Tag Archives: Truefire

#Let’sReview | Street Theory for Guitarists by Jeff Scheetz and Truefire.com

Street Theory for Guitarists by Jeff Scheetz and Truefire.com


Author:                              Jeff Scheetz

Genre:                                 Theory

Level:                                   Beginner | Late Beginner | Intermediate | Late                                                    Intermediate | Advanced

Features:                            38 Tabs (.gp5) + 40 Charts (.pdf) + 5 Jam Tracks (.mp3)

Lessons:                              45 Video Lessons (4 hours and 44 minutes)



Today’s review is about a new theory course by Jeff Scheetz and Truefire. For those of you who aren’t familiar with Jeff Scheetz; he is the director of education at Truefire.com. He has already released numerous courses designed to help you improve your journey on the guitar. One of those courses is his „Smart practice for guitar“. This course focuses on another major topic that is key in improving fast: theory.

Theory is usually considered one of those demons that someone put into this world in order to torture us; in particular guitarists. However, theory can ease the learning process a lot! You certainly do not need theory in order to be musical. You can go ahead and create notes on an instrument and replicate songs just by ear and once you figure out how your instrument works.

Why should we then bother to learn theory at all? Let me tell you something I experienced when I started out on the guitar.

I once went to Spain with my guitar and as I was walking around the streets of Cordoba, I noticed another guitar player. I sat next to Raúl and we talked a bit about the guitar, music in Spain and so forth. A little bit later, we decided to have a small jam session. He was clearly better than I was since I had just started out but the way we connected through our instruments and played together was truly an experience that sparked my motivation for music even more. Wait… why am I telling you this? Well, in order to be able to play together we had to be on the same page. We achieved this by clarifying in which key we were about to to play and generally knowing our instrument in terms of notes, chords and basic musical stuff such as melody and harmony. In short, we connected through theory.

“Street Theory for Guitaristsis a catchy title, but one that contains more than you would expect at first sight. Before watching this course I asked myself: what would it take to connect with other musicians you meet? Which concepts would it need to speak the same language and to be able to connect with other musicians?

Going back to the story that I had just told you, I would like to answer what it took for me to connect with Raúl by going over the content of this course. As I’ve mentioned, you certainly need to know your own instrument before you can engage in conversations. That’s why the first section is all about the very fundamentals of your guitar.

Fundamentals include the musical alphabet“, referring back to the notes on your fretboard. If you meet other musicians on the street it is more likely to happen without tabs hanging off a wall so you need to be able to refer to notes if you want to exchange pieces and have a jam session. In order to do so, you certainly need to know your own instrument in terms of notes or the musical alphabet.

The process of learning the notes on the fretboard can be a daunting one. However, this course slowly builds that important skill by first showing you how to name the notes on the 5th and the 6th string. If you know these two strings, you will already know three strings, since you’ve got two E-strings that work the same way. Once you have this skill down you are going to learn how to find octaves on the guitar. Octaves help you to identify the various positions that exist on the fretboard and to navigate through different voicings. It also helps you build chords by narrowing the fretboard.

Once you’ve nailed the note names on the fretboard it is time to connect them by applying what is known as intervals. Intervals are the distances between two notes. As so much on the guitar, intervals are easily learnt by learning the different shapes. Last but not least, the fundamentals section is closed out by learning probably the two most important scales (arguably); the chromatic scale and the major scale.

The second section is all about chords. Knowing the formula for building chords is essential if you want to understand the concept of chord triads and chord inversions. You are also going to learn why we guitarists need barre chords and what the secret of that “barre” actually is. Once you nailed this, you are going to be taught how to name the chords in terms of roman numerals and how to build progressions out of them. Another important concept that is brought to you by Jeff Scheetz is the method to identify in which key your song is in so you know which chords to play in common progressions.


Moving on to section three, you move away from the harmonic side of music and turn towards the melodic side of it! Unless already familiar with them, you are going to be introduced to scales and different types of scales (pentatonic and blues scales as well as modes! Knowing which scale to play is crucial if you want to transfer the correct mood of a song and literally playing and staying on the same page as your fellow musicians.

Last but not least, there are some further important concepts that could certainly be put into the other sections but that are slightly more advanced. In section 4 you learn about the CAGED system and how it functions within the different chords that you can play all around the neck! This really opens up the whole neck for you and gives you more freedom and more voicings to explore! You will also learn how to move harmonies and how to arpeggiate chords. Those concepts will allow you to articulate yourself in a more complex way.

