I’ve been playing the guitar since I was kid. There was a time when, still very young, I wanted to take classes to be able to express myself better, but maybe it wasn’t time yet because I wanted to focus more on vocals.
I perceived that who sings accompanying itself on the guitar could enrich the accompaniment with arpeggios listened until then from artists American folk. However I had no idea where to start to get what today it’s called fingerstyle technique. Before Franco had learned some arpeggios from “Il manuale della chitarra Rock, The Rock Guitar Manual” by Andrea Carpi, text known and appreciated by many Italian fans.
After meeting Franco it has opened a world. He began to teach me the use of alternating bass in the songs and how to combine different traditional fingerpicking arpeggios. Following my repertoire of songs folk improved notably drawing great stimulus in to play again songs like “don’t think twice it’s all right, Mr. Tambourine Man by Bob Dylan, Country Roads by John Denver, Where have all the Flowers Gone by Pete Seeger, just to name a few.
After starting the first exercises and studies on the Method for Guitar Fingerstyle Blues, My Acoustic Blues Guitar, I took confidence with tablatures and other finger style techniques. But it is through Basic fingerstyle Guitar, which I have followed all the steps of preparing here at home, that I committed more seriously. One track in particular between those of basic, which I had heard birth right in front of our fireplace, Our Fireplace, has stimulated me to continue the studies. Learn to fluidly play took me almost one year! I literally jumped all the foreplay, or all exercises and excerpts that Franco had listed with a certain progression of difficulty. Despite this, Our Fireplace didn’t come too bad actually, I liked it a lot. Then I started to play the Basic from the first pages with new enthusiasm.
It is certain that the guitar, like all instruments, requires a continuous contact over time and I realized how important this is. Even seemingly simple songs after a period of secondment may be difficult.
However, after having learned the Basic tracks, I liked to continue the initiated run with the desire to experiment the open tunings. So, with a bit of fear as to things that are still unexplored, I undertook the collection of Irish tunes Celtic Fingerstyle Guitar and I have to say that I found it wonderful. Listen for the first time the sound produced by my fingers on open tunings was more than a pleasant surprise: it made me literally freak out!
Now the DADGAD for me is no longer a mystery, I recognize it by ear and I’m happy to be able to use it through the imprints of Franco. He wrote to me some arrangements with chords and arpeggios of my favorite songs.
In effects for a singer who wants to go beyond the usual chords around first positions, the experience of open tunings s stupendous.
Just in the annual guitar workshops in Malosco, II have begun to collaborate with Franco giving a hand to the participants that stayed back in the guitar orchestra rehearsals, acquiring a certain experience in guiding less experienced guitarists through rhythm, reading tablature and fingering.
Since some time we began to hold workshops of small groups in Marche’s Acoustic Guitar Records Farm House and it is not excluded that in the future can be also open to singer songwriters that want to experiment new guitar techniques to arrange guitar and voice.
If you are curious to know more about the fascinating world of fingerstyle please write to Franco or fill out the form below: