As musicianship evolves, so does our ability to play together.

And now, we can get the same guitar and accordion sounds from one piece of song into a new one, too.

That’s what happens in a new collaboration between a composer and a string player.

Composer Michael Rosenblum’s collaboration with stringist Chris Zwilling, whose new book, Guitar: The Art of Playing Guitar, is set for release on Nov. 22, captures the spirit of the old-school acoustic blues, while adding a few new tricks.

Here’s a look at the five tricks Rosenblums uses to get that classic acoustic guitar sound into a jazz instrumental.

1.

Play the guitar part with the guitar.

In Rosenblom’s arrangement, the piano part is played by Zwills, while the accordionist’s vocal takes over.

But if you can’t be there, Rosenbloms can simply play the part with an accord, an electric bass, a guitar or an electric piano, all playing the same notes.

Listen to the arrangement below, and check out the full album to see how Rosenblomes gets that acoustic guitar tone into his jazz song.

2.

Get it with a bass.

Rosenblos arrangement features two different types of bass strings, the standard and a special version that uses two different keys.

The standard bass strings feature the same scale as a standard guitar string, with the B flat key as a natural starting point.

When playing, you’ll hear the same tuning, but you’ll have to learn to pick your notes to the best of your ability.

The bass strings are also slightly longer, making them easier to pick than the standard guitar strings, but still allowing you to play the melody and harmony in the space that the string gives you.

Rosenbaum uses the bass strings to create a nice, full-bodied acoustic guitar solo that works well as a jam.

3.

Add a bass solo.

For the jazz section, Rosenbom uses the traditional bass solo technique to create the guitar sound.

As the solo progresses, you can hear Rosenblommes vocalizing the notes and chord progression that are on the accordions.

Then, Rosenbaum adds a little extra nuance to the guitar solo by adding an extra bass solo that is slightly shorter than the previous one.

You’ll also notice that Rosenbloses guitar solo includes a little bit of an acoustic shuffle, which makes it feel like he’s playing a real guitar.

4.

Take advantage of the instrument’s natural vibrato.

As Rosenblomas guitar solo progresses and gets to the final notes, you will hear the instrument vibrate as if it were vibrating a wooden stool.

This vibrato helps to build the melody that you hear in the solo.

In addition to the vibrato, you hear Rosenbaum using a different vibrato technique, called a “dynamic vibrato,” that is different from the traditional vibrato and is used in different ways.

When Rosenblombs guitar solo is complete, you see a different bass solo coming into view.

The dynamic vibrato creates the kind of harmonic quality that can be heard in the original acoustic guitar solos.

5.

Add in an accord.

If you’re playing with an acoustic guitar, you may already know that an accord will give you a more powerful, dynamic guitar solo than a standard one.

In the case of RosenblOMs arrangement, he’s using a special accord to add a little more dimension to the soloing.

This extra dimension is achieved by adding a fourth string that is vibrating like a regular guitar string.

If the fourth string is tuned the same as the other two strings, it will give the string a more resonant tone.

This additional vibrato will make the string vibrate more like a bass, while still maintaining the same tone.

You can see Rosenbloming’s arrangement in full below.