Let’s sum this course up… “Street Theory for Guitarists” by Jeff Scheetz and Truefire.com is one of those courses you may have wished as part of your starter kit, as part of your very first guitar as it can help you digest the massive load of information that you will have to acquire throughout your career. Theory is not boring at all. The way it used to be taught, however, was old-fashioned. Learn music theory the cool way with Jeff Scheetz and be able to connect with other musicians and actually speak the same language!

Highly recommended!



Lukas Wedrychowski

www.meridirhproductions.com – ‘cause music matters


This course was provided by Truefire.com

Musicarium Songbook by Andy McKee and Truefire.com

Musicarium Songbook by Andy McKee and Truefire.com


Author:            Andy McKee

Genre:              Acoustic

Style:                Fingerstyle | Acoustic

Level:               Late Intermediate / Advanced

Features:         Tabs (.pdf) & GP5 files

Lessons:          38 Videos (incl. introduction & conclusion) | 188 Minutes


Today’s review is going to be about Andy McKee’s first course for Truefire.com called “Musicarium Songbook”. In this review I am going to give you a brief introduction to Mr. McKee, highlighting some milestones in his career as well as my own opinion on him, having followed him for quite some time on YouTube. After the introduction, I will move on and discuss some of the songs and techniques within the course as well as give you a conclusion of what to expect from Mr. McKee’s first course on Truefire.com.

As I mentioned above, I have been following Andy McKee for quite a while now, growing a steady interest in fingerstyle playing! If you haven’t yet heard of him or seen him playing, go and check out his YouTube channel! One particularly good performance that I enjoyed was him playing Toto’s Africa together with the amazing and well-known Tommy Emmannuel, who happens to release a new course for Truefire almost simultaneously!

My own impression of Mr. McKee is that of a very versatile technical player with a clear joy for the instrument. By incorporating various techniques, ranging from harmonics over to percussive slaps and body percussion techniques he manages to merge sounds that form this very style, typical for modern fingerstyle guitarists!

What to do if you want to follow an idol and want to get – at least – as good as your favourite guitar player? Well, you are most likely going to study his songs… This is exactly what you are able to do with this course. You will be introduced to a total of five songs, each being an essential core of Andy McKee’s repertoire, highly instructive in terms of technical demand as well as a joy to listen to.

From an instructor who shows his own songs I would expect the following: an introduction in which the artist explains his thought process or the motivation behind the song, a clear and high quality performance of it, so you get a perfect example of “how-it-should-sound” as well as a detailed breakdown into the different parts of the song so we can slowly but surely work on the tune, working our way up until we can play the complete tune!

Let me show you if Mr. McKee managed to fulfil my expectations by having a look at his first song of the course called Drifting. The piece is broken down into six parts, starting out with an overview, a performance and a breakdown (consisting of four videos) of the piece.

The introduction teaches us what inspired Andy McKee to write the tune when he was about 18 years old. Preston Reed was the driving force behind the tune, having shown young Andy McKee that an acoustic can easily hold its ground to an electric guitar. Furthermore, you are given an overview of the different techniques that you will need to know to play the tune.

The introduction is followed by a full performance of Drifting. Here you are going to see first-hand if this tune is something you want to learn or not. It becomes evident from the get-go that this tune is a highly technical piece that requires good command of the instrument. However, for those who decide to stick with the tune and learn it, you are getting a very good recording of the tune in multiple angles to focus on the difficulties that may come up when studying the piece.

Once you have listened to the recording you are heading right into the breakdown of the tune. I cannot go too much into details here as I don’t want to spoil anything. However, I can tell you what the breakdown section is compiled of and what you can expect to learn here. First of all, the tune is divided into four sections: the intro, the verse, the chorus and the bridge.

Picture AndyMcKee.png

Throughout the breakdown videos for Drifting, about 30 minutes in total, you are getting introduced to the chords and the chord progressions in this tune. The piece is written in the DADGAD tuning, which really helps out incorporating the various over-the-neck-techniques that you use to play the chords while switching back and forth between them and the bass parts, consisting of body percussion all around the guitar body. Below you are going to find the performance of this tune to see exactly what makes this piece a demanding one!



Andy McKee’s explanations are always on-point! He understands well to break down the individual problem areas of the piece bit by bit, giving it enough time to really sink in. He is known as a very technical player and you need to know that before you attempt to follow in his footsteps. However, I cannot stress enough of how impressive his playing is and once you enter that path you are going to draw a lot out of this course!

