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Here is a beautiful arrangment by Ulli Boegershausen (***********/user/Boegershausen). Thanks for watching :)
13 Sep 2009
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Ulli Bögershausen: Guten Abend, gute Nacht, Brahms Lullaby, Op. 49, No. 4, www.boegershausen****
28 Oct 2009
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*******www.guitartricks****: This week guest host Lisa McCormick busts out the acoustic and demonstrates a simple fingerpicking pattern. This is a fun pattern to play and Lisa gives you some ideas about how you can use it in different ways.
30 Oct 2009
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Le duo folk progressif GUAJIRA reprend à sa façon la pièce Black Orpheus puisée à même le répertoire jazz. The progressive folk duet, GUAJIRA, give the old jazz standard Black Orpheus a new body. www.GuajiraBand****
24 Nov 2009
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Ulli Bögershausen arranged and plays First Noel (Christmas Carol)
1 Dec 2009
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composed by Laurence Juber, filmed by****
30 Dec 2009
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playing 'since we met' by tommy emmanuel on a classical guitar. Some mistakes here and there, and not a full version
2 Jan 2010
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HAPPY NEW YEAR 2010. We hope you will have lots of fun playing guitar as we had playing Franco’s tune. This tune is part of the brand new guitar book Franco Morone & Ulli Boegershausen: 10 Duets (For intermediate players) www.boegershausen****
20 Apr 2011
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This tune is part of the brand new guitar book Franco Morone & Ulli Boegershausen: 10 Duets (for intermediate players) Acoustic Music Books Germany www.boegershausen****
23 Jan 2010
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View tabs at *******www.freeguitarvideos****/LJ5/lightnin-hopkins.html Lightnin' Hopkins Style Licks is a free video lesson on acoustic blues guitar by Roger Hurricane Wilson. The lesson includes a brief history on blues and two easy licks in the style of Lightnin' Hopkins. The first lick will feature a simple single note blues melody. The second lick has a ringing bass note paired with a riff that's played on higher strings.
12 Jan 2010
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This tune is composed, arrranged and played by Ulli Bögershausen www.boegershausen**** I composed it in the style of my good friend, great colleague and brilliant guitarist Alex De Grassi. Postproduction and editing by Olaf Merker
6 Feb 2010
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Me playing Stairway to heaven, one of my all time favorites. Hope you all enjoy, and thanks for watching!
16 Mar 2010
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Matteo Carcassi's Op 60 Study No 7 in Am The original is played alot faster but I think it sounds good. thanks for any honest feedback
17 Mar 2010
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Indonesian Song Tak Bisakah by Peterpan AKS Buat kita2 yang dari Indonesia enjoy yah =) For all, its an Indonesian song that recently catch my attention so I decided to fingerpick it and its possible so please enjoy and have a great 2009 Sorry no tabs :/
16 Apr 2010
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My version of dust in the wind *******GuitarPickinFun****
6 Jan 2011
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FULL COURSE: ******* More free guitar lessons: ******* As guitarists, I think we've all experienced that sense of frustration and helplessness that occurs when, while playing, the fingerboard starts to shut down, dissolving into an elusive maze of strings and frets. Just what is it that makes viewing musical relationships on guitar so difficult? Actually, there are a number of factors that are responsible and during this course we are going to address and hopefully remedy all of them. One obstacle is the result of a misconception and habit of thought acquired during the earliest stages of learning to play that is carried over into later playing situations. That misconception is that chord symbols represent isolated, unrelated finger grips. For example, when playing a simple folk song, each chord symbol is treated as representing a finger grip to be strummed until the next chord symbol is spotted above the lyric. (This is an example of vertical thinking.) While this is a fine and necessary approach for a beginner, later on, encountering more harmonically complex material, thinking of chord symbols as isolated and unrelated finger grips tends to obscure the closely interdependent horizontal flow and function of chords within a progression. Let me give you some examples. Progression for Danny Boy, Loch Lomond D Dmaj7 D6 D G Gmaj7 Em7 A7 D (Above progression with isolated finger grips.) (Above Progression with good voice leading showing the descending moving bass line on the 6th string.) Notice how the beautiful moving line implied by these chord symbols was obscured when I approached each chord symbol as an isolated and unrelated finger grip. Try to keep lines moving in the same direction as long as possible. Now, to acquire the skills necessary to interpret chord symbols as a guide to accessing moving lines, you'll need to become thoroughly familiar with triads which are the building blocks of chords, chord construction formulas and chord voicings in all inversions and locations along and across the fingerboard. Part One of this course will introduce you to all these topics.
31 May 2010
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