Jim Bruce Guitar Articles The articles below are originals and can be found on this web site or on my pages and pages. Contents: Various aspects of.
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Blind Willie McTell Muddy Waters Robert Johnson How To Play Blues - Jim Bruce Interview Finger Picking Acoustic Guitar - Doc Watson Kings Of Blues Guitar T-Bone Walker Play Authentic Blues Guitar - Jim Bruce Blues Guitar To The Next Level - Jim Bruce Blues Legends - Jim Bruce Origins Of Ragtime Guitar Blues Guitar Tips Blues On The Streets Of Paris Blues in Toulouse Blind Blake - King Of Ragtime Roots Of The Blues - Carolina Men Gus Cannon's Jug Stompers. There are maybe hundreds of thousands, not to say millions of acoustic guitar players over the planet. It's the most popular musical instrument by a long shot, as its easy to take somewhere and it's quite easy to create a little tune in a week or two. I say 'acoustic guitar' as that's my instrument and I prefer the finger picking style of playing. Generally, electric players employ a plectrum pick the strings in an up down direction. Of course, there are always exceptions to the golden rule, like Mark Knoppfler, who uses bare fingers for both acoustic and electric guitars.
His techniques made Chet Atkins say 'I'm not sure what he's doing, but he can sure can play! ' You don't need to follow the crowd - just make your own rules.
Mind you, we've to begin somewhere. The beginning point is usually centered around previous great blues guitarists. In the style of acoustic blues guitar, we are talking about people such as, and a lot of others. There are many differences in technique, but those who play finger style can be loosely split up into two bands - those wearing finger picks and the players who prefer their bare fingers. Let's not talk about how many picking fingers they use for now. What are the variations in sound and what impact does a finger pick have on technique? I've seen ragtime blues artists play very well with up to 3 picks for the right hand, which didn't include the thumb!
At the other end of the scale, some master pickers only use just one finger, either steel or plastic.
![Blind Blind](/uploads/1/2/3/7/123745914/356678675.jpeg)
To our existing customers: We did not transfer customer user names, passwords, or order history from our old website in accordance with privacy standards. We apologize if this is an inconvenience but please create a new account if you want one. We have saved Email Addresses and associated shipping addresses where available, so if you set up a new account using an email address we have in our system, we may also have your physical address. It will be available for you to edit once your new account is created. Are you looking to log in to your DIGITAL DOWNLOAD ACCOUNT? Description Blind Willie McTell, a legendary mystical genius, recorded from 1927, when he established his reputation with the transcendent Statesboro Blues all the way into the 1950’s. In homage to the great Georgia 12-string bluesman, Bob Dylan said: 'No one can sing the blues like Blind Willie McTell.' McTell is known for his unique swift clean fingerpicking style on his old Stella 12-string guitar.
This was perfectly suited for his blues, rags and haunting vocals. He was also a master slide player, able to melt hearts with both blues and gospel gems.
He was particularly expert at seamlessly combining a solid moving bass melodic style with spontaneous shimmering runs. In this DVD lesson Ernie teaches Blind Willie’s greatest songs. Titles include: Statesboro Blues, Come Around To My House Mama, Broke Down Engine, Searching The Desert For The Blues, Mama T’Ain’t Long For Day and Savannah Mama 92 minutes. Level 2/3. Detailed tab/music PDF file on the DVD Review: Ever want to see what makes the all-time classic 'Statesboro Blues' really tick?
Or take a behind-the scenes tour of the inner workings of the likewise immortal 'Broke Down Engine.' You'd certainly be in good company among those who've taken the time to learn Blind Willie tunes - ranging from The Allman Brothers, Deep Purple, and the White Stripes to Bob Dylan, Rory Block and Taj Mahal to Guy Davis, Alvin Youngblood Hart, and, now, even Dion. Conveniently enough, class is in session with the esteemed Ernie Hawkins teaching Willie McTell 101.
Getting Hawkins to host this instructional DVD must have been as difficult as, say, getting a grizzly to jump on red meat. Because not only has the Pittsburgh-based guitarist long been infatuated with the Georgia 12-string wizard, but he also possesses the fluidity in his fingerstyle chops to do perfect justice to the six highlighted songs.
Blind Willie Mctell Bob Dylan
Chops that, appropriately enough, originated under the apprenticeship of one of McTell's Piedmont contemporaries, Rev. So 'Statesboro Blues' chugs like a train; 'Come Around To My House Mama' speaks in ragtime; the mystical 'Searching The Desert For The Blues' briskly trots; and 'Broke Down Engine' rightfully unfolds as a downcast masterwork shot full of rippling runs.
And no tour of McTell's style would be complete without visiting the slide. His gold standard of 'Mama, 'Taint Long 'Fore Day' is here, along with the languid melodic beauty of 'Savannah Mama.' However, the mission is to get those songs to come from you and your guitar.
Assuring that success are multiple measures. Most importantly, Hawkins dissects each piece in full, before reassembling the in slo-mo on a split-screen to follow both right and left hands in action. There's also a detailed 40-page tab/music booklet. And the ultimate reference guide is tucked into the bonus material: all six original McTell audio tracks. – Dennis Rozanski/BluesRag.
Blind Willie McTell is an absolute legend of the blues. One of the most accomplished of the Piedmont guitarists, his recorded works cover a wide range of styles and his 12 string playing has a delicacy that is unique among the early blues players. William Samuel McTier was born in Thompson, Georgia, on May 5th in either 1898 or 1901. His unwed mother was 14 year old Minnie Watkins and his father, Eddie McTier was a moonshiner and gambler and left the family after a few months. William was born blind in one eye, and soon lost his sight in the other. Minnie took the McTier name for her blind son and for herself, and moved to the tiny village of Stapleton, a few miles to the south.