Beware that the course will take some time as there are no simple pieces or tricks to make you play the pieces magically. However, the high quality recordings and cutting that is a trademark for videos and courses by Truefire.com are a real aid in learning this tune!

The course material is accompanied by tabs and notation in .pdf or .gp5 format.



For advanced fingerstyle players, those, who search for a course that serves as an artist study, “Musicarium” is the right choice! Here you are going to be challenged as the techniques used in the songs are by no means easy. Once you put the time and effort into it you will definitely benefit from the clear instructions and the amazing pieces that were chosen for this course.

Lukas Wedrychowski

MeridirhProductions.com – ‘cause music matters


This course was provided by Truefire.com

50 Right Hand Techniques You Must Know by Muriel Anderson and Truefire.com

50 Right Hand Techniques You Must Know by Muriel Anderson and Truefire.com


Author:             Muriel Anderson

Genre:              Acoustic / Universal

Style:                Fingerstyle / Universal

Level:                Beginner / Late Beginner / Intermediate / Late Intermediate / Advanced

Features:          Tabs (.pdf) & GP5 files

Lessons:          53 Videos (incl. introduction & conclusion) | 150 Minutes



Have you ever wanted a compendium of right hand techniques for your guitar? Have you ever faced the question which technique to practice next? If the answer is yes then do not stop reading since I have got a course for you that might easily answer all your questions.

50 Right Hand Techniques You Must Know by Muriel Anderson, published by Truefire.com, is a collection of no less than fifty techniques you can use with your right hand. No matter if you are into Blues, into Jazz, Folk, Funk, etc. here in this course you’ve got all you need to further refurnish your fingerpicking technique on the guitar.


Many styles share common techniques, such as palm muting, harmonics, percussion and tapping. With that being said, in this course you are going to learn something universal; something that you can apply over various musical styles, stunning your audience with techniques that not only look great but also give your playing a distinctive touch!

If you are a songwriter you may consider implementing some of these techniques into your songs to make them more challenging or more fun to play. Who knows, maybe you can use these techniques as inspirations to create own techniques, own variations that you will be known for.

With all that summarizing the course per se, what can you actually expect from the course? Well, let me provide you with an answer to it: Over the course of 50 lessons, you are going to be introduced to a particular technique, with a high-quality video in which the lecturer, in this case Muriel Anderson, explains, illustrates and breaks down the technique.

You are not only going to receive visual input, but also auditory! Listening to how the technique should sound like and watch Muriel playing it almost simulates a 1on1 session with an instructor.


Do not forget that whatever the technique might be that you are learning, you are still required to put effort into it and practice the technique. Some of the techniques in this course, such as hand position, thumb position and palm muting, are very basic, very simple and should belong to everyone’s repertoire of right hand techniques. However, if you are into Flamenco and all the Spanish guitar styles you are certainly familiar with the different types of strokes that exist; i.e. Rasgueado.

The courses are clear cut and well structured. In my opinion, they partially even increase in difficulty which is great if you want to challenge you with each lesson. However, the only drawback I see with them is that there is no additional material for the viewer to practice. So what you have got here is literally a course that introduces you and shows and explains you the various right hand techniques that exist, rather than a workshop in which you are encouraged to further practice your newly acquired skills.

On the other side, considering what this course contains, you are most likely to be busy for a very long time, no matter how long the videos are. Those techniques are, not by chance, considered the very fundamentals of right hand techniques and you are well advised to spend some time and work on them. It will be beneficial; not just for you, giving you the feeling of accomplishment, but also for your audience, who will be bound to your playing and admire the techniques and sounds that you are able to create thanks to your finely forged technique.

I feel really good about this course; there is something for all types of players as well as all levels of players. You get clear cut video instructions to practice the learnt techniques at home. I, for my part, am happy that I was able to have a look at this course and I would definitely recommend it to my students! Well done Muriel Anderson and definitely well done Truefire.com for providing such an important toolbox for each single guitarist out there!


Lukas Wedrychowski

MeridirhProductions – ‘cause music matters


This DVD was provided by Truefire.com

#Let’s Review | 30 Beginner Fingerstyle Blues Licks You Must by David Hamburger and Truefire.com

30 Beginner Fingerstyle Blues Licks You Must by David Hamburger and Truefire.com


Author:          David Hamburger

Genre:            Blues

Style:              Fingerstyle Blues

Level:             Beginner / Late Beginner

Features:        Tabs (.pdf) & GP5 files

Lessons:         32 Videos (incl. introduction & conclusion) | 134 Minutes

Lick 1 – Going Down

Lick 2 – Are You With Me?

