Guitar Educator Resource Guide
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Competition Rules and Regulations (Updated September 2019)
Competition Rules and Regulations (Updated September 2019) Category Guidelines: YOUTH - 15 and under ADULT - 16 and up Youth are open to perform in adult categories. Adults not permitted, other than as an accompanist, in youth categories. Categories include Fiddle, Banjo, Flatpick Guitar, Mandolin, Band, and Miscellaneous Instrumental Guidelines: 1. Fiddle - Contest is for traditional four string (five string is acceptable but not ideal), acoustic fiddles only. Standards such as “Listen to the Mockingbird,” “Orange Blossom Special,” or “Black Mountain Rag” are strongly discouraged. 2. Banjo - 4 and/or 5 string acoustic banjos okay. Standards such as “Foggy Mountain Breakdown,” “John Hardy,” and “Dueling Banjos” are strongly discouraged. 3. Guitar - Acoustic Steel String Guitars only 4. Mandolin - Acoustic Mandolins 5. Bass - Acoustic and/or electric basses allowed 6. Band - Must consist of a minimum 3 members. Band contestants are only allowed to compete in ONE band. Same song restrictions apply. 7. Miscellaneous - Any instrument not covered above, that is a part of the “bluegrass/old-time music family” - such as resonator guitar, finger-style guitar, spoons, jaw harp, mandola, bouzouki, accordion, other stringed instruments such as cello and viola. NO DRUMS NO SIX-STRING BANJO/GUITJOS Registration Guidelines 1. Contestants MUST sign in upon arrival at the judges table. 2. No contestant is allowed to register after a category is completed. 3. Judges are not permitted to enter or perform in any category. 4. Contestants must be ready and available to perform when their category is called. Failure to do so may result in disqualification. 5. Tuning, warm-up, rehearsal, or any other audible actions MUST be done away from the stage, active competitor, and convention audience. -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
7 Lead Guitar Success Secrets Click Here
7 Lead Guitar Success Secrets Click Here >>> (Video Course) - 7 Lead Guitar Success Secrets - (Video Course) 7 Lead Guitar Success Secrets Disclaimer and Terms of Use: Your reliance upon information and content obtained by you at or through this publication is solely at your own risk. The author assumes no liability or responsibly for damage or injury to you, other persons, or property arising from any use of any product, information, idea, or instruction contained in the content provided to you through this report. This information is intended for individuals taking action to achieve higher musical awareness, and expand their lead guitar vocabulary. However, I can’t be responsible for loss or action to any individual or corporation acting, or not acting, as a result of the material presented here. Reproduction or translation of any part of this work by any means, electronic or mechanical, including photocopying, beyond that permitted by the copyright law, without the permission of the publisher, is unlawful. Much effort has been applied to assure this report is free from errors. These proven lead guitar success secrets are the result of 25 years of lead guitar playing, and teaching. You’re about to learn 7 extremely effective Lead Guitar Success Secrets to quickly ramp up your lead guitar playing. In moments, I'm going to reveal 7 highly important lead guitar success secrets, and you're going to focus upon them quite possibly more than you ever have in all your years of guitar playing. Say goodbye to stale lead guitar playing, and hello to an injection of fresh horsepower. -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
Lead Series Guitar Amps
