"Marcel Dadi is a master of the guitar styles of Merle Travis, Jerry Reed and Chet Atkins." – Fingerstyle Guitar Magazine
Marcel Dadi was one of the world's premier fingerstyle guitarists. He was known as "the Chet Atkins of France." He performed and recorded with Steve Morris, Albert Lee, Chet Atkins, Larry Coryell, Stefan Grossman and many others. During his career he released nearly 20 albums and was the organizer of the European equivalent of Nashville's Chet Atkins Appreciation Society. He was an expert on the guitar styles of Merle Travis, Doc Watson, Jerry Reed and Chet Atkins. His personal fingerpicking style incorporated influences from all four of these great guitarists.
Tablature is available as a PDF file for each lesson. Lessons are filmed with multiple cameras and consist of a performance, explanation, and conclude
with a slow tempo split screen that follows the tab/music.
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Written in 1904 by Edward Madden and Theodore F. Morse. It has also been titled Farewell My Blue Bell. The original sheet music titles it as Blue Bell, March Song and Chorus. It was a very popular song of those times. The Merle Travis instrumental is based on the 1904 sheet music. The head (main theme) of the Travis instrumental is clearly taken from the chorus of the 1904 Madden/Morse march. Travis' bridge to the tune may be based on the opening part of the march. It is played in the key of C.
A Note for Note transcription of Chet Atkins playing one of Jerry Reed's most popular fingerstyle guitar instrumentals. Played in the key of E with a contrapuntal bass line supporting open string blues licks - harmonics and double-stops.
The black country blues guitarist Arnold Shultz taught his style to several local Muhlenburg musicians including Kennedy Jones. Kennedy passed it on to other guitarists, notably Mose Rager, a part-time barber and coal miner, and Ike Everly, the father of The Everly Brothers. Their thumb and index fingerpicking method created a solo style that blended lead lines picked by the finger and rhythmic bass patterns picked or strummed by the thumbpick. This technique captivated many guitarists in the region and provided the main inspiration to a young Merle Travis. Cane Break Blues is a straight forward country blues played in the key of E. It is an easy example of Kentucky thumbpicking.
Played in the key of G. This popular instrumental follows a ragtime progression. It was written by Kennedy Jones but when Travis recorded it he received the writer's credit. Kennedy greatly influenced the Kentucky Muhlenberg County pickers. Your goal is to play this very fast, but do it slow while learning. For best effect muffle the bass strings with the heel of your palm. The last section, with the bass runs, is the easiest to finger but the hardest to play right. You have to play the chords at the beginning of every other measure - just for the first beat - and then muffle the strings immediately. This is hard to do. And then open it all up for the final cadence. Cannonball Rag is a must for a thumbpicker's repertoire.
A Jerry Reed composition that was recorded by Chet Atkins on his Solo Flight album. Played in the key of E the first section combines a swinging melody within a blues progression. The second section is reminiscent of Blue Finger featuring a contrapuntal bass line.
A thumbpicking blues in the key of E. Echoes of the influence of Arnold Schultz on Kentucky thumbpicking. First position chords against a steady Travis picking bass. A good place to start exploring the Merle Travis style and technique.
A Jerry Reed composition recorded by Chet Atkins on his Progressive Pickin' album. Kicky is a fast tempoed instrumental with a blues-based melody and played in a five-string banjo Scruggs style. Lots of twists and turns in the key of E.
A Chet Atkins arrangement of the Irving Berlin's standard Cheek To Cheek. Best known from the 1935 Fred Astaire film Top Hat. Chet recorded this on his 1968 album Solo Flight. Three Little Words is also included in the lesson.
Chet Atkins recorded Windy and Warm on his 1962 album Down Home. It was written by John D. Loudermilk and became a signature tune for Chet. If you're interested in playing like Chet then this is the first tune you should tackle. The first section is played in Am and then goes to A. Give it a try and you'll be one happy picker.
A beautiful medley combining two elegant but simple instrumentals written by Jerry Reed and recorded and made well known by Chet Atkins. Both played in
the key of C in first position. An easy introduction to Nashville fingerstyle guitar.
A ragtime blues with the first section played in the key of C and the second in the key of F. It “borrows” phrases from many other tunes (i.e. The Old Piano Roll Blues) and combines these to make a coherent and interesting instrumental. Not too difficult and good preparation for tackling Saturday Night Shuffle.
A Merle Travis arrangement of Stephen Foster’s famous 1853 anti-slavery ballad. It is played in the key of C using first position chords. An easy introduction to Nashville fingerstyle guitar.
Oh By Jingo! Oh By Jee! is a1919novelty songby Albert Von Tilzerwith lyrics byLew Brown. The song was featured in theBroadwayshow “Linger Longer Letty“, and became one of the biggestTin Pan Alleyhits of the post-World War I era. Chet Atkins recorded this in 1953 on his Stringin’ Along With Chet Atkins. A fun tune to play in the key of Am and not too difficult.
This is a Merle Travis instrumental played in the key of B. It was originally released on his Walkin' The Strings album in 1960. It features some challenging Travis chord fingerings played with Travis's strong alternating bass pattern.
This is one of Merle Travis’s greatest instrumental compositions. It is played in the key of C and modulates to the Key of B. It has come to be regarded as a classic example of “Travis Picking”. It has echoes from the old country instrumental Buck Dance that was played by numerous old-time guitarists – both Black and White. But Merle took the Buck Dance and turned it upside down and sideways!
Probably Jerry Reed’s most popular and performed instrumental. A hot blues progression in the key of A. Plenty of Jerry’s trademark rolls and licks. This lesson is true to the way both Jerry Reed and Chet Atkins recorded the tune. Buster B. Jones has a lesson as well on The Claw where he explodes the boundaries of the arrangement. Best to first master the basic arrangement before tackling Buster’s version.
This is a tour de force of Travis picking in the key of F. It features a quick succession of chord fingerings from the top to the bottom of the fingerboard. Once you have mastered this instrumental your knowledge of the fingerboard will be greatly expanded. Take your time as this instrumental will need lots of practice time.