Thanks to audio/video equipped computers and services like Zoom, FaceTime and Skype, I’ve been giving lessons to students from 50 miles away to halfway across the globe… almost as easily as teaching a lesson in my home! PDF technology allows me to e-mail a sheet of TAB, exercises, or a theory assignment to a student in seconds, and MP3s allow me to quickly record and send examples of what the music should sound like. The technology which allows you to read this page keeps progressing at a dizzying pace! The previously unimaginable feat of having a free “face-to-face” conversation with someone 3000 miles away is now commonplace. “Bill Bailey, Won’t You Please Come Home” “Down In The Valley To Pray/Jesus, Make Up My Dyin’ Bed”įrom the “ From Adamant To Atchafalaya” CD… Here’s a list of TAB transcriptions of the arrangements from my CDs that are presently available. Please include your email address and/or phone number with your order, and indicate whether you’d prefer to receive the TABs in “hard copy” or PDF form.Īll items are postpaid to the US. Payment options include personal check to the address below, or checkout on this site with PayPal. There are steep volume discounts, as well… go here for pricing. Each transcription is note-for-note accurate to the version on the CD (some are 6-8 pages long as a result!), contain thorough rhythmic notation and fretboard diagrams for all the rather odd chord shapes used, and are available in PDF form, or printed on high-quality stationery stock. In response to many pickers’ requests, TAB transcriptions of arrangements from “Steel String Americana”, “Roots & Branches”, and “Steel String Americana” are now available. Paul Asbell CD Arrangements… Now Available in TAB Form! I recently shot some clips for Guitar Player Magazine’s online feature, one of which can be found here… I Also recorded some clips for a new online venture, Peghead Nation, which debuted in April, ’14. Past students have included recognized professionals in jazz, rock, folk, etc, including Phish songwriter/guitarist/icon Trey Anastasio, Nth Powerheavyweight Nick Cassarino, Tauk guitarist Matt Jalbert, singer-songwriter Richard Shindell, Grace Potter guitarist Benny Yurco and “Hadestown” composer-songwriter Anais Mitchell. In addition, I presently see between 10-15 private students/ week, covering every conceivable age group, stylistic orientation, and playing level. Fellow teachers at these wonderful sleep-deprivation experiments included Pat Donohue, David Wilcox, Kathy Mattea, Steve James, Al Petteway, Tony McManus, Stephen Bennett, Mary Flower, and others. In recent years, I’ve taught workshops on Fingerstyle Blues, Swing Jazz, and other related topics at the ASIA Symposium in Nashville, TN, Healdsburg (CA) Guitar Festivals, Newport Guitar Festivals, Memphis Acoustic Guitar Festival, Woodstock (NY) Invitational Guitar Show, La Conner (WA) Guitar Festival, Rocky Mountain Archtop Festival, and several others. I’ve also taught at the Swannanoa Gathering Guitar Week in Asheville, NC, and the Port Townsend (WA) Acoustic Blues Workshop. Presently, I am teaching at University of Vermont (since ’06) and Middlebury College (1996 to the present). Past teaching stints include Dartmouth College between 1986-1990 as well as master-classes at Skidmore College, Johnson State College, Marlboro College and several other schools. I strive to keep this thought present at all times in my teaching, and the more feedback I get from a student about what works best for them in their learning, the more I can develop an approach that is uniquely personal. Obviously there are common problems, stumbling points, and technical hurdles that virtually ALL would-be guitarists share, but each person’s specific journey is unique. I see my job as being “how do I take them on a journey from point A to point B as effectively and interestingly as possible”- but given the ENORMOUS diversity of possible points A and B, there’s an INFINITE number of these personal journeys. What I try to do is establish what abilities the person in front of me already has, (point “A”) and also what abilities they would like to acquire through our lesson process (point “B”). Having cobbled together the necessary guitar skill-sets in a somewhat capricious manner, driven mostly by my own obsessions with certain styles, sounds, and cultures, I realized early on that there are an INFINITE number of valid ways to learn to play music. I think it’s related to the fact that I myself am self-taught. I’ve often wondered why I’ve not “burned out” on it a long time ago, as many professional players have. I’ve taught guitar professionally since 1968.
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