Contact me if you wish to inquire about purchasing copies of any of the publications below.
Note: Guitar Fundamentals Books 2, 3, 4 and 5 are based on a document called A Learning Process for Playing the Guitar by Tony Bradan. I studied guitar with this well known teacher in the 1970’s in Toronto. I met Tony Bradan for the first time in the winter of 1976. Soon after beginning my studies with Mr. Bradan, it became evident to me that he had created a truly unique and fresh approach to the study of the guitar. Our collaboration on this publication began shortly after his retirement to Surrey, BC. Tony Bradan mapped out this course over a life time of teaching. He passed on his handwritten manuscript to me in 1997 having concluded that I would be the most likely candidate to carry on with his work with as little as possible adulteration to his original thoughts and motives.
 Guitar Fundamentals Primer: This is the beginners book for students who have no experience in playing the guitar or for that matter in reading musical notation. Lesson material covers the basics of first position melody playing and basic chord accompaniment with “camp-fire” style chord fingerings. (approximately 80 pages) |
 Guitar Fundamentals Book 1: This book starts where the Primer left off. The lessons explore the first, second and third positions with a variety of keys using scales, arpeggios and chords. Fundamental interval and scale theory is presented along with more advanced forms of syncopation in both straight eighth and jazz eighth rhythm. Rhythm guitar styles are also developed to include rock, blues, jazz and latin styles. (approximately 150 pages) |
 Guitar Fundamentals Book 2: This book begins the exploration of the entire guitar fingerboard using the first, second and third strings. Chord theory and chord-scale relationships are explained along with the basics of beginning to create chord solos. (approximately 90 pages) |
 Guitar Fundamentals Book 3: This book adds the use of the fourth string and refines the chord-scale relationships. Triad arpeggio technique is expanded to include the fourth string. Chord solos are also systematically refined to include the fourth string and the beginning of substitute triads. (approximately 80 pages) |
 Guitar Fundamentals Book 4: The fifth and sixth string are explored and combined with the previously learned first four strings. The basics of chord solos are further enhanced. Scales and triad arpeggios covering all six strings are on the menu. Suggestions regarding sight reading are expanded to a higher level. (approximately 80 pages) |
 Guitar Fundamentals Book 5: Four part harmony as it applies to guitar chord fingerings is the main subject of this book. The science of guitar chord fingering is explored along with more advanced forms of the substitute chord theory. (approximately 200 pages) |
 Classical Guitar Fundamentals: Exactly what the title implies. It is an examination of the basic right and left hand techniques which are needed in playing classical guitar. The book begins with basic elements but moves quite rapidly. Best results will be had with the guidance of a good teacher. This volume was not designed to be a self-teaching manual.The majority of the content is totally original but a few examples of standard classical guitar beginners repertoire has been included. (approximately 100 pages) |
 Bass Basics (more than just dinkin’ around on the bass): The fundamental technique of playing the electric bass is developed along with the basics of reading music. This book covers basic scale and chord theory along with practical exercises for developing basic chops. (approximately 150 pages) |
 Writing Bass Lines (not to be confused with writhing bass lines which are often found in be-bop jazz) “Are you down there just making rumbling noises or are you gonna play some bass lines?”: As the title suggests, this book covers the basics of creating bass lines from given chord symbols as usually seen in fake books and most popular music publications. Music theory is examined in more detail and particularly from the view point of what a bass player must know to gain a fundamental understanding of his role in a rhythm section. |