G10, G20, G35FX, G100FX, G120 DSP, G120H DSP, G412A USER’S MANUAL G120H DSP G412A G100FX G120 DSP G10 G20 G35FX LEAD SERIES GUITAR AMPS www.acousticamplification.com IMPORTANT SAFETY INSTRUCTIONS Exposure to high noise levels may cause permanent hearing loss. Individuals vary considerably to noise-induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise over time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures: DURATION PER DAY (HOURS) 8 6 4 3 2 1 According to OSHA, any exposure in the above permissible limits could result in some hearing loss. Hearing protection SOUND LEVEL (dB) 90 93 95 97 100 103 must be worn when operating this amplification system in order to prevent permanent hearing loss. This symbol is intended to alert the user to the presence of non-insulated “dangerous voltage” within the products enclosure. This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit. Apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. • The apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. L’appareil ne doit pas etreˆ exposé aux écoulements ou aux éclaboussures et aucun objet ne contenant de liquide, tel qu’un vase, ne doit etreˆ placé sur l’objet. • The main plug is used as disconnect device. -
Electric Guitars and Basses
About Electric Guitars and Basses Since the development of the Spanish six-string guitar in the early 1800s, guitar makers and players had searched for a way to make the guitar's sound louder. (See Acoustic Guitars for more info.) Big changes came at the beginning of the 20th century when a number of guitar players and designers experimented with electrical amplification. Major changes in guitar design began with the invention of the electromagnetic transducer commonly known as a "pickup." A pickup is a device placed underneath the strings of a guitar converting string vibrations into electrical energy. This energy is converted back into sound by an amplifier. The amplifier has knobs or switches that allow the player to increase or decrease the sound level of the guitar. (See section on Amplifiers for more info.) As early as the 1930s guitar players began installing pickups in their acoustic instruments. Although this helped make the sound louder, it created a whole new set of problems - especially "feedback" when the guitar was played at high volume. Several inventors developed a solution to this problem by experimenting with a solid body for the instrument by attaching a neck with strings to a solid block of wood. This solid wood body - not as resonant as a hollow body - created less feedback when amplified. By the 1950s solid body electric guitars were mass-produced to keep up with the increasing demand for these new instruments. First seen as just a novelty, electric guitars have become one of the most popular and influential instruments in modern music - used to play blues, jazz, rock & roll, country, and rhythm & blues styles. -
Guitar Virtuosity for the Everyday Man for Use with Guitar Freak Workstation
Guitar Virtuosity for the Everyday Man For use with Guitar Freak Workstation Sean Clancy 2nd Edition ©2009 Sean Clancy Enterprises Guitar Virtuosity for the Everyday Man Contents: Welcome to Guitar Freak Workstation with SightReader Master Extreme! 3 Lesson 1 -for beginners -the very basics 4 Lesson 2 -the guitar 6 Lesson 3 -Naturalization -the concept 10 Foundation course 12 Lesson 1 -Timing 13 Lesson 2 -strumming 19 Lesson 3 -strumming continued 21 Lesson 4 - Alternate Picking made easy 24 Lesson 5 - The major scale -playing it in timing subdivisions 27 Lesson 6 -Basic Chords 29 Lesson 7 -Learning a basic song 32 Lesson 8 -How chords and scales work (also a little on GFW Quick chords) 34 Chord Families -Introducing the Major, Minor and Dominant Families 38 Rhythm – chords level 1 (learning rock level chords, top 40 level, pop, country, blues) 40 Lesson 1 -Barre chords 41 Lesson 2 -Learning the notes on the E and A Strings (using GFW SightReader) 45 Lesson 3 -Learning songs by Ear 48 Lesson 4 -Finger Picking 53 Lesson 5 -Writing songs -song forms 56 Lesson 6 -Blues Structures and Rhythms 59 Lesson 7 -Working out chords for songs we may have heard but are in demand at an Impromptu jam 63 Lesson 8 -A list of popular songs to learn and steal forms from 67 Lead – level 1, (getting to learn lead playing, playing over songs, sounding great 69 Lesson 1 -Finger agility! 70 Lesson 2 -Laying chord shapes for your soloing 73 Lesson 3 -The Pentatonic Scale -part A - 77 Lesson 4 -Part B - 80 Lesson 5 -Breaking out of the box shapes - 83 Lesson 6 - Modes? I don’t need any stinking modes? 87 Lesson 7 -Rules for Soloing 90 1 Guitar Virtuosity for the Everyday Man Advanced Rhythm- 93 Lesson 1 -Stylistic Rhythms 94 Lesson 2 -Jazz Chords 99 Lesson 3 -The Metronome “Practice Chords, Scales and Licks 101 Lesson 4 -Know where the 3, 5, 7 and root are. -
