TrueFire-溪罗伯逊的要点-繁荣小鸡弹练习曲 （2016 年）|
MP4 |AVC 973 kbps |英语 |960 x 540 |30 fps |3 h 44mins |AAC 立体声 125 kbps |1.93 GB
繁荣小鸡手指采摘模式是在弹吉他的最令人垂涎的技术之一。你会听到这种超有节奏的方法各地的指弹传说像梅尔 · 特拉维斯、 杰瑞芦苇、 切特阿特金斯，汤米伊曼纽尔和巴斯特 B.琼斯目录。萌芽指弹吉他手，这是一个必须，你掌握了这种声音，最好的办法做到这一点是通过学习基本繁荣小鸡安排剧目。布鲁克斯罗伯逊组成和 （或） 安排 10 必不可少的"繁荣小鸡"练习曲，你上班，每个主题旨在帮助您开发的必要权利和左手技术，你需要一个抓地力上得到你繁荣小鸡排骨加速。
布鲁克斯演示的以下性能研究所有 10，然后将它们分解逐节踩了你通过关键概念、 技术和创造性的方法，在表演中使用。
粗心的爱 — —"这个很大的调整，包括雷 · 查尔斯、 路易斯 · 阿姆斯特朗、 皮特西格，玛德琳蓓、 琼 · 贝兹，和无数其他的很多标志性艺术家已录得的时候。我们将会学习吉他友好关键的 E 的安排，利用基本的技术，如稳定繁荣小鸡拇指旋转，静音低音弦的手，手掌和弹和弦在多个位置，以适应使用开弦和旋律的脖子上"。
阿瓦隆-"阿瓦隆，由艾尔 · 乔尔森、 好友 DeSylva 和文森特玫瑰写一个精彩的标准。在本课中，我们会专注于合唱这首曲子只，使得好吉他独奏的安排。一个伟大的版本来听听是切特阿特金斯和 Les Paul，记录对其 1976 年专辑切斯特 & 莱斯特，赢得了格莱美最佳器乐备案的曲调。这是许多弹的吉他手的标准，因为它适合于繁荣小鸡技术您将会看到。我们会是玩这种安排在关键的 C 大，再次利用开弦，弹和弦在了脖子上的多个位置。
阿拉巴马州禧-"阿拉巴马州禧是另一个经典的曲调将添加到您的剧目。这是我玩弹了大约一年后从巴斯特 B.琼斯第一首歌曲之一。类似于巴斯特用于播放的安排，我们会玩这首曲子中的 E 主要关键，将侧重于合唱只。这首歌是由乔治 · L.柯布和杰克伦，在 1915 年出版组成的。它已经记载了许多伟大的指弹画家切特阿特金斯、 Doc 沃森，杰瑞芦苇，Leon Redbone、 Nokie Edwards、 巴斯特 B.琼斯。
Nieliwocki 漫步-"这首曲子我美好的家庭朋友 Kandice 和 Daryll 受到启发。他们的房子在新泽西访问期间我们紧紧挤在一起为了好玩一些布鲁斯级数和原创歌曲。我偷了一些舔从 Daryll 的钢琴演奏和试图捕捉他时髦奠定背本质在这项安排。这首曲子的部分也是相似的一些"瞬间果酱"和"蓝色手指"，杰瑞 · 里德的想法与提升，走的低音线在 E 大的关键。回到和有 Nieliwocki 漫步的乐趣"。
莱姆豪斯蓝调-"莱姆豪斯蓝调是另一个伟大的标准，很多爵士乐音乐家以及吉他演奏家经常玩。它是在 1922 年写的道格拉斯 Furber （写的歌词） 和菲利普 · 布拉昂 （写的音乐）。切特阿特金斯用于学习他归结，演奏的歌曲的歌词，这样他可以更好地短语的旋律像歌手一样，你可以考虑一下做任何调你安排。"莱姆豪斯蓝调"对他们的第二张专辑，吉他怪物 1978 年伟大移交记录阿特金斯和 Les Paul。我们会解决关键的 G 大调这项安排，并将重点放在这首歌的合唱。
月光下的流浪汉-"月光流浪汉是另一种原始曲调写道︰ 要赞美这门课程的其他安排。它是这顶帽子向切特阿特金斯和我的导师巴斯特 B.琼斯的小费。它借用的感觉从你可能听说过像风一样的曲调和温暖，准备时间变的更好，和果酱的男人，是所有好听的曲子来听听，如果你还这样已经不做。它正处在关键的未成年人并且低沉的低音技术以及使用"重拇指"。
听起来帆船 — —"声音航行 》 是一首民谣在 D 大，需要降 D 调优的关键。这是的一个简单的我写了这门课程同时前往西雅图，华盛顿。它需要一些技巧和细腻的感觉。虽然大部分的曲调利用交变的低音技术和所有的手指，它有一个很好的介绍和使用六分之上顶尖的三根弦的一些好的平行和声的结局。旋律回响"声音航行"的标题。只是觉得航行周围 Puget 声音，甚至可能起到圣胡安群岛，好和随和。有没有
TrueFire - Brook Robertson's Essentials - Boom-Chick Fingerstyle Etudes (2016)
MP4 | AVC 973kbps | English | 960x540 | 30fps | 3h 44mins | AAC stereo 125kbps | 1.93 GB
Genre: Video Training
