Celtic Fingerstyle Guitar According to Tony McManus Vol 2

Product Description 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. A detailed tab/music booklet is included as a PDF on the DVD. DVD is region 0, playable worldwide. Review John Renbourn has called Scottish musician Tony McManus the best Celtic guitarist in the world, and he may well be right. McManus is a triple threat on the instrument. He can flatpick highly ornamented jigs and reels at the lickety-split tempo of a wild seisun; his inventive arrangements and sensitive backup have made him a favored accompanist with fiddlers such as Alasdair Fraser, Johnny Cunningham, and Kevin Burke; and he is a splendid fingerstyle interpreter of Scottish and Irish tunes. His new Celtic Fingerstyle Guitar According to Tony McManus instructional videos provide ample evidence of his prowess in adapting tradiional fiddle and pipes music to the six-string, combining idiomatically proper tune readings with sophisticated modern settings. Celtic tunes have been a staple of the fingerstyle repertoire ever since Davey Graham blew away the folk scene with his virtuosic D A D G A D arrangements of jigs and reels in the early 1960s. Despite masterful adaptations of fiddle tunes and harp pieces by pickers such as Pierre Bensusan, Duck Baker, and Pat Kirtley, the fingerstyle guitar world and the mainstream Irish and Scottish traditional scene have remained in separate camps. But McManus spans this gap with ease. He grew up in the midst of traditional music in Paisley, Scotland, and he learned the old tunes on fiddle, tin whistle, and mandolin before taking up the guitar. This foundation in the tradition gives McManus guitar work a depth and authenticity of phrasing often absent when the music of wind and bow is adapted for picking. McManus is particularly good at the ornamentation that defines the Celtic idiom. It s tricky on the guitar to approximate the rolls, crans, and cuts that grace a pro