#16
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I am working through books 1-3 and like them a lot. Does anyone have any experience with the more advanced books, particularly the Swing/Jazz book, which I think is #8?
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#17
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Placed an order Thursday night, went out of town friday and came home today to volumes 1 & 2 sitting in the mailbox! If I had known I would have called and seen if I could have just come pick them up since they came from a town about 15 minutes away and I paid $9 shipping, but either way im excited to start working through them!
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'12 Eastman E6OM '13 Regal RD-40VS Squareneck '05 Gregg McKenna Squareneck early 1930's A-Type mandolin (restored) Sold: '07 PRS SE Singlecut '14 Eastman AC720 |
#18
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How's the progress going for players on these essential books?
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Sakazo Nakade Flamenco 1964 Bourgeois D Adi Tasmanian Blackwood 2011 Tom Anderson Strat 1990s Schecter California Classic Strat 1990s |
#19
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I got volumes one and two last Saturday. I am loving volume one so far. There is another thread on the main forum with some feedback on it. It is very wordy but I happen to enjoy the history and the why behind what you're playing. Found out my timing and pace is pretty terrible. It had been humbling but real interesting week for guitar practice for me.
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Guitars: Currently 6 Wife says enough, I say I NEED one more - Matt |
#20
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After about 2 years, here are my thoughts...
Book 1: I have worked through most of it. Some of the exercises get a little bit repetitive, so there were some that I skipped. Overall, I now feel pretty comfortable accompanying in a bluegrass context. Book 2: I have used some of the material, perhaps half. I can now play a bunch of simple songs in a variety of keys. This was crucial in progressing my ability to solo. I can play the simple melodies, but I can also embellish a melody and even build solo flatpicking pieces to songs. The methodology is solid. My improvised solos sound more like melody and less like a string of licks. My ability to pick out songs by ear has improved dramatically. Book 3: OK, I have to be honest. When all is said and done, this is pretty much a tune book. If there is a flaw in the methodology, it is here. The transition from tab player to ear player is a very big leap, and I think "Flatpicking Essentials" makes it seem easier than it is. I think I have mostly made the leap, but I am not sure how much of that is "Flatpicking Essentials" and how much of it is concentrated focus on ear training with a music teacher. "Flatpicking Essentials" is certainly a tool in the toolbox, but I don't think it replaces hardcore ear training with a teacher or in a music school context. Later books: I have taken bits and pieces, but again, it is hard to know how much of my development is from the books and how much comes from 2-3 one-on-one music lessons a week from teachers. From two years ago to today my musical growth has been quite extensive. I can pick up relatively simple bluegrass songs by ear quickly (usually 3 or so verses if I don't know it at all), play accompaniment and improvise a coherent solo. I am nowhere near where I want to be, but I have definitely improved as a guitarist and musician. |
#21
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I just purchased the pdf/mp3 version of volume 1, and have been enjoying it. As an experienced player who was already a solid alternating picker with a decent ear, I'm moving through it rapidly, but I really like the writing style and the methodical approach. I am finding a few gaps to fill in my technique, and appreciating the historical context provided with the lessons. I'm looking forward to progressing through the series to new and challenging territory.
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Alvarez MF75 Alvarez Yairi PYM60HD/14 Alvarez Yairi FYM66HD Bedell TBA-24-G Bedell TBCE-18-G Gurian S3M (1978) Taylor GS Mini-e Bass |
#22
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I ordered volume one last week; should be here any day now. I'm looking forward to starting in on it after reading this thread.
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"You don't have to be great to start, but you have to start to be great." -Zig Ziglar Acoustics 2013 Guild F30 Standard 2012 Yamaha LL16 2007 Seagull S12 1991 Yairi DY 50 Electrics Epiphone Les Paul Standard Fender Am. Standard Telecaster Gibson ES-335 Gibson Firebird |
#23
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Almost through with book 1, and really enjoying it. Anyone else notice that in several of the audio tracks the guitarist uses the metronome as a count-off and quickly gets out of synch?
