Merle Travis, Chet Atkins, and Jerry Reed can only be described as the godfathers of fingerstyle guitar. All three not only pioneered the style, they also crafted the fundamental tools, techniques and stylings embraced by today’s modern fingerstyle guitarists. Anyone playing or learning fingerstyle guitar today must study the work and approaches of these three fingerstyle masters, and we can think of no quicker, or more effective way, to accomplish that than digging into Gareth Pearson’s Travis, Atkins & Reed Guidebook.
”Merle Travis, Chet Atkins, and Jerry Reed’s innovative techniques and creative approaches are a great asset to any fingerstyle guitar player or singer songwriter. I’ve spent my lifetime studying their work and now, In the Travis, Atkins & Reed Guidebook, I’m thrilled to be able to pass on the main principles and fundamentals of their playing and show you how to inject their techniques into your own playing. “
Welsh guitar phenomenon Gareth Pearson is already considered a virtuoso in the guitar world. He has already developed a distinctive style to his playing that has earned him the greatest accolades from world renowned players and music critics; he has been called a genius by Jan Akkerman, and Tommy Emmanuel was inspired to write a song about him which he named The Welsh Tornado. We are very proud to welcome Gareth to the family with his first TrueFire course, the Travis, Atkins & Reed Guidebook.
As you progress through the Guidebook, Gareth will demonstrate and teach 16 specific concepts and techniques that are signature to Merle Travis, Chet Atkins, and Jerry Reed: Travis Chord Shapes, Fretting With Thumb, Travis Right Thumb, Chord Turnarounds, the Giddy Up Uh Lick, Travis Index Finger,, Travis Fast Lead Lines, Travis Banjo Rolls, Travis Heavy Rolls, Heavy Roll & Bend, Atkins Groove Pattern, Open String Banjo Scale, Banjo Roll Single Lead, Atkins Triplet Roll, The Claw, and Chord Pull-Off Licks.
You’ll apply all of those techniques and concepts across a series of 8 fingerstyle studies (see descriptions from Gareth below). Gareth will first perform the study and then break it down for you section-by-section, technique-by-technique.
Merle Monster - ”Merle Monster is a tune I composed to pay tribute to all the Merle Travis techniques we've been studying. It consist the Travis chord shapes, right thumb and index finger technique, the giddy up uh lick, fast lead lines, banjo rolls and heavy rolls with bend. So make sure you've studied all the elements before tackling this piece." Chet Chattin' Away - ”This tune requires the same Chet style thumb technique we previously studied. It contains extra chord voicings and new ways to play melodies. I'm using some pretty 6th harmonies towards the end." We Fooled Them Again - ”This is a tune I composed in tribute to Chet Atkins. It contains all the additional elements we've been studying, including the new Chet style thumb technique. Our right hand picking technique and touch will be cleaner and we add a more precise way to play melodies. There will be embellishments in our left hand fingering. Whether it be with new chords, rocking bars and new dynamics with hammer ons and pull offs. It contains a cool G mixolydian melodic banjo scale climb and finishing with a Chet style triplet roll." Polyphonic Funk - ”This is a Jerry Reed sounding piece. The groove requires the Jerry Reed Clawing Concept, stabbing the chords on beats 2 and 4, while combining a bass melody played with the thumb and index finger. The second part of the song contains the polyphonic melody line against the bass line." Hubba Hubbard - ”I had to throw in a groove featuring percussive slaps, ghost notes and muted stab type phrasings. Take your time getting the correct technique in your hands. It's not to difficult, and it's very fun and funky to play.''??Take A Hike - ”This is a call and answer groove. The call is a lead line banjo roll, and we're answering with a bass lines played with the thumb and index finger, while we're clawing chords on the 2 and 4 beat." Playing With Fire - ”This tune requires the clawing concept played with the index and clawing grip, with a bass line played with our thumb simultaneously. I'm fretting two string with one finger when I get to the E7 part of the groove. And then I'm finishing with a very Jerry Reedy type syncopated riff." What I Said - ”Here's a very Ray Charles sounding groove. Featuring the clawing concept for the chordal rhythms. And below that we have a moving bass line. Towards the end of the groove, I'm playing a bluesy lick and finishing with an ascending/descending counterpoint melody.”
All of the key examples 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 giddy up with Gareth Pearson!