Minnie worked in the cotton fields, the primary industry in Georgia, and the only work available for share croppers after the end of slavery. When William was 9, they moved to the nearby large town of Statesboro which was rapidly growing due to the cotton trade. William started school in Stateboro, where due to the phonetic pronunciation of his regional Georgian accent, he was taught his last name was spelt “McTell”. Minnie was a competent guitar player, and started to teach William on a six string in Statesboro. He took to it like a duck to water, and by his early teens was good enough to play for money on the street.
Despite his blindness, he took to the road as a teen, following travelling medicine shows. His mother remarried and had another son, but she died in 1920 bringing William back to Statesboro. Due to the generosity of neighbours and local businesses, William attended schools for the blind in Macon, Georgia, Michigan and New York where he learnt to read and write braille. Between schoolings he stayed on the road working for minstrel and medicine shows, and playing on the street in the towns he visited. He would return to Statesboro often, but the town was in decline.
The bo weevil is a major pest of cotton crops and in the early 20s it had hit the primary industry of rural Georgia hard. From 1915 to 1923 the weevil had reduced Georgia’s cotton production by half, forcing the residents of towns like Statesboro to look for work in urban centres. Most headed to Atlanta and Augusta and Willie followed them in 1924. Atlanta had a bustling music scene centred around the infamous Decatur Street in the segregated part of town.
Willie found a talented group of bluesmen to play with including Peg Leg Howell, Buddy Moss, Curley Weaver, Charley Lincoln and his brother Barbecue Bob. In Atlanta Willie switched from the six string to the louder twelve string guitar and performed on street corners, fish fries, blacks-only clubs and at his local church every Sunday. Willie’s growing reputation attracted the notice of Victor Records, and he entered their studio in Atlanta to record 4 tracks on October 21, 1927. They were realesed on two 78’s, and were moderately popular which resulted in another 4 track session on October 17, 1928, where Statesboro Blues was recorded. The records were all successful, and were the start of a 30 year recording career. From 1929 to 1935, Willie recorded a number of records, under his own name and using pseudonyms such as “Blind Sammie”, “Blind Willie” and “Georgia Bill” to record for different labels; as a guitarist for Curley Weaver, Ruth Day aka.
Mary Willis and Alfoncy and Bethenea Harris. In 1931 he met Ruthy Kate Wiliams while attending a Christmas concert at a high school in Atlanta. Origininaly from Savannah, Ruthy Williams was a singer and McTell invited her to record with him. They recorded under the name “Ruth Glaze” in 1932.
The two were married in 1934, and preformed and recorded under the name Blind WillieMcTell and Katie McTell. As the Great Depression hit and money for musicians became scarce, Willie’s recordings became less frequent. He recorded unissued tracks with Vurley Weaver and William “Piano Red” Perryman in 1936,but these are lost. In 1940 John Lomax recorded him in a hotel room for the Library of Congress.
After the Second World War, Willie continued recording under his own name (including two unreleased full albums for different labels), as a duet with Curley Weaver under their own names and “Pig and Whistle Band” and under the pseduonym “Barrelhouse Sammy”. In 1957 he was a Baptist Minister, and Blind Willie McTell died of a stroke on August 19, 1959. He left behind a massive influence on Piedmont players, folk musicians and the blues as a whole. Bob Dylan was greatly influenced by McTell’s songwriting, guitar technique and singing and covered a number of his songs. In 1983 he honoured McTell’s legacy with the song “Blind Willie McTell” which contains the refrain “No body sings the blues like Blind Willie McTell” – Dylan played piano and was accompanied by Mark Knopfleron 12 string. Taj Mahall covered Statesboro Blues in 1968, as did the Allman Brothers in 1971 – a version which is generally regarded as one of the best slide blues songs of all time. Blind Willie was inducted into the Blues Hall of Fame as a foundation member in 1981.
Statesboro Blues is a masterpiece in every aspect. The guitar is a prefect example of Piedmont playing, the singing is mournful and lonesome, and the songwriting is absolutely first class. It has become one of the most influential blues songs ever recorded, nearly every line has been popularised by other artists either singularly, or as the inspiration for entire songs: “Going up the Country” by Canned Heat (though McTell borrowed the line from Sippie Wallace); snippets like “I Once loved a Woman”, “travelling shoes”, “you know by that” have become blues staples. The song is played in drop D tuning, but the entire guitar is lower than standard – C# or there abouts. It’s a 12 bar but somewhat unusally doesn’t use the 5th chord in bar 9, instead using a higher voicing of the 1st chord.
Mission kashmir 3gp video songs free download. Willie adds bars when ever he wants to, which adds to the atmosphere created by the non-chronological narrative of the lyrics. Willie was a master of Piedmont playing, so the song requires a strong right hand technique. It features an alternating bass line all throughout, with melodies improvised over the top. Willie’s genius is that in the 4 bar open “D” sections of each verse he employs different voicings of the D chord – from open, to open with an added major 3rd, to 5th fret to 7th fret. The other sections are fairly consistent – G section, back to D, then the turnaround of 5th fret D voicing and a descending on the beat bass run in G.
Blind Willie Mctell Song
The song starts of nice and gentle and is hammering along by the end. The entire time the melody lines are played with an almost restrained feel to them. This song is quite difficult, so take your time, get it working at a slow speed then work up to Willies pace.