Lick 3 – Hammerhead

Lick 4 – The Pickup

Lick 5 – The Long and Short of It

Lick 6 – Flat Five

Lick 7 – Triple Lightnin’

Lick 8 – After the Fact

Lick 9 – Pull Yourself Together

Lick 10 – Train Vamp

Lick 11 – Brush Up Your Hopkins

Lick 12 – The Long Hello

Lick 13 – Half Stepping

Lick 14 – Whole Lotta Bob

Lick 15 – Barrelhouse

Lick 16 – The Third is the Word

Lick 17 – The Ninth Circuit

Lick 18 – Big Anticipation

Lick 19 – Delta D

Lick 20 – Little Root

Lick 21 – Chromatic Walkup

Lick 22 – Purple Phrase

Lick 23 – Extra Five

Lick 24 – Old School

Lick 25 – Ornamental

Lick 26 – Train Licks and Triplets

Lick 27 – Walkin’

Lick 28 – Dirty Rivers

Lick 29 – One Size Fits All

Lick 30 – Unknown Richard


David Hamburger is one of the predominant figures on Truefire.com who is associated with Fingerstyle Blues. No wonder, with him being an award-winning author for Acoustic Guitar Methods “Beginning Blues Guitar” as well as “The Acoustic Guitar Method” and an experienced teacher and player! I first came across David’s courses on Truefire when I was wondering on how to best pick up Fingerstyle Blues. I’ve always been a fan of playing all together, being in control of everything that happens in a musical context and Fingerstyle just suited me the most. The first course from David that I had encountered had been “Fingerstyle Blues Factory” one that I can highly recommend as well and that will be part of a future review for sure. What hooked me about David was his highly didactic teaching style, not only explaining the quintessence of what he is supposed to teach in a particular course but also embellishing it with his vast knowledge of music in general, the general historical side of it as well as his own experience but in particular about the Blues. To me, David Hamburger seems to be a man that has lived the Blues his entire life! If you’ve also got infected by it, then read on.

30 Beginner Fingerstyle Blues Licks you MUST know” is part of a series focusing on essentials of a particular style, packed within licks with the aim to both, increase your musical vocabulary on the instrument and sparking your inspiration by giving you something along the way that you can work on and use in your everyday practice.

30 selected licks that suit the beginning fingerstyle or beginning Blues player in such, as they incorporate various basics that are essential to playing this very style. The great thing about this course is, that it accompanies smoothly David’s other courses on Truefire.com that are dedicated to beginning fingerstyle Blues players. You can see it as an etude course that gives you even more material to practice the concepts that are taught in the other courses (Fingerstyle Blues Handbook 1 and Fingerstyle Blues Handbook 2).

Going through all those 30 licks would consume too much space and would probably take the excitement out of it so I am going to stick to some personal preferences that I found particularly interesting for beginners that would both enhance the motivation to keep digging into Fingerstyle Blues by providing easy-to-accomplish building blocks that are immediately usable in your own music.

Starting with basic techniques, you can’t but to start from simple to more complex. In Fingerstyle, the thumb independence is crucial and that’s why the first lick Going Down includes a steady bass line while descending an Em pentatonic scale. That way you are able to keep a constant motion of your thumb going over a contrasting movement of the melody lines in form of the pentatonic scale, one that is often used as the very first scale that beginners learn in order to learn the basics of soloing. Of course, the pentatonic scale offers more than is included in this lick but it’s a very good starter to teach you how to build up muscle memory and grow from there on.

In Hammerhead you learn a lick that focuses on the typical bluesy hammer-on. That’s actually an interesting one because you’ll have to focus on the correct feeling and groove while performing the hammer-on to make it sound bluesy. Once performed right you’re packed with a lick that is as characteristic as a Blues lick can possibly be.

The great thing about this course and David Hamburger is that you are not only learning the techniques, but as I’ve already mentioned beforehand, learning about the important stuff that goes along with it and that surrounds the technical knowledge that you’re about to get taught. If we put lick #7 – Triple Lightnin’ –  into perspective this does mean learning a typical triplet pattern that, paired with a minor pentatonic scale, let’s you be immediately associated with blues. However, it isn’t just about the lick, here you also get introduced to the style of Lightnin’ Hopkins, something whom you, should you not have already listened to him, should definitely check out!

