In the Origins edition of Adrian Legg’s Fingerstyle Revisionist, Adrian presented many of the specific approaches that he undertook to develop his own fingerstyle skills and artistry. Here in the Adagio Songbook edition, Adrian enhances your skill set with more essential techniques and creative approaches. You’ll learn how to apply your new skills while expanding your repertoire with six more fingerstyle arrangements.
”I remember early on in my guitar career, someone said to me, ‘Can you play a song?’ At that point, I couldn't. It seems to me to be tremendously important that you can return something to the people, and one of the nicest things you can give them is a completed song. In this collection, we'll be looking at tunes that vary from simple waltzes to complex, more developed ballads. Every tune is written in standard notation and tablature, broken down piece by piece and analyzed completely so that you can understand it.”
Adrian demonstrates and then breaks down six arrangements of his original tunes section-by-section, technique-by-technique. No tedious theory or exercises to struggle through — you’ll play your way through The Adagio Songbook.
QUEENIE'S WALTZ - “I wrote this tune quite a long time ago, after I had been introduced to a tuning that was a variation on DADGAD. By dropping the 5th and the 6th down a further tone, we arrive at CGDGAD, which leaves the bottom string very slack (so don't hit it too hard!). We'll use it in this tune to mark the bass each bar as we go through it. Queenie's Waltz is essentially in four sections, with nothing too terrible complicated in it - it doesn't require a strong right hand pattern, with a lot of the work being accomplished by hammer-ons and pull-offs in your left hand. It's a simple piece to play, but a very nice piece to listen to (and to dance to!).”
EMNETH - “Emneth is really a reflection of quite a lot of my early music background, which was spent in church choirs where I learned quite a bit about harmony, suspension, resolution, and simplicity. In a good church choir, the variations would come in arrangements, with a fairly direct first verse, some decoration in the second verse, or using different organ pipes to color it. Emneth came out of a reaction of this process, trying to emulate it. As a guitar piece, it's a nice simple structure using the kind of right hand patterns that we went through in my first course. The right hand is very simple, only complicated by the need to shift chords in the middle of a pattern.”
MRS. CROWE’S BLUE WALTZ - “This tune is the title track to an album I did. It's not a waltz - it started out with a definite emotional concept, and became something very different. It's in drop C, with your thumb marking the low C in the bass. We're looking for a sort of "grace" in this piece, creating space and using drop bends to make the notes ‘cry’. There isn't anything too terribly difficult with it, however there are a couple of fingerings that I've found a bit awkward here. Take your time with this one! It's quite hard to hold slow guitar pieces back. The tendency is to want to fill spaces, yet pieces like these are about leaving the space to give the idea some room to breathe.”
KAREN - “This piece is named after Karen Carpenter, who I'm a fan of. She did things that were considered pop that I actually grew up with, using 50's pop song structures (1-6-4-5). I unconsciously absorbed a good deal of these songs, so I've tried to write a lot of this kind of thing for guitar. It hit me one day, by dropping the fifth string down to G you can get an open structure with a good range of 6ths up the fretboard that makes it more accessible. This song is fairly easy to play and understand, but it does have a few tricky parts that you'll learn by spending time with it. The tuning for this piece is EGDGBE, which is standard except for the fifth string going down. This gives us our 1-6-4-5 sequence. ”
A WALTZ FOR LEAH - “I wrote this tune for a child, which is one of the most important things you can do. If your music engages them, then you're succeeding as a musician. I wrote this for my granddaughter who was feeling sad. Because you can't always explain to a child why they're feeling sad, a song can help. It might look quite complicated, but really it's just a lot of little simple bits stuck together. This piece is tuned in DADGAD, with a capo at the fifth fret. Let's go slowly through the first part of the piece.”
THE IRISH GIRL - “This is a piece I wrote quite a long time ago, in which I wanted a piece that sounded Irish. I chose open D for it's beautiful, warm quality, and knew that I needed to cover at least an octave to make it sound the way I wanted. With a little fiddling around with an octave arpeggio, the tune came together after applying simple compositional rules to develop the piece. I think this song is very simple and shouldn't give you too much trouble, but there are a few difficult pieces that I’ll guide you through easily enough.”
Adrian performs all of the Performance Examples and then breaks them down stepping you through the key concepts and techniques used in the study. All of the key examples and performances are tabbed and notated for your practice, reference and study purposes. You’ll also get Guitar Pro files so that you can play, loop and/or slow down the tab and notation as you work through the lessons.
Grab your guitar and let’s play some songs with Adrian Legg!