The boom-chick finger picking pattern is one of the most coveted techniques in fingerstyle guitar. You’ll hear this ultra-rhythmic approach all over the catalogs of fingerstyle legends like Merle Travis, Jerry Reed, Chet Atkins, Tommy Emmanuel and Buster B. Jones. For the budding fingerstyle guitarist, it’s a must that you master this sound and the best way to do this is by learning a repertoire of essential boom-chick arrangements. Brooks Robertson composed and/or arranged 10 essential “boom-chick” etudes for you to work with, each designed to help you develop the necessary right- and left-hand techniques that you’ll need a grip on to get your boom-chick chops up to speed.
Brooks demonstrates all 10 of the following Performance Studies and then breaks them down section-by-section stepping you through the key concepts, techniques, and creative approaches used in the performances.
Careless Love - ”This great tune has been recorded by many iconic artists including Ray Charles, Louis Armstrong, Pete Seeger, Madeleine Peyroux, Joan Baez, and countless others. We'll be learning the arrangement in the guitar-friendly key of E, utilizing basic techniques like steady boom-chick thumb rotation, muting the bass strings with the palm of the hand, and playing chords in multiple positions on the neck to accommodate the use of open strings and melody.”
Avalon - ”Avalon, a wonderful standard written by Al Jolson, Buddy DeSylva, and Vincent Rose. In this lesson, we'll focus on the chorus of the tune only, which makes for a nice solo guitar arrangement. A great version to listen to is Chet Atkins' and Les Paul's, recording the tune on their 1976 album Chester & Lester, which won a Grammy for best instrumental record. This is a standard for many fingerstyle guitar players as it lends itself nicely to the boom-chick technique as you'll see. We'll be playing this arrangement in the key of C Major, again utilizing open strings and playing chords in multiple positions up the neck.”
Alabama Jubilee - ”Alabama Jubilee is another classic tune to add to your repertoire. This was one of the first songs I learned from Buster B. Jones after I'd been playing fingerstyle for roughly one year. Similarly to the arrangement Buster used to play, we'll be playing this tune in the key of E Major and will focus on the chorus only. The song was composed by George L. Cobb and Jack Yellen, published in 1915. It has been recorded by many great fingerstyle artists such as Chet Atkins, Doc Watson, Jerry Reed, Leon Redbone, Nokie Edwards, and Buster B. Jones.”
