The last link takes you to the Table of Contents from “Applied Rhythm Guitar with Texas Style Walking Bass Lines“. It is a pdf file so you can download it easily (or so I hope). This is the link to the chapter about diminished chords. Applied Rhythm Guitar with Texas Style Walking Bass Lines – […]
To provide you with a better idea regarding the contents of the book, the following pages are from the chapter about diminished chords. Other links to the book can be found at Applied Rhythm Guitar, and the table of contents at Applied Rhythm Guitar – Table of Contents.
Purchase Includes Answering Your Questions Over Skype! As Well As: All Updates to Future Editions! Published May 8, 2017, the Second Edition of “Applied Rhythm Guitar with Texas Style Walking Bass Lines”, includes an additional fifty pages while remaining devoted to actually showing ways to easily use (what appears to be, but really is not) […]
To help understand the difference between Texas Style fiddling and other styles, the following consists of an email conversation I had with Tom Weisgerber where we attempted to explain the relationship between Texas Style fiddlers and their guitar players. Along the way, we also delved into some of the actual mechanics of the guitar style […]
Fiddle Contests are a Life-Long, Small Muscle, Participatory Sport! Parents of kids playing in fiddle contests: I urge you to learn to play rhythm guitar so you can play music with them on or off the stage. Fiddle contests are a life-long, small muscle, participatory sport. Unlike large-muscle organized sports run by adults who permit […]
The idea for this type of collection of chord charts began somewhere around 1990 when I became exposed to the wide variety of songs played by participants in the National Old Time Fiddlers’ Contest in Weiser, Idaho. At that time, as a budding rhythm guitar player, I found myself immensely confused by the equally wide […]
I received my Master of Humanities graduate degree in the spring of 1994, a course of study I chose because it allowed me to combine the disciplines of Communication and Music Business. By the early nineties, it seemed clear that Texas Style Fiddling was no longer confined to Texas itself but was spreading to other […]
After much thought, I decided that in its own twisted way even Facebook has played a large enough role in this curious episode regarding the ongoing mystery over the whereabouts of Terry Morris’ guitar to be included as a means of partially displaying the usually unfortunate results when outsiders feel the need to involve themselves […]
In 1988, I recorded an album as the featured solo-artist with the award winning musicians known as the Nashville Superpickers. They released a number of albums under that name and often recorded with Chet Atkins. According to their bass player and the projects co-producer, Henry Stryzlecki, this was the first time in 15 years the […]
In addition to being actively involved in the fiddling community, I spent sixteen years teaching communication at the University of Colorado at Denver and Metropolitan State College of Denver. Although I have somewhat adapted this article for this specific setting, the following consists of the course lecture I developed and presented to speech students concerning […]
Charles Brantigan, an MD and researcher at the University of Colorado’s Health Services Center, has spent approximately twenty years studying the manifestation of stage fright in psychological and biological terms. He concludes that stage fright is the body’s defense mechanism consisting of the outpouring of adrenaline and the massive discharge of the sympathetic nervous system. […]
As recalled by Andrew Daring: Upon receiving the notice of Katie Glassman’s CD release party scheduled for March 18th, I was reminded of her first recording session and release party back in 1998, as well as how happy we were for her to have completed this long standing goal. Katie began her journey while attending […]
The term “Fiddlebot” was created by a group of Chris’ teenage fiddle students who understood and practiced creativity when playing music in jam sessions and during fiddle contests. Unfortunately, they often placed behind other contestants who they considered to be technicians instead of musicians. Meaning, a technician could only produce an overly practiced, memorized, and relatively short version of a small list of songs designed for use in fiddle contests, while musicians had a large song list and actively sought to vary the length and breadth of any song performed during a jam session, fiddle contest, or other performance.