As a beginner, it can sometimes be quite difficult to produce and get the tone that you really want in order to sound like a Blues player. However, in Train Vamp you’re about to get a lick that will serve you as a good study at the same time in order to master the quarter-tone or quarter-step bend that actually “is a band that raises a note only half as far as a half-step or one-fret-band” (David Hamburger). This does mean that it’s in between two frets and something that, without any other aids, isn’t manageable without a bend. The tricky thing here lies within the quality of the tone. You want to play it as smoothly as possible, not marking any transitioning within the bend. This may take some time but once accomplished, is going to give you something to work with for the rest of your career.

To sum this review up I really have to give credits to David for his, one again, great course that is clear-cut, well-defined and explained but also packed with all the information and little hints that boosts the motivation of an aspiring guitar player. I really enjoyed going through those 30 licks and it took me quite some time to decide which licks to choose for this review that suit the audience of this course as well as more experienced players who want to delve deeper into the blues, be it electrical or fingerstyle.

In typical Truefire fashion, this course comes with the notation being tabbed out and Guitar Pro files. The total rundown of this course is a bit more than two hours but what you get drag out of it is most likely going to last for way longer than just these hours. I hope this course is going to inspire you as much as it did inspire me and that you are going to have fun with these 30 beginner fingerstyle blues licks you really MUST know.



Lukas Wedrychowski

Meridirh Productions – ‘cause music matters

#Let’s Review | Soleares Flamenco Guidebook by John Fillmore and Truefire.com

Soleares Flamenco Guidebook by John Fillmore and Truefire.com

Author:          John Fillmore

Genre:            Flamenco

Style:              Acoustic Fingerstyle/Flamenco

Level:             Intermediate / Late Intermediate

Features:        Tabs (.pdf) & GP5 files

Lessons: 29 Videos (incl. introduction & conclusion) | 72 Minutes

  1. Soleares
  2. Half Compás
  3. Solo Flamenco Guitar
  4. Technique and Posture
  5. Pulgar
  6. Alzapua
  7. Rasgueado
  8. Picado
  9. Apregio
  10. Tremolo
  11. Golpes
  12. Ligados
  13. Flamenco Solo Piece (Elements)
  14. Intro Soleá
  15. Falseta 1
  16. Compás
  17. Falseta 2
  18. Falseta 3
  19. Quejillo
  20. Escobillas
  21. Combination Falseta
  22. Tremolo Falseta
  23. Llamada
  24. Popular Falseta
  25. Falseta Alzapua
  26. Cierre
  27. Complete Soleares

Flamenco has always been a style that attracted people from all around the globe. If you are among those who have always wanted to get started in Flamenco guitar, learning about the style as such as well as developing your basics techniques that will be your bread and butter skills while developing a sense for this style, then I’m inviting to go ahead and read this review on Truefire.com‘s Soleares Flamenco Guidebook.

Your instructor, John Fillmore, began to play the style of Flamenco in the tender age of 12, performing with a Flamenco dance group at the age of 14. During his career, Mr. Fillmore moved to Cordoba (Spain) to study at the Centro Flamenco and later to Rotterdam, becoming the first graduate teacher and performer of the Flamenco guitar.

So, what does this course look like? This course’s structure is technically following the approach “learning by doing”. This means that you are, in typical Truefire-fashion, playing your way through the course because you’re given an aim to work towards to. The goal of this course is to teach you the basic techniques of Flamenco guitar, the infamous techniques known as pulgar, alzapua, rasgueado, tremolo, to name just a few, but at the same time work towards a completed piece. Many methods, be it basic instrument methods or style methods, teach you the techniques but miss on utilizing them so that you can apply what you’ve just learnt. With this course’s structure and way of teaching you are going to implement what you have just learnt on a true Flamenco piece. You’re given instruction to practice a complete Soleares, a piece which’s style is said to be the mother of all Flamenco forms. That way you can take a piece – that by the way sounds amazing – and practice something you can perform in front of others but also your technique. I really like this approach that is a trademark of Truefire.com courses.

Once you’ve nailed the basic techniques which, even for long-time fingerstyle guitarists, may still be challenging due to the interesting voicing that you need to achieve, controlling the compás (rhythm) as well as the different thumb techniques required to induce the flair of Soleares that will pin your audience to your playing, you are ready to learn the individual parts of the piece. You start out with an introduction to the basic elements, moving on to the soleá, the falsetas, escobillas, llamada as well as cierra and remate to finally close out your piece. Each of those elements is part of traditional flamenco music in which you will learn how those pieces are divided and what essential part the guitar is playing in it.

Then you are finally able to play what might very well be your first Flamenco piece, incorporating the techniques that you’ve gathered throughout the course and which you can perfect while practicing the Soleares.

