One of the very best G tuning five-string bluegrass banjo methods available! The book teaches how to pick out tunes single-string style (one note at a time), how to play chord accompaniment, and how to play solos in the full three-finger, bluegrass style. Topics include note and tab reading, chord background styles, traditional bluegrass techniques, fills and endings, use of the capo, rolls, slides, hammers, pull-offs, choking, harmonics, and up-the-neck playing. In notation and tablature. The stereo recording includes acoustic bass, acoustic guitar, and a rhythm track as well as the 5-string banjo. All songs and most exercises are included in this teaching recording, performed at a tempo that the student should be able to maintain in short order.

Guitar transcriptions for all the solos from Knee Deep in Bluegrass, the IBMA Instrumental Album of the Year for 2001! The guitar duties on Knee Deep in Bluegrass were handled by Kenny Smith and Tim Stafford, two of bluegrass music's most celebrated flat top artists, and their contributions are documented in this book in both tab and standard notation. Learn their solos for some new tunes and a couple of great standards. Of special interest is their superb duet version of Angeline the Baker, included here in its entirety - 13 pages of music for this piece alone! In addition to all these great solos, AcuTab's Andy Friedman has put together a 10 page section on rhythm guitar playing which includes rhythm/backup transcriptions for 4 examples of Tim's accompaniment on the Knee Deep CD. Andy also presents a great overview of the basic chord forms used in bluegrass rhythm guitar playing. Together with the Knee Deep CD, this book offers a great, close up examination of the soloing styles of two important and influential guitarists plus a great look at Tim Stafford's rhythm playing.

As Bill Monroe is commonly lauded as "the father of bluegrass music," his tunes are standard repertoire and should be studied and memorized by any serious student of bluegrass. This book is a collection of transcriptions in notation and tablature taken from classic instrumentals recorded over a span of 40 years, from the early 1940s to the early 1980s. It functions as a "fake book" for bluegrass students to learn the original melody or to study Monroe's playing style. The melodies were played by mandolin, fiddle, twin fiddles, or triple fiddles, and are grouped accordingly. Generally included with the fiddle melody is a transcription of the mandolin break. These transcriptions, along with the discography, will be an important resource for any student of bluegrass music.