The Nieliwocki Stroll - ”This tune was inspired by my wonderful family friends Kandice and Daryll. During a visit to their house in New Jersey we jammed together for fun over some bluesy progressions and original songs. I stole some licks from Daryll's piano playing and tried to capture his funky laid back essence in this arrangement. Parts of this tune are also similar to some of Jerry Reed's ideas in "Jiffy Jam" and "Blue Finger", with ascending, walking bass lines in the key of E major. Kick back and have fun with the Nieliwocki Stroll.”
Limehouse Blues - ”Limehouse Blues is another great standard that many jazz musicians as well as guitar instrumentalists play often. It was written in 1922 by Douglas Furber (who wrote the lyrics) and Philip Braham (who write the music). Chet Atkins used to learn the lyrics to songs that he played instrumentally, so that he could better phrase the melody like a singer, something to consider doing with any tune you arrange. Atkins and Les Paul recorded a great rendition of "Limehouse Blues" on their second album, Guitar Monsters in 1978. We'll tackle this arrangement in the key of G Major and will focus on the chorus of the song.”
Moonlight Vagabond - ”Moonlight Vagabond is another original tune I wrote to compliment the other arrangements in this course. It is a tip of the hat to Chet Atkins and to my mentor Buster B. Jones. It borrows the feel from tunes you might have heard like Windy and Warm, Ready for The Times to Get Better, and Jam Man, which are all great tunes to listen to if you've not done so yet. It's in the key of A minor and uses a "heavy thumb" as well as the muffled bass technique.”
Sound Sailing - ”Sound Sailing" is a ballad in the key of D major that requires a drop D tuning. This is a simple piece I wrote for this course while visiting Seattle, WA. It requires some finesse and a delicate touch. While the bulk of the tune utilizes an alternating bass technique and all of the fingers, it has a nice intro and ending using sixths on the top three strings for some nice parallel harmonies. The melody echoes the title "Sound Sailing". Just think of sailing around the Puget Sound, or maybe even up to the San Juan Islands, nice and easy going. There's no rush and nowhere to be when playing this song.”
After You’ve Gone - ”After You've Gone" is a classic tune from 1918. The lyrics were written by Henry Creamer and the music was composed by Turner Layton. It has been recorded numerous times by many great artists including Chet Atkins & Suzy Bogguss, Louis Armstrong, Frank Sinatra, Ella Fitzgerald, Benny Goodman, and many more. These classic recordings would be good to take a listen to as you work on the tune to familiarize yourself with the melody and variations these artists have applied to the tune.”
Feelin' Fine - ”Feelin' Fine is another original I composed specifically for this Essentials course. It has a very nice feel, with a rather bright, happy-go-lucky melody and chord progression. There is a lot of harmonic movement throughout the song, or in other words, the chords change often (2 beats each chord for the most part), so you're usually not staying on any one chord for too long. The concept I use very often when writing tunes like this one is utilizing a motif within the melody, then applying that same motif across various chords. This usually succeeds in surprising the listener and keeping their attention. This arrangement is in the key of A major, again using the traditional alternating bass boom-chick style techniques with heavy use of bass string muffling.”
West Coast Waggin' - ”West Coast Waggin' is an original piece I wrote specifically for this course. It was great fun thinking up something that sounded good, was enjoyable to play, while not being too difficult (although as you'll see it isn't terribly easy either). Keeping in line with all the tunes included in this course, it utilizes the alternating bass technique as much as possible. This arrangement is in the key of A minor and will introduce a "Banjo Roll" technique that works for some nice breaks and fills within the tune, not to mention it is a good technique to become familiar with. It opens with a simple, single string line, very slow and rubato and transitions into a groovy thumb picking tune that's a blast to play.”
All of the performances are tabbed and notated for your practice, reference and study purposes. You’ll also get Guitar Pro files so that you can play, loop and/or slow down the tab and notation as you work through the lessons.
Grab your guitar and let’s get boomchickin’ with Brooks Robertson!