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Guitar Concepts & Techniques: A Musical Journey

Guitar Concepts & Techniques: A Musical Journey

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8037-Downloadable
$12.95
6903-VHS + Booklet
$12.95
7048-DVD + Booklet
$13.95

Guitar Concepts & Techniques

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Includes:

Time and the Metronome
Bluegrass Mode
The Coltrane/Monroe Connection
Bach for the Acoustic Gutarist
The Mighty Tritone/Blues Connection
Key of the Week
Technique

 

Description:

Travel through musical time with John Carlini & learn a smorgageboard of musical concepts all designed to help improve your own technique & musicianship! John’s teaching technique is “one of a kind. His explanations are clear & easy to understand. Learn practice methods (10-15 minutes per day). Tiny bits of progress each week will help you become a formidable player in just months! A Must See!

 

Reviews

John Carlini is a musician's musician. A talented composer, arranger, and teacher, John's credits include recording collaborations with guitarist Tony Rice and mandolinist Butch Baldassari, His arrangements and orchestrations have been recorded by the David Grisman Quintet, the Nashville Mandolin Ensemble, the Tonight Show Band and the Kronos Quartet. Carlini also orchestrated the score for the DeLaurentiis film, King of the Gypsies and was nominated for a Drama Desk award for his orchestrations for the off-Broadway swing musical, The Song of Singapore. John's appreciation of a variety of musical genres is apparent in every aspect of his playing. Whether it's a bebop phrase or a hot bluegrass run he captures its essence with the ease and finesse of a truly gifted musician. Peter Becker Mandolin Bros guitar tech & freelance writer

Review from "Just Jazz Guitar Magazine" written by editor Ed Benson John Carlini is one of those guitarists comfortable playing bluegrass, swing, Bach or bebop. Well known as a teacher, arranger and composer, John teaches the following topics in his video: Time and the Metronome, Bluegrass Soloing, the Coltrane/Monroe Connection, Bach for the acoustic musician, the mighty tritone/Blues connection, key of the week and technique. While not specifically a jazz or how to video there is much to be learned from his conceptual approach for the student who is at least at the intermediate level and who may feel in a rut and isn't sure how to proceed to the next level. Check this one out from a fine teacher. Ed Benson

Review from Flatpicking Guitar Magazine May/June 2000 Issue This video provides a compass for the guitar world. It is a beautiful lesson in an organic & evolutionary approach to the guitar. More importantly,it will help the person holding the guitar become a more complete musician, rather than "just a guitarist." This is not a how-to video. There is an old proverb that says, give a man a fish, & he eats for a day; teach a man to fish, & he eats for a lifetime. This video is about learning to fish. In teaching the audience how to fish, or how to approach music, Carlini clearly emphasizes some ingredients which are absolutely essential to sustaining the pursuit of the guitar over a lifetime. The formal topics covered in the lesson include time & the metronome, bluegrass soloing, the Coltrane/Monroe connection, the tritone, the key of the week, & Bach for the acoustic guitar. But it is in the way in which these topics are approached that Carlini offers his most important lessons. Carlini, clearly, has the modesty of master. He is humbled by music, & humbled by the guitar. This is the humility that comes after one has climbed up the mountain far enough to realize that he hasn't climbed far at all, & that the mountain is too big to ever get to the top. He calmly emphasizes a mature perspective on the importance of developing a unique individual voice on the instrument. He clearly identifies with a student's fears of venturing into "hard" or unknown territory on the guitar, & he has the deep resonance of the voice of experience when it comes to working through slumps. This video will be most helpful to the intermediate through advanced guitarist who feels stagnant, & doesn't know how to move ahead. Although he does mention certain fundamental concepts in passing, some understanding of the basics would make this video much more valuable. Carlini does not spoon feed the audience. Instead, he draws the student into the beauty & mystery of music, & points towards the path of exploration. Reprinted by permission, Reviewed by David Moultrup from Flatpicking Guitar Magazine 2000

 

Customer Compliments

I Just want to thank you'al for all the great instructional material. Mr Carlini's first video was just great and I'm still using it all the time. Thanks again for all the help... Z Greene

Dear Rolly: Thanks for the recommendation on the Carlini video. It's excellent. It touches on some very interesting subjects. Very good info. David Dugas-Marietta, GA

John Carlini: smooth as silk. Big on theory. Great communicator. Wayne Morrison, Internet

Dear David: I think this video is chock full of simple, useful information and tips about complex, sophisticated musicianship, be it Bach, Coltrane, Bluegrass, Swing, or whatever. I'd rate it an excellent product for any acoustic musician looking to broaden their musical horizons. > > disclaimer: John is a friend and mentor of mine and I love his guitar playing, but I don't think that colors my opinion. Rolly Brown-New Hope, PA