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Alvarez MF75 Alvarez Yairi PYM60HD/14 Alvarez Yairi FYM66HD Bedell TBA-24-G Bedell TBCE-18-G Gurian S3M (1978) Taylor GS Mini-e Bass |
#24
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Good morning all,
I was wondering if you would consider this to be a good resource for a beginner? I have worked my way through Justin's beginning lessons and have a fair understanding of the material. Now I would like to advance to finger or flat picking. Thank you in advance J.R. |
#25
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Based on this thread, I purchased book one as it covers my weak points. I am self taught and as such, have not pushed myself (enough) to play with a metronome or with precision. Also, I have been playing fingerstyle arrangements and I need to have flatpicking in my repertoire, especially to play with others. I think this book is just what the doctor ordered.
I am being forced to play precisely and in time. Even though the examples seem repetitive, the progression of licks and runs is graduated nicely. And using a slow-downer program (I am using Transcribe!) lets me dial in my groove. I'm still very early on in the book and playing with a lot of tension. It will be interesting to see how I progress and "if" I will make it to book two. Rick
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#26
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flatpicking essentials
After reading all the positive reviews on this series i went ahead and ordered the starter pack volume 1 & 2 and worked through them. . Unless you are very new to the guitar I feel you will find the material rather boring and not much fun at all.
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#27
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Mastercaster,
I've always purchased the hardcopies, but recently I realized that the printed editions are printed awkwardly. After the preface the next page starts the book and when they print it the odd number pages are on the left hand side. Also in their print edition, the page numbers are the lower inside corner of the page rather than the lower right. I guess it's a minor thing, but if I had to do it over again I would purchase the pdf and print it myself. Gary |
#28
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Quote:
I put them on my iPad. Works pretty good as I can annotate,highlight and zoom. Still,I'm old school and will eventually print them as I collect country guitar books. |
#29
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Is this series still the "gold standard" for learning flatpicking? I've played for 50 years (mostly electric) and am getting back into acoustic at my ripe old age... Is there anything better for getting serious about flatpicking? Thanks.
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Martin D-18GE, Taylor 150e Takamine EG530SC, Epi EJ-200SCE Yamaha FG-335 7 Electrics, 4 Basses Banjo, Mountain Dulcimer (all lefties) |
#30
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I've recommended these books because they were written by flatpickers, for flatpickers, and I know Dan and Tim personally and I know they have a good handle on what the style requires.
First, they start with rhythm. Very few methods do this, but for flatpicking, it's a requirement. 90% of what you'll be required to do as a serious flatpicker is rhythm. A flatpicker who can't play solid rhythm might as well just stay home. No one wants to play with that guy. Second is Carter Style, which is basically pulling melody out of chord shapes while maintaining a rhythm. This is essential because of the two cardinal rules of flatpicking: 1) Never lose the melody, and 2) Always know what chord you're playing over. Learning Carter Style cements the relationship between chords and melody, which is more essential in flatpicking than in other styles. Third is Fiddle Tunes, which is where you really begin to learn how to pick lead lines on the guitar. This should not be attempted, IMO, until the player has a good handle on rhythm and Carter Style. The kiss of death for any flatpicker is to start relying too much on scales and licks. It's melody, melody, melody, even when improvising, and a strong foundation in Carter Style wires your brain to think melody first. One area they don't really cover is Bluegrass guitar. Carter Style and fiddle tunes are not Bluegrass. They do, however, give you the tools you need to go out and discover Bluegrass on your own, if that's your interest. Quote:
Here's another example. Jamming with three Winfield champs, and not about to be left in the dust, on a tune that was honestly beyond his ability at the time. Adrenaline. He was hanging on by his fingernails but got through it. His comment at the end - "What's that called?" https://youtu.be/OtXFd49d-2E
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"Out of all the sincere and well-intentioned attempts of politics, diplomacy, philosophy, religion, and education to get people to be peaceable together, ironically today, the last thing on earth that all seven billion of us agree on is that we like the steel string guitar." -Dan Crary |