Al Petteway continues his excellent lesson with five beautiful and evocative guitar instrumentals in the Celtic style. This time, he covers songs and effects that can be attained through a variety of tunings, including standard, dropped-D, open G and low C. Al shows you how to create your own arrangements by finding the melody within the chord structure, then fleshing it out with pipe-like drone notes, chord substitutions, moving bass lines, the rhythmic "Scottish Snap" and other Celtic-sounding elements. Embellishment techniques_right hand rolls, hammers, pull-offs, etc._help you turn basic tunes into elegant guitar pieces.
This is not such a bizarre cross-over as one might imagine for in the 18th century the great Irish musician Turlough O’Carolan, a blind harpist, met the Italian musician Geminiani in Dublin, and through him encountered the music of, yes, guess who, Antonio Vivaldi. So here we have a case of substituting Irish instruments for baroque ones, using baroque instruments to accompany Irish themes, by creating dialogues between Celtic and baroque instruments, or by letting all the musicians improvise. One moment we appear to be listening to a ‘straight’ baroque concerto, then all of a sudden the conventional string continuo/ripieno of the baroque ensemble (Le Orfanelle della Pieta) gives way to celtic musicians playing a jig or reel on anything from a Irish bouzouki to a fiddle. The baroque group consists of three each of first and second violins, one viola, two cellos, a bass and harpsichord while the Irish musicians play Irish fiddle, an Irish flute (like a baroque flute), tin and low whistles, Uileann pipes, Irish bouzouki, mandolins, bodhran, bones, and the Celtic harp (played here with metal strings to resemble its harpsichord counterpart in the other group).
In this second lesson on Celtic Fingerstyle Guitar, Tony McManus explores all the dance rhythms of Scottish music, with its pipe-marches, strathspeys, single and double jigs, slip jigs and reels. Three unusual tunings are presented: CGCGCD, CGDGCD and DAAEAE. These tunings are used to better maintain the integrity of the music and Tony has been notably successful in translating the complex music of the highland bagpipes to the guitar. The idea and playing of sets is presented as well as further exploration of ornamentation techniques.
Tony McManus is an adept master of Celtic fingerstyle guitar, both in terms of adapting Celtic music to the guitar, and in its performance - presenting all its intricacies, graces, and frills, yet at the same time maintaining the pace and drive which characterizes the style of this music. In this first lesson, Tony discusses in detail the importance of ornamentations and triplets in Celtic music and how this can be technically achieved. He illustrates these ideas with several melodies played in a Dropped D tuning. This is followed by a discussion of scales and fingerings and playing reels in the DADGAD tuning. This is a challenging lesson for the fingerstyle guitar student interested in learning Celtic music from one of the finest players of this idiom.
This collection of traditional music from Ireland and Scotland arranged for solo guitar is the result of a passionate study of the tradition by some of the finest musicians playing in this genre. Compiled by Stefan Grossman, this book includes arrangements by Pierre Bensusan, El McMeen, Martin Simpson, Pat Kirtley, Duck Baker, Tom Long & Steve Baughman. Looking back less than a century you would find this music performed on fiddle, pipes, button accordion, flutes and whistles, in solo and ensemble settings, but never guitar, even in its basic role of providing rhythm. The challenge for those who attempt to translate Celtic traditional music for fingerstyle guitar is to preserve the unique qualities which are the essence of the style. The popularity of alternate tunings in this music tends to come from two different directions.