Well said, Biscuit Dave. I'm working on my Kamp report, but I guess the long and short of it is that you can't buy or steal the situations you find in abundance at SKFC. How often do you get a two-hour lesson with John Carlini or get to sit around and hear Steven Bennett and John Carlini do an impromptu version of "Don't Get Around Much Anymore" or hang around with in structors who are just dying to show you how to do neat stuff or spend an entire week laughing, visiting with very nice people, and playing guitar. To paraphrase Woody Allen's comment regarding sex..."The worst Kamp I ever had was excellent." Dr. Mikey, Internet

Hi John Thanks so much for sending the video and live CD. I hope you are planning on doing additional work in the teaching field that could be made available to players out of the NJ area. You have a decided gift in the area of teaching and communication. This, happily, results in players being inspired to pick up their instruments with a little more insight into what they're doing. It is, despite the universe of info. available on the internet, difficult to find players who speak intelligently on the subject of music. I am really hungry for anything else you might have - I am sure that it would be beneficial. There should be two or three guys in this area ordering your video in a week or so. I appreciated greatly the little piece on J.S. Bach at the end of the video. Jon van Gilder-internet

I remember Tony Rice once saying that a whole new world was opened up to him when John Carlini showed him how chord variants worked on top of each other, thru each other, and over each other. Get the drift Uncle Fred? --James Van McIntosh, Internet

Prior to Kamp, John Carlini and Stephen Bennett were just names to me. Seeing them has opened me up to a world of guitar music that I will very likely explore. SteeDee, Internet

John Carlini had 3 encores last night....what a performance... Jerry Venable, Internet

"A most versatile guitarist . . . beautiful harmonic sense and an abundance of chops" Tony Mottola, Internet

...for the last several years I thought Norman Blake personified cool. I was wrong. Norman Blake AND John Carlini personify cool. I discovered my misconception during SKFC 2000 this past week. Like Norman, John has an essential grace, a casualness, that both draws your attention and diffuses it. When both men enter a room, the atmosphere becomes anticipatory, charged; yet they both have a certain ease about them. In fact, when either Norman or John are around it seems the temperature itself is 10 degrees cooler. Yet, Blake and Carlini are completely different characters. Norman is down-home-shade-tree-rural-existentialism (his words) cool. John is uptown-black-tie-urban-sophistication (my words) cool. Norman is riverboat-gambler-strawhat-suspenders- and-long-sleeve-white-cotton-shirt cool. John is spats-and-top-hat-black-silk-shirt-and-diamonds cool. Norman is Georgia-soft-drawl-laid-back-easy-going cool. John is Joisey-clipped-quick-witted-soft-spoken cool. Norman is "Church St. Blues." John is "Stardust." Norman was educated at Flatpick U. John at Berklee. Yet, there are key similarities between the two. Neither Norman, nor John, play particularly loud (now, that wouldn't be cool, would it?). Instead, they play like the world will slow down and LISTEN for them, which it does (even with other superpickers surrounding them). That's really cool. Neither Norman nor John appear to play at supersonic speeds; they expectantly await the universe to slow it's headlong rush to see what they are doing, and it does. That's really cool, too. Norman and John are wonderfully articulate and skilled communicators, not only with lyric and melody, but with the spoken word as well. Their medium may be of wood and steel strings and picks and fingers, but their genius is in the musical illustration of mood, atmosphere, feeling. --Biscuit Dave Jarvis, Internet

Just a quick note to thank you for agreeing to be an instructor at this year's SKFC. I've been going to the camp since its inception and I was in one of your "advanced" classes (#8). Many of us amateur flatpickers get stuck in ruts of various widths in which we tend not to listen to a broad variety of music. Your performances during the camp, both planned and impromptu, as well as the excellent material you provided in class gave us all a great glimpse into a musical genre that, at least speaking for myself, we don't often see. Since I've been going to the camp for many years, I know a lot of the folks who come back each year. I talked to many of the veterans, as well as the new campers, about your class and everyone, without exception, gushed with praise. Personally, I found your class to be outstanding. The material was relevant, your perspective was refreshing, and your presentation was ernest, straightforward, and humorous. I came away from your class with things I can actually practice - that will make me a better and more thoughtful player. Mike Maddox, Internet

Hi John. I've been meaning to email you and tell you how much I enjoyed your video. It's unlike any "instructional" video that I've seen before, and in my opinion much more useful -- to players of all types. I struggle with many of the problems you mention, and I'm sure most players do, and your suggestions will help me to think differently & practice differently. I especially loved the section on the Coltrane/Monroe connection -- brilliant! I'm amazed that you could boil it down & illustrate so clearly with one phrase! Todd Denton, Internet

I just want to say what a great experience it was for me to be a member of the instruction team at Steve and Donna's Camp. This past week was one of the best weeks of my professional life. I must admit to wondering at first about being accepted by everyone due to my swing and jazz approach. That feeling was quickly dissipated during the first day and after I had an opportunity to perform. The response was both humbling and thrilling. Apparently, my bluegrass roots were showing, and my love of the music of Bill Monroe and of John Coltrane (and Django!) (and Bach!!) carried me through. Thanks to all. John Carlini

 

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