The course comes with 19 .pdf-charts, including the notation in mixed tab and classical form. You get those .pdf files for both the small etudes that introduce the various techniques as well as the full notation for the complete piece that you’ve learnt. For those of you who prefer to work with GuitarPro, you also receive .gp5 files that you can open on your computer, print it out or alter in a way you want that accompanies your playing/practicing.

The quality of the video and audio footage is top-notch as known from Truefire.com. I’m really looking forward seeing more Flamenco courses coming up on Truefire.com as I know from the comment section that this is one of the most requested styles. This doesn’t come as a surprise since this course is widely regarded as something mythical, something that touches the very soul of the people that are listening to it and make them connect.

Well done Mr. Fillmore. I highly recommend your Soleares Flamenco Guidebook by Truefire.com.

Lukas Wedrychowski

MeridirhProductions – ‘cause music matters


This course was provided by Truefire.com

Fingerstyle Revisionist: Adagio Songbook by Adrian Legg & Truefire.com

Fingerstyle Revisionist: Adagio Songbook by Adrian Legg & Truefire.com

Author:              Adrian Legg

Style:                 Acoustic Fingerstyle

Level:                Late Beginner / Intermediate

Length:             3 hr, 41 mins

Features:          Tabs/Notation as .pdf & .gp5 files

Course Link:    Fingerstyle Revisionist: Adagio Songbook


  1. Queenie’s Waltz
  2. Emneth
  3. Mrs. Crowe’s Blue Waltz
  4. Karen
  5. A Waltz for Leah
  6. The Irish Girl


This week’s review is all about the “Fingerstyle Revisionist: Adagio Songbook” by Adrian Legg and Truefire.com. Mr. Legg wasn’t known to me before the course but ever since I layed my hands on this course I started to learn more about this fascinating musician. Adrian Legg was voted “the best aocustic fingerstyle player” four years in a row between 1993 and 1996! He has shared the stage with many proclaimed artists such as Joe Satriani and Steve Vai! That actually speaks for itself and you can bet that whom you’re facing here in front of you screen in Fingerstyle Revisionist: Adagio Songbook is someone who knows his skills. My personal impression of Mr. Legg, after going through the course and listening to some live performances that are recorded on YouTube, is, that of a musician who really connects with music, with the tune and the idea behind it. This cristalizes clearly when you go through the songs.

Usually I’m going through the course, song by song, telling what you can expect from it and what techniques are included that may help you grow as a musician. However, this review will be slightly different. Technically speaking there have always been two approaches to songs:  learning new songs and studying new songs

Learning songs means you learn to play the tune, learn the form of the song/piece and slowly but surely learn to play it at the original speed and without any mistakes. However, this does exclude going deeper and studying things connected with a song that, in my humble opinion, is a very important to clearly catch the idea and the very essence of a song.

Studying songs on the other hand means doing all that but also engaging into the history of a song, learning the circumstances that formed the song to know what you are talking/playing about. You may not have a huge selection of songs in this course, however, the amount you can gain from them is huge! Once you decide to really engage into the songs and to study them in depth, you are going to make progress on a musical level.

The reason why I think it is kind of difficult to approach this review song by song is that the genre is difficult to categorize. If you check out the video at the end of this review showing the introduction to the course you will get a preview of all songs. However, in this review I will mainly focus on my impressions that I had while working my way through the sections. Let’s get started with the most obvious I had to learn when doing my homework on Adrian Legg. Let me quote Richard Chapman:

Impossible to categorize as a player. Adrian Legg incorporates virtually every genre in a virtuosic instrumental style with effects. He brought electric approaches to acoustic playing, creating a modern cross-over amalgamation int he tradition of electric folk playing that goes back to the 1960s.” (Richard Chapman, “Guitar”. 2005)

Once you decide to study a song instead of merely learning it you can gain so much out of almost any song. If you take a look at it, break it down, bit by bit, you are able to fit whole weeks of studying. You get chords, you get pattern, you get techniques such as slides, bends as well as alternate tunings.

Many of the songs in this course consist of alternate tuning to make it more accessible to play the tunes. If I were to carefully put an overall theme to the songs I would most likely say that the tunes are ballads. Although there are many songs that include “Waltz” in their names, they are not Waltzes in its original form. Most of the time the original idea, as stated by Mr. Legg during the course, started as a Waltz but later on turned into a variation. As stated above, it is extremely difficult to draw a frame around this tremendous player whom I would without a doubt call a virtuoso.

