Product Number: 30941M
Format: Softcover & Online Audio
ISBN: 978-15134-6630-9
Guitarist, composer, songwriter, and Mel Bay author—Jeff Troxel has been successful in the flatpicking contest world as well as being a sought-after college and summer camp instructor. In this book, he shares a lifetime of knowledge about one specific role of the bluegrass guitarist— that of accompaniment or “backup”.
Beginning in Chapter One, Troxel lays the foundation for what is to come in rendering alternating bass lines, chord progressions, ornamentation, intros, endings, bass runs, chord-melodies, pedal tones, and other essential concepts that contribute to effective rhythm guitar playing.
Five appendices address: Basic Music Theory, Capos and Transposition, Tuning, Guitars, Picks and Strings, and Lead Sheets for the dozen bluegrass tunes featured in the book.
All music appears in standard notation and tablature with 69 audio tracks. By the time you finish reading and playing the examples in this book, you’ll be ready to jam or perform with the best!
Includes access to online audio. ©2022, 124 pages
Contents:
Chapter One: Chord Voicings
The G chord (Figure 1.1)
The C chord (Figure 1.2)
The D chord (Figure 1.3)
The F chord (Figure 1.4)
The A chord (Figure 1.5)
Other Commonly Used Chords (Figure 1.6)
Chapter Two: Boom-Chuck
Basic boom-chuck pattern (Figure 2.1)
Root five chords (Figure 2.2)
Root six chords (Figure 2.3)
Root four chords (Figure 2.4)
Alternating Bass (Figure 2.5)
Alternating Bass (Figure 2.6)
Alternating Bass (Figure 2.7)
Chapter Three: Chord Progressions
C to F (Figure 3.1)
Giving away the root (Figure 3.2)
C to G (Figure 3.3)
Two-chord progressions (Figure 3.4)
Three-chord progressions (Figure 3.5)
John Hardy (Figure 3.6)
Chapter Four: Lester Flatt G-Run
Quintessential G-run (Figure 4.1)
G-run in a four-bar phrase (Figure 4.2)
G-run variations (Figure 4.3)
Simple G-run (Figure 4.4)
Simple run in four-bar phrase (Figure 4.5)
Simple run variations (Figure 4.6)
More variations (Figure 4.7)
John Hardy (Figure 4.8)
Chapter Five: Strumming
Up-strum on “and” of four (Figure 5.1)
Up-strum on “and” of two (Figure 5.2)
Charlie Waller style (Figure 5.3)
Bury Me Beneath the Willow (Figure 5.4)
Tony Rice arpeggio strum (Figure 5.5)
Arpeggio strumming continued (Figure 5.6)
Sitting on Top of the World (Figure 5.7)
Accents (Figure 5.8)
Modern bluegrass strum (Figure 5.9)
Sitting on Top of the World (Figure 5.10)
Little Sadie (Figure 5.11)
Chapter Six: Bass Runs
G to C (Figure 6.1)
G to D (Figure 6.2)
C to G (Figure 6.3)
C to F (Figure 6.4)
D to G (Figure 6.5)
D to A (Figure 6.6)
C to D (Figure 6.7)
C to Am (Figure 6.8)
Sitting on Top of the World (Figure 6.9)
Keep on the Sunny Side (Figure 6.10)
Footprints in the Snow (Figure 6.11)
Chapter Seven: Intros, Endings, Chord Melodies, Inversions, Pedal Tones, and Other Concepts
Intros in G (Figure 7.1)
Intros in C (Figure 7.2)
Intros in D (Figure 7.3)
Intros in A (Figure 7.4)
Intros in E (Figure 7.5)
Endings (Figure 7.6)
Lick-based endings (Figure 7.7)
D Minor Etude (Figure 7.8)
Hard Times basic melody (Figure 7.9)
Hard Times chord melody (Figure 7.10)
Shady Grove basic melody (Figure 7.11)
Shady Grove chord melody (Figure 7.12)
Blackberry Blossom Roots-only bass line (Figure 7.13)
Blackberry Blossom with inversions (Figure 7.14)
Blackberry Blossom AABB (Figure 7.15)
Sheebeg and Sheemore (Figure 7.16)
Forked Deer with Pedal Tones (Figure 7.17)
Red Haired Boy (Figure 7.18)
Appendix A: Basic Music Theory
Appendix B: Capos and Transposition
Appendix C: Tuning
Appendix D: Guitars, Picks and Strings
Appendix E: Tunes
About the Author