Harpsichord 8' Delicate Harpsichord 8' Chorus Harpsichord 8' Spacey 2
iPiano Liste partielle des instruments, issue de http://www.ikmultimedia.com/products/igrandipad/ https://itunes.apple.com/fr/app/igrand-piano-for http://www.ikmultimedia.com/products/igrandipad/index.php?pp=igrand-piano-ipad-versions Piano Expansion Pack 1 1 Grand Piano 1 1 Baby Grand 2 Classical Piano 1 2 Bright Baby Grand 3 Jazz Piano 1 3 Classical Baby Grand 4 Rock Piano 1 4 Pop Baby Grand 5 Octave Piano 5 Grand Piano 2 6 Rich Upright 6 Mellow Grand 2 7 Rock Upright 7 Rock Piano 2 8 Soft Upright 8 Saloon Piano 9 Baby Grand 9 Grammophone Upright 10 Bright Baby Grand 11 Pop Baby Grand Piano Expansion Pack 2 12 Classical Baby Grand 1 Hollywood Piano 1 13 Grand Piano 2 2 Hollywood Piano 2 14 Mellow Grand 2 3 Hollywood Piano FX 15 Rock Piano 2 4 Piano and Strings 1 16 Saloon Piano 5 Piano and Strings 2 17 Grammophone Upright 6 Piano and Strings FX 18 Jazz Upright 7 7' Grand Piano 19 Hollywood Piano 1 8 7' Grand Piano CH 20 Hollywood Piano 2 9 7' Grand Piano FL 21 Hollywood Piano FX 10 7' Grand Piano PH 22 Piano and Strings 1 11 Alt Rock Upright 23 Piano and Strings 2 12 Deep Chorus Upright 24 Piano and Strings FX 13 Bright Pop Grand 25 7' Grand Piano 14 Chorused Pop Grand 26 7' Grand Piano CH 15 Real Tack Piano 27 7' Grand Piano FL 16 Saloon Tack Piano 28 7' Grand Piano PH 17 Harpsichord 8' 29 Alt Rock Upright 18 Harpsichord 8' Delicate 30 Deep Chorus Upright 19 Harpsichord 8' Chorus 31 Bright Pop Grand 20 Harpsichord 8' Spacey 32 Chorused Pop Grand 21 2-Octave Harpsichord 1 33 Real Tack Piano 22 2-Octave Harpsichord 2 34 Saloon Tack Piano -
Jaxon Bio Jaca New Color
Jaxon Williams Bios SHORT (~100 words) Hailed as a “Rising Star in the Guitar World” (Corvallis Arts Review), Jaxon Williams is an acclaimed classical guitarist and pedagogue. A former Fulbright Scholar and prizewinner in various international competitions, Jaxon is a sought after performer of both classical and flamenco guitar. Based in Los Angeles, CA, Jaxon also serves as regional director for California for the non-profit Lead Guitar (www.leadguitar.org), where he works to implement classical guitar programs in low-income schools and supervise the progress of existing programs. He is also one half of the duo Jâca (www.jacamusic.com), which actively performs on the concert stage worldwide. MED (~200 words) Hailed as a “Rising Star in the Guitar World” (Corvallis Arts Review), Jaxon Williams is an acclaimed classical guitarist and pedagogue. A prizewinner in various international competitions, Jaxon is praised as “a player of rare power and grace” (William Kanengiser, GRAMMY award winning LAGQ), having “a refined musicianship, solid technique, and an engaging stage presence” (Frank Koonce, guitar scholar and publisher), and is a sought after performer of the classical guitar. He is also a former Fulbright scholar, having studied in Spain, where he mastered the Spanish guitar repertoire and learned Flamenco guitar with maestros Paco Cortés and Adam del Monte. Currently based in Los Angeles, CA, Jaxon serves as California Regional Director for the non-profit Lead Guitar (www.leadguitar.org), where he implements classical guitar programs in low-income schools, trains new teachers, and supervises existing programs. He is also one half of the duo Jâca (www.jacamusic.com), which actively performs on the concert stage worldwide. -
Suppressed and Marginalised for Years, Dominican Bachata Music Counters Bitter Stories with the Sweetest of Melodies
