick has performed with J ackie De Shannon, Olivia Newton-John and Tanya Tucker and his music has been puЫished Ьу Mel Вау PuЫications, Fingerstyle Guitar magazine, and FRETS magazine. As а studio musician he has appeared on the soundtracks of AВC-TV's General Hospital and NBC's-TV's Santa Barbara as well as on the film soundtracks of Jeremiah Johnson, А Воу апd Нis Dog, and Kid Blue. Не composed the score for the American Film Institute's film, Gatlin and the Воу. In addition, Rick maintains а very active performance schedule in his adoptive home state of Washington and neighboring Califomia and has been an instructor at the Swannanoa Gathering in Asheville, North Carolina and at theAugusta Heritage Festival Blues Week. Не is an instructor and the former director of the Musical Arts Workshop in Seattle, Washington and а staff member at the Puget Sound Guitar Workshop. Rick has also served as the Guitar Workshop Coordinator for the Califomia Traditional Music Society's Summer Solstice Festival. То date, Rick has produced at least а dozen albums and several instructional videos.

" ... ln these days of all the high-energy slaps апd electronic effects, it is most rewarding to find ап inventive guitarist who сап deliver the guitar in the original steel апd wood sound... Amazing talent" -Victory Music Review

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