Each song consists of several parts, including an introduction, a performance at original speed as well as a breakdown into various parts explaining each building block in detail, so you are well prepared to work down the song as you progress with the course. Each piece comes with a .pdf file as well as a .gp5 file for you to either print out or play and learn on screen. There is one thing I definitely have to highlight. The pdf files are packed with valueable information about the song, how to play it and therefore fits those players very well that prefer to study songs instead of learning them.

The course overall is meant for late beginners and intermediate players. It believe that’s quite fitting since the tunes in this course aren’t particularly difficult to learn. There are many things you can draw from them that can be achieved with a basic knowledge of the guitar.

This is the second course that Adrian Legg has made so far for Truefire.com. You should definitely check out his other course as well called “Fingerstyle Revisionist: Origins“.



If you are a (late) beginner or intermediate player or if you are looking for a course with accessible tunes that will bring your audience onto the floor and dance while you entertain them with these melodic tunes you’ve come to the right place. In this course you will learn a lot about what makes Adrian Legg such an outstanding musician and person!


Lukas Wedrychowski

MeridirhProductions.com | ‘cause music matters


This course was kindly provided by www.TrueFire.com

You can find the course following this link: Fingerstyle Revisionist: Adagio Songbook

#Let’s Review | Acoustic Poetica: Fingerstyle Etudes by Peppino D‘Agostino & Truefire.com

Acoustic Poetica: Fingerstyle Etudes by Peppino D‘Agostino & Truefire.com

Author:              Peppino D’Agostino

Genre:               Acoustic Etudes

Style:                 Acoustic Fingerstyle

Level:                Late Beginner / Intermediate

Length:             1 hr, 38 mins

Features:          Tabs/Notation as .pdf & gp5 files

Course Link:    Acoustic Poetica: Fingerstyle Etudes


  1. Coordination Nation
  2. Basso Ostinato
  3. Sliding Sweetness
  4. Around the Bend
  5. Percussion Introduction
  6. Traversing the Neck
  7. Arpeggiated Voyage
  8. Harmonically Speaking
  9. Rhythmic Slap
  10. Open & Melodic

In today’s review I am going to check an interesting course I found on Truefire.com by the amazing Peppino D’Agostino. I first learnt about Mr. D’Agostino from his performance of the “Godfather Waltz” & “Godfather Theme”. The amount of expressiveness he put into each note and the way he articulated during his performance is incredible and worth listening to! I was so happy to discover that – at the time of writing – he had already produced two courses on Truefire.com. Let me give you some insight of what to expect from the course named “Acoustic Poetica: Fingerstyle Etudes”.

Since Peppino D’Agostino is renowned for his skills on the acoustic guitar, these technical etudes are designed particularly to match the acoustic player who already learnt the most elementary stuff on the guitar. It is always difficult to arrange course material so that it fits a variety of different players, who most likely started out on different ends and chose a different path, while getting the basic chords down, a good feeling for rhythm as well as the theoretical knowledge that is crucial to be able to progress to a higher level.

Mr. D’Agostino stated in his introduction to the course that he had faced the same problem while developing those ten studies. In order to really get a feeling for what the aspiring student needs to further develop his skills as a fingerstyle player he had to go back in time, back to his teenage years when the master himself was working hard on his own skills, getting the very basics down that now define his virtuosic play. After all, the goal is the same in order to step beyond what is widely regarded a beginner. Getting the basics down isn’t that difficult but passing beyond that stage is because you will have to put certain time and effort into it. This course sets sail exactly where the basics end, focusing on crucial elements of each fingerstyle player. Those selected chops, elements or milestones are presented to you in ten fingerstyle etudes that will both challenge and further enhance your technique on the guitar. Let’s have a look at them…

First of all, the etudes presented here vary in difficulty, bridging nicely the different requirements and needs of late beginner/intermediate players. Each etude comes in three parts. A brief introduction in which you are going to know what the purpose of this etude is and what technique it features. Then you’ll see the performance of this study in full tempo and in the last section you are going to get a step-by-step explanation of how to approach and learn the etude.

The very first study is called “Coordination Nation” and is all about coordinating your two most important components while playing: your both hands! When starting out, you learn to produce your first sounds on the guitar and how to call the notes or the chord you are playing. However, once you advance in that and are able to produce a good, strong and clean tone you likely start to incorporate rhythms or techniques that require you to coordinate your both hands in a way that accompanies your playing. That’s sort of where I see this study kicking in. It is presented in a very modest tempo, can, however, be accelerated to put your fingers to a test. The piece consists of a basic base articulation at the beginning of each measure while your remaining fingers are required to connect with the base. This, combined with a beautiful and harmonic chord progression, results in “Coordination nation”. A really cool etude that may very well serve as a warm-up for your daily practice routine. For beginning fingerstyle players this is also a great way to practice the PIMA technique.