° BACHATA ° BittersweetWORDS NED SUBLETTE • PHOTOS (UNLESS STATED) NED SUBLETTE AND BENJAMIN DE MENIL Suppressed and marginalised for years, Dominican bachata music counters bitter stories with the sweetest of melodies oan Soriano, ‘El Duque de la Bachata’ (the Duke of Bachata) is not a rich man. That’s how he prefers to explain it, anyway. His house in Villa Mella, the historic black district to the north of JSanto Domingo, has no running water or indoor plumbing. His roof is a slope of corrugated tin that doesn’t join the top of the walls but sits over them on beams. He gives you the neighbour’s phone number because he doesn’t have one. At night the bumpy, pitted streets have no lights except from the houses. The electricity goes out a lot. When it rains Benjamin de Menil has other options in life. He it’s a mess. doesn’t have to be here sleeping under a mosquito Still, 36-year-old Joan (pronounced ‘yo-an’) net in Soriano’s front room for three weeks, bathing Soriano doesn’t call himself poor, though he will tell out back with a bucket and a cup, humping water you that he grew up poor. The seventh of 15 from the cistern when the barrel goes empty. But children, he’s doing better than his parents did. He he’s going with the Villa Mella flow, not for the first makes his living singing and playing bachata, the time, while he produces Soriano’s record. most popular music in the Dominican Republic. At a time when it seems to make no commercial “I barely had a childhood,” he says. -
The Great Jazz Guitarists : the Ultimate Guide Pdf, Epub, Ebook
THE GREAT JAZZ GUITARISTS : THE ULTIMATE GUIDE PDF, EPUB, EBOOK Scott Yanow | 238 pages | 01 Apr 2013 | Hal Leonard Corporation | 9781617130236 | English | United Kingdom The Great Jazz Guitarists : The Ultimate Guide PDF Book Kleinhaut has relocated a few times for his banking job, but wherever he has landed he has been able to find great musicians and venues. The best part is Jens gives lessons on YouTube and Instagram, which extends or supplement the book teachings as you can look at the videos on his YouTube channel after each chapter for a better understanding. He could play faster than anyone, but wisely remembered to include rhythm and tunes. Sit back and let this exciting New York rhythm section take you on an exhilarating ride through these timeless jazz session favorites. Jazz guitarists will be able to simplify their playing inside guide tone voicing that is considered easy as well as enhance their skills in altered dominant chords. This book is for musicians who already know the basics of guitar, but are looking for a low-stress introduction to the art of jazz improvisation. Back in , the fusion pioneer talked gear with Guitarist. Sit back and let this exciting New York rhythm section take you on an exhilarating As a result, they produce quite a clear and bright tone. So break out of your comfort zone and experiment with many new facets of jazz with The Jazz Guitar Experience. A return to its composer's original structure, after hearing so many "deconstructions" of this beautiful piece of music over the years. -
THE 2020 GUITAR GUIDE UPCYCLING URBAN WOOD 2 Letters Social Email Us Circles Taylorguitars.Com/Contact Join the Taylor Community
THE 2020 GUITAR GUIDE UPCYCLING URBAN WOOD 2 www.taylorguitars.com Letters social Email us circles taylorguitars.com/contact Join the Taylor community Facebook: @taylorguitars to last, including wooden instruments, A Sweeter Sound nice acoustic guitar, I ran across Bob Instagram: @taylorguitars although they are more fragile. But the I was interested in the “Ask Bob” Taylor’s video about the Ebony Project @taylorespanol real essence of your article was how query about the effect on tone the size on YouTube. After seeing how environ- Twitter: @taylorguitars you reunited ebony with Buck Knives. of the soundhole has. A few months ago, mentally conscientious he is and how YouTube: taylorguitars That is just outstanding. Thank you for I attached an ES-Go pickup to my GS he incorporated that as a major part of great work and products. I’ve only been Mini, and as you are aware, the pickup Taylor Guitars’ philosophy (and prac- playing for six years, on a GS Mini, my covers a small part of the soundhole tice), I decided that the only question first guitar. And I’m fond of ebony! near the neck of the guitar. When play- was which Taylor guitar I liked best and Charlie Francisco, DVM ing the guitar acoustically (i.e., not could afford. The 414ce is outstanding through the pickup or amp), I have independent of all of this, but I did want noticed the tone is “sweeter” — there Bob to know that his environmental Deluxe Treatment is more high end and a slight reduction concerns and the fact that he is doing I’m the proud owner of an 810, 414 in bass.