I disagree with Bonesigh’s description of the book. What I think he is missing is that James Hill is really emphasizing and teaching the importance and beauty of getting two parts going at the same time.
James Hill is a very rhythmic player. Listen to his Billie Jean playing. He gets a groove going and keeps it going. The first two pieces in the James Hill Duets for One book basically teach you how to get your thumb to keep a steady beat by alternating between the fourth and third strings. Sounds easy in theory but it takes a lot of concentration and practice until it just becomes feel. It’s to my mind learning clawhammer. You’re also moving up and down the neck with chord changes and melody. It ain’t easy and I’m a high intermediate player.
I’m also a big fan of chord melody arrangements and in particular love Lyle Ritz’s Books, but there are many other good ones such as those by Craig Brandau and ones you can find on the internet or via the Humblebaritonics blog site.
These, arrangements, however don’t emphasize the groove that James Hill always has going. There really is something to it don’t mean a thing if it ain’t got that swing.
Also, I’m near-sighted and have to put on my reading glasses to read anything but the printing’s really not bad. It’s easy to read. Basically you memorize bits and put them together. If you have to read it to play it, you haven’t mastered it. Learning it means feeling the groove and knowing where it goes. When you apply this technique and feel to other songs and your own writing you’ll have that mysterious ability called musicality.
James Hill is a very rhythmic player. Listen to his Billie Jean playing. He gets a groove going and keeps it going. The first two pieces in the James Hill Duets for One book basically teach you how to get your thumb to keep a steady beat by alternating between the fourth and third strings. Sounds easy in theory but it takes a lot of concentration and practice until it just becomes feel. It’s to my mind learning clawhammer. You’re also moving up and down the neck with chord changes and melody. It ain’t easy and I’m a high intermediate player.
I’m also a big fan of chord melody arrangements and in particular love Lyle Ritz’s Books, but there are many other good ones such as those by Craig Brandau and ones you can find on the internet or via the Humblebaritonics blog site.
These, arrangements, however don’t emphasize the groove that James Hill always has going. There really is something to it don’t mean a thing if it ain’t got that swing.
Also, I’m near-sighted and have to put on my reading glasses to read anything but the printing’s really not bad. It’s easy to read. Basically you memorize bits and put them together. If you have to read it to play it, you haven’t mastered it. Learning it means feeling the groove and knowing where it goes. When you apply this technique and feel to other songs and your own writing you’ll have that mysterious ability called musicality.