Basso Ostinato”, “Percussion Introductions” and “Rhythmic Slap” are etudes that focus on improving your rhythmic feeling. As a fingerstyle player, you are a one-man band! This comes with quite a lot responsibility since you are the one pulling the strings, directing everything and also… keeping time as well as the beat and groove going! This requires a solid feeling for rhythm. In addition to that you also have to play the rhythm part well and add a melody line to it. So, you are basically replacing the members of a band and instead rely on your own abilities. This is quite a challenge for your hands and with those studies you will be able to get a steady bass going and add percussive elements and that way simulate a drum kit! In these studies you are going to learn how to manipulate the perception of the beat, shifting the accents to make it fit your music so that you become the director instead of a mere actor.

Sliding Swiftness” picks up the theme of Basso Ostinato where you had to get used to having control over the ringing strings, knowing when and how to stop them at an appropriate moment. Adding a basic technique such as the slide. It is something your fingers will most likely have to get used to if you have never done it before but the variety in sound it provides you with is great and really worth knowing.

If there is an etude in this course that will put you to the test, then it is “Around the Bend”. This study increases the difficulty by a notch, adding a slightly more complex rhythm to it but also challenging you on the bend! The difficulty lies in the degree you bend your strings. If you bend it too high, you miss the pitch and you get a squeaky sound. However, if you don’t bend enough, you’ll just miss the pitch as well but in that case, get a rather muffled sound. So, you see, as much as beginners had to work hard to squeeze a good, solid tone out of their guitar, without any buzzes, as much you will have to work on this one to get a feeling for the correct amount of bendiness. The tune itself sounds really great but you will have to keep practicing in order to play it properly. This may take some time but it is rewarding!

After getting the fundamentals down there comes a point in time where you will have to learn the fretboard and how to navigate on it. Moving out of the first or second position requires some good understanding of how the fretboard is constructed, how notes are placed all over the fretboard and how they relate to the individual strings. “Traversing the Neck” and “Arpeggiated Voyage” gives you the opportunity to explore new voicings by exploring the fretboard, changing positions and moving up to the 12th fret! The tune for this etude is a relaxing one, one in which you truly feel as if you were taken on a journey, with just the beauty of music with you, nothing to worry about and your mentor who takes you by the hand and guides you towards your next milestone!

Following the etudes that focus primarily on neck navigation you will add another technique to your repertoire that is a common theme on the guitar… harmonics! “Harmonically Speaking” is a pretty demanding one in which you will need to prove that you’ve obtained a good control over your instrument. Being able to play harmonics is dependent on several factors. Of course, once you’ve gotten used to implement it in your playing you will find it easier but developing the skill will most likely take some time, so be patient! The etude itself will ask you to separate several sections and accentuate various parts of the tune to fully embrace the potential of this technique.

As the last etude, you will face “Open & Melodic”, an etude designed to give you insight into different tunings. Loosening or tightening a string results in different tensions and this requires you to maybe alter the way you play a note. It may become more difficult to keep a string ringing while playing and to sustain the sound. The tuning in this piece is an unusual one but that doesn’t mean it isn’t rewarding. Getting used to various tunings opens up the instrument and allows you to explore sounds you wouldn’t be able to reach that easily on a single guitar. This etude fits pretty well into the whole course, as the student was almost getting used to having the concept being presented on a silver plate. A slide was a slide, a bend a bend but now with the introduction of a non-standard tuning that doesn’t include just a mere drop D tuning, the student gets to know that there is still much to be explored and that the blank spots on the road map are yet to be filled!

That’s it, ten etudes that focus on different aspects of guitar playing, presented by a charismatic instructor that really manages to spark the interest in his students. You can choose whether to play it at full tempo, to slow it down or to practice on your own with your own set tempo. The course comes with the notations being provided in .pdf format as well as .gp5 format.

I really enjoyed playing my way through the course and though I wouldn’t claim that I’ve mastered every bit of it, it still motivated and inspired me and once again showed me, why the guitar was, is and will forever be such a beautiful instrument.

Highly recommended for each beginner who is willing to devote more time to the guitar.

Lukas Wedrychowski

MeridirhProductions.com | ‘cause music matters


This course was kindly provided by www.TrueFire.com

You can find the course following this link: Acoustic Poetica: Fingerstyle Etudes